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Examining Adaptation Studies in and Through the Decadent Aesthetics Of EXAMINING ADAPTATION STUDIES IN AND THROUGH THE DECADENT AESTHETICS OF J. - K. HUYSMANS’ À REBOURS MARCUS BERIAN NICHOLLS A thesis submitted in partial fulfilment of the requirements of The University of West London for the Degree of Doctor of Philosophy November 2018 2 Acknowledgements First and foremost, I wish to thank Professor Jeremy Strong, whose steadying influence, excellent guidance, calm encouragement, and swift feedback made this project possible. Apologies for all the purple prose and split infinitives. Many thanks also to my second supervisor, Professor Garin Dowd, whose detailed advice always improved my work. Thanks to Professor Peter Cox for inspiration and guidance, as well as the colleagues who advised, and the examiners who challenged me to do better work. All of these contributions have helped to shape this thesis. I am also grateful to the University of West London, its Graduate school, and its London School of Film, Media and Design for opportunity and funding. Last but not least: my patient family and friends, my infinitely supportive parents, and Robyn Dark, who is always there to listen and encourage. 3 Table of Contents Abstract................................................................................................................................................................4 1 Introduction........................................................................................................................................................6 2 Adaptation and Decadent Style...............................................................................................................82 3 Artifice: Adapting Nature........................................................................................................................102 4 Adapting Fragments: Collecting and Curating...............................................................................130 5 Mise-en-scène and Ars memoria............................................................................................................211 6 Artifice and Decay in the Adaptations of À rebours.....................................................................272 7 Conclusions....................................................................................................................................................336 Appendix: Nature and the Real……………………………………………………………………………...345 Bibliography..................................................................................................................................................350 4 Abstract This thesis sets in dialogue concepts from Decadent and Adaptation Studies within the arena of Huysmans’ novel À rebours as an extended case study. Examining this text as and containing versions of what might be argued to be adaptation, the research explores border zones of contemporary Adaptation Studies, using this as an alternate approach to examining specific types of intertextuality within this novel as the ‘breviary of the Decadence.’ In finding conceptual inherencies between Decadent themes and aspects of adaptation, and considering Huysmans’ own preoccupations through the framework of his oeuvre and biography, an argument is proposed which reads the adaptations in À rebours as detailing Huysmans’ experiment with Decadence. À rebours is posited as both being, containing, and allegorising adaptation(s) which are defined by and a part of Decadent aesthetics. Ideas such as artifice, ornamentation, decay, curation, the mise-en-scène, the memory palace, entropy, and embodiment all contribute to exploring what adaptation means for the Decadent figures of author and character in À rebours. The adaptations proposed and identified diversify and add to the repository of potential forms of adaptation, as well as providing new conceptual models for particular versions and aspects of adaptation. The work examines adaptation avant la lettre in a specific aesthetic and authorial context, and tests current and new methodologies for the study of adaptation, whilst expanding the terminology for how Adaptation Studies theorises adaptation, adaptations, their reception, and their significance for adapters. 5 Key Dates for Historical Situating 1821. Charles-Pierre Baudelaire born in Paris on 9th April. 1845. Baudelaire’s first signed work published (Salon of 1845). 1848. Charles-Marie-Georges Huysmans born on 5th February. 1857. Baudelaire’s Les Fleurs du mal published. 1860. Baudelaire’s Paradis artificiels published. 1867. Baudelaire dies. 1869. Le Spleen de Paris published. 1874. Huysmans’ Le Drageoir à épices published as a selection of prose poems. The following year the book was republished under the title Le Drageoir aux épices. 1876. Huysmans publishes his first novel, Marthe, histoire d’une fille. 1879. Publishes his second novel, Les soeurs Vatard. 1880. ‘Sac au dos’ published in Les soirées de Médan. Publication of Croquis parisiens. 1883. Publication of L’art moderne. 1884. Publication of À rebours. 1887. Publication of En rade. 1888. Sees the Grünewald Crucifixion at the Cassel museum. 1889. Publication of Certains. 1891. Publication of Là-bas. 1895. Publication of En route. Death of Huysmans’ mistress Anna Meunier. 1896. Publication of La cathédrale. 1901. Huysmans undergoes ceremony of oblatehood at Ligugè. Publication of Sainte Lydwine de Schiedam. 1907. Death of Huysmans. 1908. Posthumous publication of Trois églises et trois primitifs. 6 1. Introduction This thesis places select concepts from Adaptation Studies and Decadent Studies in dialogue with each other in order to explore the ways in which versions of adaptation can be seen to be significant within the themes and form of a particular Decadent novel. The work primarily reads ideas of adaptation in the Decadence of its case study. By investigating conceptual resonances between ideas of adaptation and Decadence generated by a reading of J.-K. Huysmans’ 1884 novel À rebours, new perspectives on concepts and versions of adaptation are explored, which point in the direction of further study, whilst the novel is shown to contain a portmanteau of what might be termed adaptations. These are argued for as key creative embodiments of the novel’s Decadent themes, whether as formal intertextual attributes, or dramatised narrative tropes, suggesting that in À rebours, liminal versions of adaptation practice become an important part of Huysmans’ fictional experimentation with the ontology of Decadent aesthetics. This reads À rebours within the writer’s oeuvre, and Decadence within its fin de siècle context, in order to think about these personal significations for the adapter, and for the Decadent aesthetic philosophy. Throughout, the adaptations and concepts from Adaptation Studies that are explored might be thought of as border zones testing assumptions within the field. In examining these through their presence in the case study, the research demonstrates that these border zones of adaptive theory and practice may be productive for expanding the ways in which we think about adaptation. The thesis also aims to show that, since the conventional medium specific methodologies of literature/film adaptation have been expanded, applying theories of adaptation as an intertextual methodology can be a fruitful addition to literary approaches.1 Adaptation Studies offers different perspectives when applied to literary texts, and in its ‘petit 1 As well as adding evidence to the claim by Griffiths that “literary adaptation, whatever its form, is a defining feature of nineteenth-century French literary production” (2013: 3). 7 theory’ approach to theorisation (Leitch, 2017: 703),2 may bring a useful flexibility and diversity to the analysis of literary adaptations, as well as a relocation of an examination of intentionality and the creative process. Similarly, the method of using tropes from the text as a dictionary of new figurative framings for conceptualising aspects of adaptation is proved to be efficacious in broadening the repositories of Adaptation Studies. Seeking new modes of thinking about the theory and practice of adaptation, this approach also contributes to a revision of a version of the field’s case study methodology. This extended introduction sets out some of the dominant arguments, aims, and motivations for the research. It also outlines the ways in which the thesis’ key term of ‘adaptation’ is defined and approached within the investigations, whilst suggesting some of the ‘border zones’ of Adaptation Studies that become sites for exploration in the example of À rebours. Adaptation Studies and Decadent Literature The motivations for this project began in a reading of the arguments against realism found in the critical works of Baudelaire and Wilde. As allegories for a rejection of fidelity as a practical aim, the discussions presented interesting possibilities in the investigation of artifice as an artistic goal. If mapped onto intertextual engagement rather than the sources of nature and the city, this might present Decadent and Aestheticist theory and practice as demanding radical infidelities, suggesting a figurative model for a particular kind of adaptation, whilst elucidating the approach to the source found in these works. Following on from the idea that the aesthetic theories outlined in Baudelaire’s work might include threads that could be read as analogies for approaches to adaptation, a line of influence was traced in order to select a work which put these ideas into practice, and 2 See a fuller exploration
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