DOCSLIB.ORG

"A Reciprocal Pact of Tenderness"

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
"A Reciprocal Pact of Tenderness" Sadean Pornographic Structures in Angela Carter's The Bloody Chamber Ma Thesis Janneke van Engeland Master Thesis Title: “A Reciprocal Pact of Tenderness”: Sadean Pornographic Structures in Angela Carter’s The Bloody Chamber Name: Janneke van Engeland Student number: 10549013 Programme: MA English Literature and Culture, University of Amsterdam Supervisor: Dr N. D. Carr Date: 25 June 2019 1 Statement of Originality This document is written by Student Janneke van Engeland, who declares to take full responsibility for the contents of this document. I declare that the text and the work presented in this document are original and that no sources other than those mentioned in the text and its references have been used in creating it. 2 Contents Abstract ................................................................................................................................................... 4 Introduction ............................................................................................................................................. 5 1. Feminist critique of the fairy tale and pornography ............................................................................ 9 2. Angela Carter and Sade: materialism and demythologising ............................................................. 17 3. Responsibility and “The Bloody Chamber” ...................................................................................... 24 4. Reciprocity and “The Company of Wolves” .................................................................................... 36 Conclusion ............................................................................................................................................ 44 Works Cited .......................................................................................................................................... 46 3 Abstract When Angela Carter’s The Bloody Chamber was published in 1979, it sparked a feminist debate which is continuing to this day. Some feminist critics have read the stories as victim- blaming stories of rape that reinscribe patriarchal attitudes towards sexuality, whereas others have read the stories as successful rewritings of fairy tales which portray women fight back against patriarchal attitudes and discover a female desire. Most criticism has focused on the fairy tale aspect of The Bloody Chamber, but has neglected its pornographic aspect. In this thesis, I will argue that it is necessary to read The Bloody Chamber in conjunction with Carter’s feminist polemic The Sadeian Woman (1978) and the Marquis de Sade’s libertine novels in order to open up the full feminist potential of the stories. I will analyse two of the stories on the basis of three Sadean pornographic structures: firstly, the dichotomy of mythical roles of femininity; secondly, the basis of male pleasure in the sexual objectification of women; and thirdly, the solipsistic conception of pleasure and its consequent victimiser- victim relationship between sexual partners. I will argue that the two stories from The Bloody Chamber address and subvert these structures. I will conclude three things: firstly, that Carter’s feminism cannot be categorised as either pro- or anti-pornography, but that it reaches its own conclusions; secondly, that the addressing and rewriting of pornographic structures lies at the heart of The Bloody Chamber and that the fairy tale is a vessel through which these structures are addressed; and finally, that the strength of Carter’s feminist thinking is its ambiguity and its insistence on the complexity of human sexuality. 4 Introduction There’s a story in The Bloody Chamber called “The Lady and the House of Love,” part of which derives from a movie version that I saw of a story by Dostoyevsky. And in the movie, which is very good, the woman, who is a very passive person and is very much in distress, asks herself the question, “Can a bird sing only the song it knows, or can it learn a new song?” Have we got the capacity at all of singing new songs? It’s very important that if we haven’t, we might as well stop now. Can the marionette in that story behave in a way that she’s not programmed to behave? Is it possible? – Angela Carter1 Angela Carter’s The Bloody Chamber and The Sadeian Woman When Angela Carter’s short story collection The Bloody Chamber was published in 1979, it gave her a wider audience than she had ever had before and it meant the breakthrough of her career as a writer. The stories in The Bloody Chamber are usually seen as reworkings of well- known fairy tales such as “Snow White”, “Bluebeard”, “Beauty and the Beast” and “Little Red Riding Hood”. Using pre-existing narratives and then changing and subverting them, Carter rewrites these traditional fairy tales from a self-proclaimed feminist perspective, or as she described it herself, “putting new wine in old bottles” and then “mak[ing] the bottles explode” (Carter, “Notes from the Front Line” 69). These new fairy tales bring out the latent content in traditional fairy tales: the violence, the sexuality and the misogyny. In 1978, a year before The Bloody Chamber, Carter’s feminist polemic The Sadeian Woman & The Ideology of Pornography was published. In The Sadeian Woman, Carter analyses the work of the Marquis de Sade, the eighteenth-century French pornographer, and makes the bold claim that his writings hold a feminist potential. Based on Sade’s analysis of sexuality, Carter presents the idea of a “moral pornography”: a pornography that offers a critique of current relations between men and women and that in this way can be used in the service of women. The critical debate It is now 40 years after the publication of The Bloody Chamber and 26 years after Angela Carter’s death, but there is still a lively interest in Carter’s work and persona. In 2017, a 1 Katsavos, Anna. “An Interview with Angela Carter.” Review of Contemporary Fiction, vol. 14, no. 3, Autumn 1994, p. 16. 5 biography was published,2 and in August 2018 a BBC documentary aired on TV (Angela Carter: Of Wolves & Women). Much of this interest focuses on Carter as a feminist writer. At the time of publication, both The Bloody Chamber and The Sadeian Woman were strongly criticised by anti-pornography feminists. The controversial use of the world’s most notorious pornographer for a self-proclaimed feminist argument in The Sadeian Woman caused “shock and disgust” (Gamble 112). Most criticism, however, has focused on The Bloody Chamber and asks the question: does Carter succeed in changing patriarchal fairy tales into new feminist tales? Some critics have read the stories as reinscribing patriarchal attitudes towards women and “eroticising … sexual violence and victimisation” (Gamble 111), whereas others have read them as successful rewritings of misogynistic fairy tales in which “women grab their own sexuality and fight back” (Makinen 3). Most of the criticism approaches the stories in The Bloody Chamber with the starting point that they are rewritings of fairy tales, which is certainly an important aspect but certainly not the only one. What has been neglected in the debate on The Bloody Chamber are the pornographic dimensions of the story collection: the influence of the Marquis de Sade on the stories and the collection’s connections with Carter’s The Sadeian Woman. As the only work of non-fiction, The Sadeian Woman stands out from the rest of Carter’s work consisting of novels and story collections, and it has not received as much critical attention. A few recent critics, such as Nanette Altevers and Sally Keenan, have analysed The Sadeian Woman as the main work in their research and have argued that working through Sade has been a watershed moment in Carter’s feminist thinking (Keenan 134). Still, only a small number of recent critics (Robin Ann Sheets, Elaine Jordan and Heta Pyrhönen, for instance) have dedicated a substantial part of their argumentation to reading The Bloody Chamber in conjunction with The Sadeian Woman. The present study In my view, the pornographic dimensions of The Bloody Chamber and the influence of the Marquis de Sade’s writings on the collection have been given too little attention. I think that it is necessary to read The Bloody Chamber in conjunction with The Sadeian Woman, and also to look beyond this book and to go back to the original Sade, in order to open up the full feminist potential of Carter’s stories. In this thesis, firstly I will argue that, rather than as a 2 Gordon, Edmund. The Invention of Angela Carter: A Biography. Vintage, 2017. 6 rewriting of traditional fairy tales, a feminist reading of Angela Carter’s The Bloody Chamber is best approached as a story collection that imitates and at the same time distances itself from Sadean pornographic structures. Secondly, I will argue that the stories “The Bloody Chamber” and “The Company of Wolves” negotiate the requirements of and eventually conceive of an equal and reciprocal sexual relationship between men and women. With this thesis, I aim to join the critical debate on Angela Carter’s The Bloody Chamber and The Sadeian Woman as feminist works. In my analysis, I will identify three key structures from Sadean pornography that, in my view, form the basis for the feminist set-up of the stories “The Bloody Chamber” and “The Company of Wolves” from The Bloody Chamber. I will return to these three Sadean structures, which are not necessarily representative of all pornography, throughout the thesis. The first pornographic
Load more

Recommended publications
  • Inserting Hans Bellmer's the Doll Into the History of Pornography
    Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2020 Softcore Surrealism: Inserting Hans Bellmer's The Doll into the History of Pornography Alexandra M. Varga Follow this and additional works at: https://scholarship.claremont.edu/scripps_theses Recommended Citation Varga, Alexandra M., "Softcore Surrealism: Inserting Hans Bellmer's The Doll into the History of Pornography" (2020). Scripps Senior Theses. 1566. https://scholarship.claremont.edu/scripps_theses/1566 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. 1 SOFTCORE SURREALISM: INSERTING HANS BELLMER’S THE DOLL INTO THE HISTORY OF PORNOGRAPHY, 2020 By ALEXANDRA M. VARGA SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR ARTS FIRST READER: PROFESSOR MACNAUGHTON, SCRIPPS COLLEGE SECOND READER: PROFESSOR NAKAUE, SCRIPPS COLLEGE MAY 4TH 2020 2 Contents Acknowledgments. 3 Introduction: Finding The Doll. 4 Critical Reception: Who Has Explored The Doll?. 10 Chapter 1: Construction of the Doll and Creation of the Book. 22 Chapter 2: Publication in Germany and France. 37 Conclusion: Too Real For Comfort. 51 Bibliography. 53 Figures: Die Puppe Sequence, 1934. 56 Figures: La Poupée Sequence, 1936. 64 Figures: 19th and 20th Century Pornography. 71 3 Acknowledgments This thesis could not have been written without the support of my thesis readers, Professors Mary MacNaughton and Melanie Nakaue. I would like to thank them for their unwavering support. Their guidance gave me the confidence to pursue such an eccentric topic.
    [Show full text]
  • Pierre Klossowski: Works in English and Translations Compiled by Rainer J
    Bibliography Pierre Klossowski: Works in English and Translations compiled by Rainer J. Hanshe FICTION Roberte Ce Soir – and – The Revocation of the Edict of Nantes, tr. by Austryn Wainhouse (New York: Dalkey Archive Press, 2002 [1950 and 1959]). The Baphomet, tr. by Stephen Sartarelli, Sophie Hawkes (New York: Marsilio Publishers, 1998 [1965]). Introduction by Michel Foucault. Diana at Her Bath; The Women of Rome, tr. by Stephen Sartarelli, Sophie Hawkes (New York: Marsilio Publishers, 1998 [1956 and 1968]). L’ adolescent immortel (Paris: Gallimard, 2001).* Agonist 78 Pierre Klossowski Biblography Pierre Klossowski Bibliography Le Mage du Nord (Montpellier: Fata Morgana, 1988).* Les derniers travaux de Gulliver (Paris: Fata Morgana, 1987).* Pierre Klossowski Biblography La Ressemblance (Marseille: André Dimanche, 1984).* La Monnaie vivante (Paris: Éric Losfield, 1970).* Pierre Klossowski Biblography Le Souffleur ou le théâtre de société (Paris: Jean-Jacques Pauvert, 1960).* Pierre Klossowski Biblography La Vocation suspendue (Paris: Gallimard, 1950).* PHILOSOPHY & CRITICISM Such a Deathly Desire, tr. by Russell Ford (New York: SUNY Press, 2007). Écrits d’un monomane: Essais 1933-1939 (Paris: Gallimard, 2001).* Tableaux vivants: Essais critiques 1936-1983 (Paris: Gallimard, 2001).* “Tragedy” and “The Marquis de Sade and the Revolution” in Denis Hollier, ed., The College of Sociology (1937-39), tr. by Betsy Wing (Minneapolis: University of Minnesota Press, 1998). Nietzsche and the Vicious Circle, tr. by Daniel W. Smith (Chicago: University of Chicago Press, 1997). “Sade, or the philosopher-villain” in David B. Allison, Mark S. Roberts, Allen S. Weiss, Sade and the Narrative of Transgression (Cambridge: Cambridge University Press, 1995): 33-61. Sade My Neighbor, tr.
    [Show full text]
  • Secondary Analysis of Discrimination Against BDSM Identified Individuals
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 6-2014 I Didn't Consent to That: Secondary Analysis of Discrimination Against BDSM Identified Individuals Larry Iannotti Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/229 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] I DIDN’T CONSENT TO THAT: A SECONDARY ANALYSIS OF DISCRIMINATION AGAINST BDSM-IDENTIFIED INDIVIDUALS By LARRY IANNOTTI A dissertation submitted to the Graduate Faculty in Social Welfare in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 ii © 2014 Larry Iannotti All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in Social Welfare in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. SJ Dodd, PhD Date Chair of Examining Committee Harriet Goodman, DSW Date Executive Officer Professor Irwin Epstein Professor Gerald Mallon Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv Abstract I DIDN’T CONSENT TO THAT: A SECONDARY ANALYSIS OF DISCRIMINATION AGAINST BDSM-IDENTIFIED INDIVIDUALS by Larry Iannotti Dissertation Chair: Professor SJ Dodd Sadomasochistic (BDSM) sexual behavior is an understudied phenomenon within the social sciences generally, and social work in particular. While BDSM sexuality encompasses a wide variety of activities a community of individuals interested in BDSM is identifiable and has coalesced around organized groups, events, political activism, and shared sexual interests.
    [Show full text]
  • Henry Fuseli and the Sexual Sublime Sarah Carter a Thesis Presented to the University of Guelph in Partial Fulfilment of Require
    Henry Fuseli and the Sexual Sublime Sarah Carter A Thesis Presented to The University of Guelph In partial fulfilment of requirements for the degree of Master of Arts in Art History and Visual Culture Guelph, Ontario, Canada © Sarah Carter, April, 2014 ABSTRACT Henry Fuseli and the Sexual Sublime Sarah Carter Advisor: University of Guelph, 2014 Dr. Christina Smylitopoulos Anglo-Swiss artist Henry Fuseli (1741-1825) shared drawings of a sexually charged and implied sadistic nature among an elite and intimate group of male artists. These drawings explore sexuality as a fundamental and emotionally profound human experience. This thesis approaches these drawings as studies, a demonstration of virtuosity and an experiment in visual limits, specifically the aesthetic boundaries that divide the sublime and the beautiful. I discuss the implications of the late eighteenth-century approach to the sublime and position Fuseli within an aesthetic debate. I argue that Three Women and a Recumbent Man (1809), Three Courtesans Operating on the Face of a Bound Man (1800) and Woman Torturing a Child (1800-1810) were not simply pornographic illustrations intended for private pleasure, but intellectual investigations into the sublime possibilities of sexuality in art. iii ACKNOWLEDGEMENTS I would like to thank my supervisor Dr. Christina Smylitopoulos for her support and enthusiasm throughout the completion of this thesis. Under her guidance, I was able to develop as a writer and build the confidence necessary to pursue and even exceed my academic goals. Completing an MA thesis was both challenging and incredibly rewarding, and I am grateful to Dr. Smylitopoulos for her insight and ongoing encouragement.
    [Show full text]
  • “I CAN MAKE NOTHING of IT”: Beckett's Collaboration with Merlin on the English Molloy Pim Verhulst and Wout Dillen
    This is the authors’s version of an article published in Samuel Beckett Today/Aujourd’hui 26 (Revisiting Molloy, Malone meurt/Malone Dies, L’Innommable/The Unnamable), Brill, 2014, pp. 107- 120. Please refer to the published version for correct citation and content. “I CAN MAKE NOTHING OF IT”: Beckett’s Collaboration with Merlin on the English Molloy Pim Verhulst and Wout Dillen When the English Molloy was published in 1955, jointly by Olympia (Paris) and Grove (New York), a long and difficult translation process had ended, on which Beckett worked both alone and together with Merlin and Patrick Bowles. This article is the first attempt to approach this somewhat neglected topic by way of manuscripts, notebooks, letters and other related materials, in order to establish a basic chronology of the English Molloy. In so doing, our purpose is to shed more light on a relatively obscure period in Beckett’s literary career and examine critically the role of each party involved. Samuel Beckett culled his trilogy of novels for striking images and phrases throughout his later career, but during the 1950s he revisited Molloy, Malone meurt and L’Innommable in a more direct sense, when various parties requested English versions of his new work. What Beckett called “the losing battle” of translating the trilogy (Knowlson, 438) was fought in the period between 1950 and 1958. This article discusses Molloy because it forced Beckett to devise a long-term strategy to deal with the “hopeless thankless chore” of translation (Harmon, 355), while also leaving sufficient room for new creative endeavours.
    [Show full text]
  • Amy S. Wyngaard TRANSLATING SADE
    Translating Sade Amy S. Wyngaard TRANSLATING SADE: THE GROVE PRESS EDITIONS, 1953–1968 n the last paragraph of their foreword to the 1965 Grove Press edition of IThe Complete Justine, Philosophy in the Bedroom, and Other Writings, the translators Richard Seaver and Austryn Wainhouse quote the marquis de Sade’s wish, expressed in his last will and testament, that acorns be scattered over his grave, “in order that, the spot become green again, and the copse grown back thick over it, the traces of my grave may disappear from the face of the earth, as I trust the memory of me shall fade out of the minds of men” (xiv). Seaver and Wainhouse, who believed in the importance of Sade’s writings and were deeply invested in their efforts to produce the frst unexpurgated American translations of his works, express doubt that this prophecy would ever come to pass. The success of the Grove Press translations, however, has in fact caused certain aspects of Sade’s (critical) history to be forgotten. Five decades after their original publication in the 1960s, and two decades after their reissue in the early 1990s, these once-controversial editions of Sade’s works can now be considered mainstream. Widely referenced and readily available, they are more or less an accepted part of the American literary landscape, with only their original prefatory materials left to bear witness to what was one of the most fraught and revolutionary moments in the history of American publishing, not to mention Sade studies. Grove Press publisher Barney Rosset saw the publication of Sade’s works as integral to his fght for the freedom of the press.
    [Show full text]
  • Download File
    A Monster for Our Times: Reading Sade across the Centuries Matthew Bridge Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2011 © 2011 Matthew Bridge All Rights Reserved ABSTRACT A Monster for Our Times: Reading Sade across the Centuries Matthew Bridge This doctoral dissertation looks at several readings and interpretations of the works of the Marquis de Sade, from the eighteenth century to the present. Ever since he was imprisoned under the Old Regime following highly publicized instances of physical and sexual abuse, Sade has remained a controversial figure who has been both condemned as a dangerous criminal and celebrated as an icon for artistic freedom. The most enduring aspect of his legacy has been a vast collection of obscene publications, characterized by detailed descriptions of sexual torture and murder, along with philosophical diatribes that offer theoretical justifications for the atrocities. Not surprisingly, Sade’s works have been subject to censorship almost from the beginning, leading to the author’s imprisonment under Napoleon and to the eventual trials of his mid-twentieth-century publishers in France and Japan. The following pages examine the reception of Sade’s works in relation to the legal concept of obscenity, which provides a consistent framework for textual interpretation from the 1790s to the present. I begin with a prelude discussing the 1956 trial of Jean-Jacques Pauvert, in order to situate the remainder of the dissertation within the context of how readers approached a body of work as quintessentially obscene as that of Sade.
    [Show full text]
  • Proquest Dissertations
    The Practice of Community: Assembling Anglophone Poetics in the Post-World War II Era STEPHEN VOYCE A dissertation submitted to the Faculty of Graduate Studies in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Graduate Programme in English York University Toronto, Ontario September 2009 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre refinance ISBN: 978-0-494-54112-8 Our file Notre reference ISBN: 978-0-494-54112-8 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation.
    [Show full text]
  • Literary Miscellany
    Literary Miscellany Chiefly Recent Acquisitions. Catalogue 316 WILLIAM REESE COMPANY 409 TEMPLE STREET NEW HAVEN, CT. 06511 USA 203.789.8081 FAX: 203.865.7653 [email protected] www.williamreesecompany.com TERMS Material herein is offered subject to prior sale. All items are as described, but are considered to be sent subject to approval unless otherwise noted. Notice of return must be given within ten days unless specific arrangements are made prior to shipment. All returns must be made conscientiously and expediently. Connecticut residents must be billed state sales tax. Postage and insurance are billed to all non-prepaid domestic orders. Orders shipped outside of the United States are sent by air or courier, unless otherwise requested, with full charges billed at our discretion. The usual courtesy discount is extended only to recognized booksellers who offer reciprocal opportunities from their catalogues or stock. We have 24 hour telephone answering, and a Fax machine for receipt of orders or messages. Catalogue orders should be e-mailed to: [email protected] We do not maintain an open bookshop, and a considerable portion of our literature inventory is situated in our adjunct office and warehouse in Hamden, CT. Hence, a minimum of 24 hours notice is necessary prior to some items in this catalogue being made available for shipping or inspection (by appointment) in our main offices on Temple Street. We accept payment via Mastercard or Visa, and require the account number, expiration date, CVC code, full billing name, address and telephone number in order to process payment. Institutional billing requirements may, as always, be accommodated upon request.
    [Show full text]
  • Justine: a Sadian Transformation of the French Literary Fairy Tale Ivy J
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Justine: A Sadian Transformation of the French Literary Fairy Tale Ivy J. Dyckman Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES JUSTINE: A SADIAN TRANSFORMATION OF THE FRENCH LITERARY FAIRY TALE By IVY J. DYCKMAN A Dissertation submitted to the Department of Modern Languages and Linguistics in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2007 Copyright © 2007 Ivy J. Dyckman All Rights Reserved The members of the Committee approve the dissertation of Ivy J. Dyckman defended on March 1, 2007. __________________________________ William Cloonan Professor Directing Dissertation __________________________________ Stanley E. Gontarski Outside Committee Member __________________________________ Aimée M.C. Boutin Committee Member __________________________________ Deborah J. Hasson Committee Member __________________________________ Lori J. Walters Committee Member Approved: _____________________________________________________________ William Cloonan, Chair, Department of Modern Languages and Linguistics _____________________________________________________________ Joseph Travis, Dean, College of Arts and Sciences The Office of Graduate Studies has verified and approved the above named committee members. ii To Martin, The Greatest Dictionary of All iii ACKNOWLEDGMENTS I wish to thank Florida State University's Winthrop-King Institute for Contemporary French and Francophone Studies, which made possible a six-week summer session of research in Paris, the Congress of Graduate Students for a grant in support of that research, and the French Division of the Florida State University Department of Modern Languages and Linguistics for the opportunity to serve as a lectrice at the Sorbonne during the academic year 2002-2003.
    [Show full text]
  • Albert Dubout's Illustrations for Sade's Justine Olivier M
    University of Richmond UR Scholarship Repository Languages, Literatures, and Cultures Faculty Languages, Literatures, and Cultures Publications 2016 Whimsical Pornography: Albert Dubout's Illustrations for Sade's Justine Olivier M. Delers University of Richmond, [email protected] Follow this and additional works at: http://scholarship.richmond.edu/mlc-faculty-publications Part of the Art and Design Commons, and the French and Francophone Literature Commons Recommended Citation Delers, Olivier. "Whimsical Pornography: Albert Dubout's Illustrations for Sade's Justine." New Perspectives on the Eighteenth Century 13, no. 1 (2016): 4-17. This Article is brought to you for free and open access by the Languages, Literatures, and Cultures at UR Scholarship Repository. It has been accepted for inclusion in Languages, Literatures, and Cultures Faculty Publications by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. New Perspectives on the Eighteenth Century WHIMSICAL PORNOGRAPHY: ALBERT DUBOUT'S ILLUSTRATIONS FOR SADE'S JUSTINE By Olivier Delers* University of Richmond In Dangereux supplement: ! 'illustration du roman en France au dix­ huitieme siecle, Christophe Martin explains that images were generally con­ sidered to be dangerous additions to a text, because they could not be limited to their intended primary purpose: to provide a visual translation for charac­ ters and events depicted in works of fiction.' For even as they illustrate, im­ ages also offer a
    [Show full text]
  • Readings in Sade, Balzac and Proust. Douglas Brian Saylor Louisiana State University and Agricultural & Mechanical College
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1988 The urM der of the Father: Readings in Sade, Balzac and Proust. Douglas Brian Saylor Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Saylor, Douglas Brian, "The urM der of the Father: Readings in Sade, Balzac and Proust." (1988). LSU Historical Dissertations and Theses. 4538. https://digitalcommons.lsu.edu/gradschool_disstheses/4538 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS The most advanced technology has been used to photo­ graph and reproduce this manuscript from the microfilm master. UMI films the original text directly from the copy submitted. Thus, some dissertation copies are in typewriter face, while others may be from a computer printer. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyrighted material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re­ produced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each oversize page is available as one exposure on a standard 35 mm slide or as a 17" x 23" black and white photographic print for an additional charge.
    [Show full text]