DOCSLIB.ORG

ETD Template

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

ZOLA’S WOMAN AS UNNATURAL ANIMAL by Noémie I. Parrat “Licentiata Philosophiae,” University of Zurich, Switzerland, 1998 Submitted to the Graduate Faculty of The Department of French and Italian in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2004 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Noémie I. Parrat It was defended on January 9, 2004 and approved by Dr. Yves Citton Dr. Eric Clarke Dr. Daniel Russell Dr. Philip Watts Dr. Giuseppina Mecchia Dissertation Director ii Copyright by Noémie I. Parrat 2004 iii ZOLA’S WOMAN AS UNNATURAL ANIMAL Noémie I. Parrat, PhD University of Pittsburgh, 2004 The purpose of this dissertation is to show how certain female characters in Zola question the received notion about the human-animal border and the related distinction between the male and the female. The novels I examine are Madeleine Férat, La Faute de l’abbé Mouret, La Curée, Nana, and Travail. The renewal of interest in contemporary French philosophy on human-animal relations serves as a framework for a reevaluation of the naturalist author, and my analysis of animal metaphors proposes a refinement of the status of the human in Zola. I show how female characters constantly move between the human and the animal to the point of ending either in an ambiguous human-animal in-between or in a transcendence of such a limit. In order to establish a context for Zola’s work, I analyze different aspects of the human-animal discourse in 19th century culture, from the legendary theory of impregnation to androgyny and from sexual inversion to the myth of the femme fatale in both literature and in the arts. Gilles Deleuze’s and Félix Guattari’s notion of becoming-animal, which inscribes animal instincts within a positive discourse, is my main critical reference. I also refer to Alain Badiou’s ethics of truth, which describes the relation of ethics to subjectivity, in my discussion of the subjective status of humans seen as animals. This dissertation underscores oppositions inherent in the human animal, such as Nature versus society. As the title suggests, I posit an oxymoron in viewing woman as an unnatural animal, as an animal in conflict with its human nature or as a human in conflict with its animal side. The human-animal border is not only more frequently subverted but also more complex in female characters than in their male counterpart in Zola’s novels, thus illustrating iv that the human-animal status of women characters poses a real problem while its male counterpart is less puzzling. Maybe unwittingly, Zola’s women profoundly upset 19th century definitions of both humanity and femininity, to a degree that almost contradicts Zola’s own avowed positions in this matter. v TABLE OF CONTENTS PREFACE....................................................................................................................................viii 1. INTRODUCTION .................................................................................................................. 1 1.1. Contemporary Philosophical Discourse on the Human/Animal..................................... 3 1.2. Deleuze and Guattari’s Becoming-Animal and -Woman in Zola................................... 9 1.3. Literature Review: Zola’s Women in Relation to the Human/Animal......................... 13 2. Zola and the Scientific: Influences, the Legendary Theory of Impregnation and Feminism 23 2.1. Contemporary Influences on Zola’s Conception of the Human as Animal.................. 23 2.2. Michelet’s Theories of Pure Love................................................................................. 30 2.3. Lucas and the Theory of Impregnation......................................................................... 36 2.4. Myth of the Impregnated Woman as Animal in Madeleine Férat................................ 38 2.5. The Theory of Impregnation in Thérèse Raquin and L’Assommoir ............................. 47 2.6. The Scientific Myth of Impregnation from a Feminist Perspective ............................. 50 3. Albine, Désirée, Emile and Badiou’s Ethics of Human and Animal Rights ........................ 58 3.1. The Role of the Animal in Zola’s Life and Thoughts................................................... 58 3.2.Albine and Désirée’s Animal Sides and Subjectivity in Badiou’s and Deleuze’s Terms .. 67 3.3. Emile as Political Subject in the Dreyfus Affair........................................................... 80 3.4. Conclusion .................................................................................................................... 84 4. Renée as Androgynous Human Animal in La Curée............................................................ 87 4.1. Introduction to the Notion of Androgyny in the 19th Century ...................................... 87 4.2. Rape and Renée’s and Catherine’s Androgyny ............................................................ 93 4.3. Excess and Maxime’s and Théophile’s Androgyny ..................................................... 96 4.4. Renée’s Becoming-Animal with Maxime .................................................................... 99 4.5. Renée as Diana............................................................................................................ 105 4.6. Renée’s and Thérèse’s Search for Desire ................................................................... 109 4.7. Renée and Maxime as Monsters ................................................................................. 113 4.8. Toward a Transcendence of Animality....................................................................... 118 5. Zola and Medical-Literary Discourse on Homosexuality................................................... 120 5.1. The Human/the Animal in 19th Century Medical Discourse on Sexual Inversion ..... 120 5.2. Zola’s Preface to Saint-Paul’s Medical Study on Homosexuality.............................. 130 5.3. Homosexuality in Animals ......................................................................................... 136 5.4. Zola’s Depiction of the Homosexual Baptiste in La Curée........................................ 139 5.5. Zola’s Preface to a Contemporary Lesbian Novel...................................................... 141 5.6. Zola’s Depictions of the Two Lesbians in La Curée .................................................. 146 5.7. Nana as Satin’s Lover ................................................................................................. 147 5.8. Conclusion: Male-Female Homosexuality versus Medical-Literary Discourse......... 152 6. Nana’s Enigmatic Human-Animal Status as Femme Fatale............................................... 157 6.1. The Myth of the Femme Fatale: Origins and Occurrences in 19th Century Literature157 6.2. Images of the Femme Fatale in the Arts ..................................................................... 168 6.3. Nana as Animalized Femme Fatale ............................................................................ 173 vi 6.4. The Smell of the Femme Fatale Nana......................................................................... 179 6.5. Nana’s Metamorphoses into Animals......................................................................... 182 6.6. Nana at her Apogee..................................................................................................... 188 6.7. The End of the Femme Fatale..................................................................................... 190 6.8. Conclusion .................................................................................................................. 191 7.Toward a Utopian New Society: Lantier’s and Froment’s Battle against the Human Animal 196 7.1. Etienne Lantier and his Fight against the Animalized Worker................................... 196 7.2. Etienne Versus Chaval in Terms of Subjectivity........................................................ 199 7.3. Etienne Lantier: Luc Froment’s Predecessor.............................................................. 201 7.4. Fourier and Letourneau in Travail.............................................................................. 203 7.5. Luc Froment and Subjectivity..................................................................................... 206 7.6. Tarde’s Notion of Imitation in Travail ....................................................................... 209 7.7. The Machine as Agent of De-Animalization.............................................................. 211 7.8. Illusory Disappearance of l’Autre............................................................................... 212 7.9. Zola the Prophet.......................................................................................................... 216 7.10. Toward an Eradication of Complexity.................................................................... 217 8. Conclusion .......................................................................................................................... 219 APPENDIX................................................................................................................................. 224 BIBLIOGRAPHY....................................................................................................................... 225 vii PREFACE I would like to thank all my wonderful professors, both at the University of Zurich and at the University of Pittsburgh, who showed me how exciting and challenging
Recommended publications
  • Tolstoy and Zola: Trains and Missed Connections

    Tolstoy and Zola: Trains and Missed Connections

    Tolstoy and Zola: Trains and Missed Connections Nina Lee Bond 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 Nina Lee Bond All rights reserved ABSTRACT Tolstoy and Zola: Trains and Missed Connections Nina Lee Bond ŖTolstoy and Zolaŗ juxtaposes the two writers to examine the evolution of the novel during the late nineteenth century. The juxtaposition is justified by the literary critical debates that were taking place in Russian and French journals during the 1870s and 1880s, concerning Tolstoy and Zola. In both France and Russia, heated arguments arose over the future of realism, and opposing factions held up either Tolstoyřs brand of realism or Zolařs naturalism as more promising. This dissertation uses the differences between Tolstoy and Zola to make more prominent a commonality in their respective novels Anna Karenina (1877) and La Bête humaine (1890): the railways. But rather than interpret the railways in these two novels as a symbol of modernity or as an engine for narrative, I concentrate on one particular aspect of the railway experience, known as motion parallax, which is a depth cue that enables a person to detect depth while in motion. Stationary objects close to a travelling train appear to be moving faster than objects in the distance, such as a mountain range, and moreover they appear to be moving backward. By examining motion parallax in both novels, as well as in some of Tolstoyřs other works, The Kreutzer Sonata (1889) and The Death of Ivan Il'ich (1886), this dissertation attempts to address an intriguing question: what, if any, is the relationship between the advent of trains and the evolution of the novel during the late nineteenth century? Motion parallax triggers in a traveler the sensation of going backward even though one is travelling forward.
  • Artists at Play Natalia Erenburg, Iakov Tugendkhold, and the Exhibition of Russian Folk Art at the “Salon D’Automne” of 1913

    Artists at Play Natalia Erenburg, Iakov Tugendkhold, and the Exhibition of Russian Folk Art at the “Salon D’Automne” of 1913

    Experiment 25 (2019) 328-345 brill.com/expt Artists at Play Natalia Erenburg, Iakov Tugendkhold, and the Exhibition of Russian Folk Art at the “Salon d’Automne” of 1913 Anna Winestein Executive Director, Ballets Russes Arts Initiative, and Associate, Davis Center at Harvard University and Center for the Study of Europe at Boston University [email protected] Abstract The exhibition of Russian folk art at the Paris “Salon d’Automne” of 1913 has been gen- erally overlooked in scholarship on folk art, overshadowed by the “All-Russian Kustar Exhibitions” and the Moscow avant-garde gallery shows of the same year. This article examines the contributions of its curator, Natalia Erenburg, and the project’s instiga- tor, Iakov Tugendkhold, who wrote the catalogue essay and headed the committee— both of whom were artists who became critics, historians, and collectors. The article elucidates the show’s rationale and selection of exhibits, the critical response to it and its legacy. It also discusses the artistic circles of Russian Paris in which the project origi- nated, particularly the Académie russe. Finally, it examines the project in the context of earlier efforts to present Russian folk art in Paris, and shows how it—and Russian folk art as a source and object of collecting and display—brought together artists, collec- tors, and scholars from the ranks of the Mir iskusstva [World of Art] group, as well as the younger avant-gardists, and allowed them to engage Parisian and European audi- ences with their own ideas and artworks. Keywords “Salon d’Automne” – Natalia Erenburg – Iakov Tugendkhold – Russian folk art – Paris – Mir iskusstva – Mikhail Larionov – Academie russe Overshadowed by both the “All-Russian Kustar Exhibitions” of 1902 and 1913 in St.
  • Le Naturalisme, Le Déterminisme Et L‟Étude Du Milieu Dans Germinal D‟Émile Zola Et Sub Terra De Baldomero Lillo

    Le Naturalisme, Le Déterminisme Et L‟Étude Du Milieu Dans Germinal D‟Émile Zola Et Sub Terra De Baldomero Lillo

    Le Naturalisme, le Déterminisme et l‟Étude du Milieu dans Germinal d‟Émile Zola et Sub Terra de Baldomero Lillo by Marie-Anne Valente A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts Approved April 2012 by the Graduate Supervisory Committee: Frédéric Canovas, Chair Markus Cruse David Foster ARIZONA STATE UNIVERSITY May 2012 ABSTRACT Émile Zola is considered one of the fathers of 19th century French Naturalist literature. He is famous for his eloquence, sarcasm and is well known for being a provocateur. He wants to follow the principles of science: observation of his characters in their living environment (or milieu). He holds that individuals inherit physical and personality traits from their ancestors, such as atavism, which can be passed from grandfather to father and father to son. This assumption leads to Social Darwinism and impacted Zola like many other European intellectuals who believed in the new social sciences. Religion was going extinct on the old continent and the trend was to apply these theories to literature and humanities. The author also captures the political and social unrest of a struggling working class in his novel Germinal, where starving miners rebel against the bourgeois class that exploits them. Baldomero Lillo is a Chilean naturalist follower of Émile Zola who found inspiration in Germinal to write Sub Terra–short stories depicting the grim life of the coal miners. The author knows them well since he shared his existence with the miners in Lota, in the southern region of Santiago. Unlike Zola, Lillo, who was less educated and less inclined to trust science, opts for a compassionate Naturalism which relates more to his culture and personal inclinations.
  • Géraldine Crahay a Thesis Submitted in Fulfilments of the Requirements For

    Géraldine Crahay a Thesis Submitted in Fulfilments of the Requirements For

    ‘ON AURAIT PENSÉ QUE LA NATURE S’ÉTAIT TROMPÉE EN LEUR DONNANT LEURS SEXES’: MASCULINE MALAISE, GENDER INDETERMINACY AND SEXUAL AMBIGUITY IN JULY MONARCHY NARRATIVES Géraldine Crahay A thesis submitted in fulfilments of the requirements for the degree of Doctor in Philosophy in French Studies Bangor University, School of Modern Languages and Cultures June 2015 i TABLE OF CONTENTS Abstract .................................................................................................................................... vii Acknowledgements ................................................................................................................... ix Declaration and Consent ........................................................................................................... xi Introduction: Masculine Ambiguities during the July Monarchy (1830‒48) ............................ 1 Introduction ..................................................................................................................................... 1 Theoretical Framework: Masculinities Studies and the ‘Crisis’ of Masculinity ............................. 4 Literature Overview: Masculinity in the Nineteenth Century ......................................................... 9 Differences between Masculinité and Virilité ............................................................................... 13 Masculinity during the July Monarchy ......................................................................................... 16 A Model of Masculinity:
  • J'accuse Como Fato Literário

    J'accuse Como Fato Literário

    J’ACCUSE COMO FATO LITERÁRIO: UMA LEITURA DA CARTA ABERTA DE ÉMILE ZOLA Milene SUZANO1 RESUMO : A partir da metodologia de análise de Leo Spitzer, o presente texto busca colocar em movimento os elementos literários da carta J’accuse, escri- ta por Émile Zola, em janeiro de 1898. A enorme repercussão da carta na época tem sido constantemente associada à influência da imprensa de massa e aos re- cursos retóricos tão habilmente utilizados por Zola. Mas, além dos elementos per- suasivos e do fator imprensa, a personificação das figuras reais e a adjetivação po- larizante dos personagens reais são, em grande medida, frutos de construções literárias. A partir destes dois elementos (adjetivação e personificação), o objetivo do texto é propor uma análise de trechos da carta, dos textos de polêmica de Zola e de seus romances nos quais se manifesta semelhante procedimento. PALAVRAS-CHAVE: estilística, J’accuse, imprensa, Émile Zola, carta aberta. 1 Doutora em Letras pela Universidade de São Paulo – mail : [email protected] nº 12 71 J’ACCUSE COMME UN FAIT LITTÉRAIRE: UNE LECTURE DE LA LETTRE OUVERTE D’ÉMILE ZOLA RÉSUMÉ : Basé sur la métodologie de Leo Spitzer, cet article cherche à mettre en movement la construction littéraire de J’accuse, lettre ouverte d’Émile Zola, publiée en janvier 1898. Son importante réception à l’époque a été souvent asso- ciée à l’influence de la grande presse et aux recours réthoriques bien utilisés par Zola. Mais au delà de ces elements de persuasion, la personnification des person- nages réels et la construction d’un monde dual sont, en grande partie, les consé- quences d’une composition littéraire bien élaborée.
  • Selected Primary Bibliography (In Chronological Order of Publication)

    Selected Primary Bibliography (In Chronological Order of Publication)

    selected primary bibliography (in chronological order of publication) major works The Voyage Out. London: Duckworth, 1915; New York: Doran, 1920. Night and Day. London: Duckworth, 1919; New York: Doran, 1920. Jacob’s Room. London: Hogarth, 1922; New York: Harcourt, 1923. Mrs Dalloway. London: Hogarth, 1925; New York: Harcourt, 1925. To the Lighthouse. London: Hogarth, 1927; New York: Harcourt, 1927. Orlando: A Biography. London: Hogarth, 1928; New York: Harcourt, 1928. A Room of One’s Own. London: Hogarth, 1929; New York: Harcourt, 1929. The Waves. London: Hogarth, 1931; New York: Harcourt, 1931. Flush: A Biography. London: Hogarth, 1933; New York: Harcourt, 1933. The Years. London: Hogarth, 1937; New York: Harcourt, 1937. Three Guineas. London: Hogarth, 1938; New York: Harcourt, 1938. Roger Fry: A Biography. London: Hogarth, 1940; New York: Harcourt, 1941. Between the Acts. London: Hogarth, 1941; New York: Harcourt, 1941. essays and shorter fiction The Mark on the Wall. London: Hogarth, 1917. Kew Gardens. London: Hogarth, 1919. Monday or Tuesday. London: Hogarth, 1921; New York: Harcourt, 1921. Mr Bennett and Mrs Brown. London: Hogarth, 1924. The Common Reader. London: Hogarth, 1925; New York; Harcourt, 1925. The Common Reader, Second Series. London: Hogarth, 1932; The Second Common Reader. New York: Harcourt, 1932. The Death of the Moth and Other Essays. Ed. Leonard Woolf. London: Hogarth, 1942; New York: Harcourt, 1942. A Haunted House and other Short Stories. London: Hogarth, 1944; New York: Harcourt, 1944. The Moment and Other Essays. Ed. Leonard Woolf. London: Hogarth, 1947; New York, Harcourt, 1948. 253 254 palgrave advances in virginia woolf studies The Captain’s Death Bed and Other Essays.
  • 29 the Influence of Emile Zola's Naturalism on The

    29 the Influence of Emile Zola's Naturalism on The

    29 THE INFLUENCE OF EMILE ZOLA'S NATURALISM ON THE NOVELS OF VICENTE BLASCO IBAREZ THESIS Presented to the Graduate Council of the North Texas State Teachers College in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Carolee Blackburn, B. A. Denton, Texas August, 1938 9803 TABLE OF CONTENTS Page PREFACE Pag. Chapter I. ZOLA'S NATURALISM . ,. * . II. THE LITERARY ATMOSPHERE DURING THE FORMA- TIVE PERIOD OF VICENTI BLASCO IBANEZ. 16 III. THE NOVELS OF BLASCO IBANEZ'S FIRST PERIOD OF WRITING. 24 IV. THE NOVELS OF BLASCO IBANEZ'S SECOND PERIOD OF WRITING. 48 V. CONCLUSION. 84 BIBLIOGRAPBY. -.-## *-*- . 92 iii PREFACE It is on the idea that Vicente Blasco Ibgiez's writings were influenced by Emile Zola that this study is based. Because the novels of the Spanish author contain many suggestions of the Zolaesque theory of Naturalism, many literary critics have assumed that he did obtain much of his inspiration from this source; they have even called him the "Spanish Zola." In working up this thesis, I have read and studied the thirteen novels included in Blasco Ib9"ez's first two literary periods. The reason for my excluding his later work is that, after the completion of the second series, his novels cease to be purely Spanish and become international. I shall try to determine how much he imitated Zola's Naturalism, and to show to what extent it is correct to call him the "Spanish Zola." CHAPTER I ZOLA'S NATURALISM It is my purpose in this thesis to show any influence that Emile Zola's Naturalism had on the novels of Blasco IbAiiez.
  • Pretty Tgirls Magazine Is a Production of the Pretty Tgirls Group and Is Intended As a Free Resource for the Transgendered Community

    Pretty Tgirls Magazine Is a Production of the Pretty Tgirls Group and Is Intended As a Free Resource for the Transgendered Community

    PrettyPretty TGirlsTGirls MagazineMagazine Featuring An Interview with Melissa Honey December 2008 Issue Pretty TGirls Magazine is a production of the Pretty TGirls Group and is intended as a free resource for the Transgendered community. Articles and advertisements may be submitted for consideration to the editor, Rachel Williston, at [email protected] . It is our hope that our magazine will increase the understanding of the TG world and better acceptance of TGirls in our society. To that end, any articles are appreciated and welcomed for review ! Pretty TGirls Magazine – December 2008 page 1 PrettyPretty TGirlsTGirls MagazineMagazine December 2008 Welcome to the December 2008 issue … Take pride and joy with being a TGirl ! Table of contents: Our Miss 2008 Cover Girls ! Our Miss December 2008 Cover Girls Cover Girl Feature – Melissa Honey Editor’s Corner – Rachel Williston Ask Sarah – Sarah Cocktails With Nicole – Nicole Morgin Dear Abby L – Abby Lauren TG Crossword – Rachel Williston In The Company Of Others – Candice O. Minky TGirl Tips – Melissa Lynn Traveling As A TGirl – Mary Jane My “Non Traditional” Makeover – Barbara M. Davidson Transgender Tunes To Try – Melissa Lynn Then and Now Photo’s Recipes by Mollie – Mollie Bell Transmission: Identity vs. Identification – Nikki S. Candidly Transgender – Brianna Austin TG Conferences and Getaways Advertisements and newsy items Our 2008 Calendar! Magazine courtesy of the Pretty TGirls Group at http://groups.yahoo.com/group/prettytgirls Pretty TGirls Magazine – December 2008 page 2 Our Miss December 2008 Cover Girls ! How about joining us? We’re a tasteful, fun group of girls and we love new friends! Just go to … http://groups.yahoo.com/group/prettytgirls Pretty TGirls Magazine – December 2008 page 3 An Interview With Melissa Honey Question: When did you first start crossdressing? Melissa: Early teens, I found a pair of nylons and thought what the heck lets try them on! I was always interested in looking at women's legs and loved the look of nylons.
  • Du Conte Au Roman : L'image Du Sang Dans Le Programme Littéraire Et

    Du Conte Au Roman : L'image Du Sang Dans Le Programme Littéraire Et

    Du conte au roman : l’image du sang dans le programme littéraire et politique de Zola Halia Koo Memorial University Le sang, dans sa dimension physiologique et métaphorique, occupe une place importante dans l’œuvre d’Émile Zola. Ses descriptions souvent sanglantes des réalités associées à la vie comme à la mort témoignent de l’intérêt quasi médical qu’il porte au corps, à son fonctionnement et à ses manifestations pathologiques. Afin d’examiner l’un des aspects du traitement que subit l’image du sang dans Les Rougon-Macquart, nous commencerons par nous pencher sur un conte de Zola écrit dans sa jeunesse et intitulé « Le Sang » : il s’agit d’un récit HALIA KOO, « L’image du sang dans le programme littéraire et politique de Zola » allégorique abordant des thèmes qui deviendront le sujet des préoccupations littéraires et idéologiques de cet écrivain politiquement engagé. Un récit précurseur : « Le Sang » Zola en est à ses débuts littéraires lorsqu’il publie en 1864 son tout premier livre, Contes à Ninon, un recueil de huit nouvelles, dont un récit intitulé « Le Sang ». Divisé en cinq parties (quatre sections distinctes suivies d’un épilogue), ce conte relate l’histoire de quatre soldats qui, au soir d’une victoire militaire, campent dans le coin désert d’un champ de bataille jonché de cadavres. Endurcis par leur métier, ces hommes ne sont guère émus par l’horreur du paysage qui les entoure : ils achèvent tranquillement leur souper, lorsqu’un cri terrible retentit dans la nuit. Trois soldats nommés Elbert, Clérian et Flem partent chacun à leur tour sonder les ténèbres et découvrir la cause de cette plainte déchirante sortie de l’ombre.
  • Lehman 1 Meredith Lehman 28 January 2013 Ant 394M Writing the Ethnographic Process: the Image of the Family Tree in Emile Zola

    Lehman 1 Meredith Lehman 28 January 2013 Ant 394M Writing the Ethnographic Process: the Image of the Family Tree in Emile Zola

    Lehman 1 Meredith Lehman 28 January 2013 Ant 394M Writing the Ethnographic Process: The Image of the Family Tree in Emile Zola’s Les Rougon Macquart (1852-1870) Emile Zola defines his monumental project of the Rougon-Macquart series (1852-1870) – a collection of twenty novels – in opposition to his predecessor, Honoré de Balzac’s Comedie Humaine (1799-1850). In his manuscripts, Zola writes under “Les différences entre Balzac et moi” that the scope of his work “will be more restricted” because he “does not want to paint contemporary society, but a single family, by showing the play of race modified by milieu” (cited in White 30). For Zola, the family serves as a point of departure with which to observe and analyze cultural phenomena, or in his words “Natural History and Social History” (La Fortune 28) of France during the Second Empire. Indeed, kinship relationships prove essential for Zola’s espoused Naturalist credo from The Experimental Novel (1880) in which he highlights the importance of race (heredity), milieu, and moment as the psychological and physiological determining factors of an individual. As he states in his preface to the Rougon-Macquart series, by following the lineage of a single family, one can understand the, “feelings, desires and passions—briefly, all the natural and instinctive manifestations peculiar to humanity—whose outcome assumes the conventional name of virtue or vice” (La Fortune 29). It is no coincidence that the five generations of the Rougon-Macquart family that Zola proposes to study, mirror the rise and fall of the Second Empire of Napoléon III, providing a backdrop of sociopolitical instability and turmoil.
  • Men, Masculinity and the Female Rebel in French Women's Fiction

    Men, Masculinity and the Female Rebel in French Women's Fiction

    MEN, MASCULINITY AND THE FEMALE REBEL IN FRENCH WOMEN’S FICTION, 1900-1913 A thesis submitted to The University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2011 LUCY C. STONE SCHOOL OF LANGUAGES, LINGUISTICS AND CULTURES 2 Contents Abbreviations 3 Abstract 4 Declaration and Copyright Statement 5 Acknowledgements 6 Introduction 7 Chapter 1 Cries for Help: Men in Trouble in Colette Yver’s Les Cervelines (1903) and Daniel Lesueur’s Nietzschéenne (1908) 53 Les Cervelines: Dreaming of a Doctor for a Wife 55 Nietzschéenne: Propping up the Boss 77 Chapter 2 Anxious Seducers: Jeanne Marni’s Pierre Tisserand (1907) and Lucie Delarue-Mardrus’s Douce moitié (1913) 97 Pierre Tisserand: Misandry and Masculine Anxiety 99 Douce moitié: A Beleaguered Man 123 Chapter 3 Triangular Shackles: Masculinity, Male Homosociality and the Female Rebel in Marcelle Tinayre’s La Maison du péché (1902) and Colette’s L’Entrave (1913) 145 La Maison du péché: Objects of Faith 148 L’Entrave: Double Binds 165 Chapter 4 Giving and Taking Away: Rachilde’s La Jongleuse (1900) and Gabrielle Réval’s Le Ruban de Vénus (1906) 191 La Jongleuse: A ‘tour de passe-passe élégant’ 194 Le Ruban de Vénus: Loving Men, Laughing at Men 218 Conclusion 246 Bibliography 256 WORD COUNT 80,453 3 Abbreviations DM = Lucie Delarue-Mardrus, Douce moitié (Paris: Fasquelle, 1913) E = Colette, L’Entrave, in Œuvres, ed. by Claude Pichois, 4 vols (Paris: Gallimard, 1984- 2001), II, 325-474 LC = Colette Yver, Les Cervelines (Paris: Calmann-Lévy, 1928 [1903]) LJ = Rachilde, La Jongleuse (Paris: Des femmes, 1982 [1900]) MP = Marcelle Tinayre, La Maison du péché (Paris: Calmann-Lévy, 1902) N = Daniel Lesueur, Nietzschéenne (Paris: Plon, 1908) PT = J.
  • In Turn-Of-The-Century Paris, an Explosion of Brash New Art

    In Turn-Of-The-Century Paris, an Explosion of Brash New Art

    1 In Turn-of-the-Century Paris, An Explosion of Brash New Art Dubbed 'les Fauves' (the wild beasts) for their uninhibited use of color, these artists boldly rearranged the imagery of nature By Helen Dudar, Smithsonian, October, 1990 The scandal of the Parisian art world in 1905 was Room VII of the third annual Salon d'Automne in the Grand Palais, its walls throbbing with raw color. Color squeezed straight out of tubes; color assaulting the eye and senses; color that sometimes seemed to have been flung upon the canvas; color that dared to tint human flesh pea green and tree trunks a violent Andre Derain, The Turning Road, L’Estaque, 1906 red; color that not only refused to imitate nature but actually had been used to suggest form and depth. The signatures on the paintings bore the names of men some of whom, surviving notoriety, would soon be more or less famous. Henri Matisse, the oldest of them and the unlikely center of this radical new style, would flourish into his 85th year as one of the masters of our century. Andre Derain would, for a time, produce works of breathtaking originality and virtuosity. Albert Marquet and Henri Manguin, less than household names in our day, would be the best-sellers of the group because they turned out tamer work that was gentler to the untutored eye. Maurice de Vlaminck, a larger-than-life figure and a devout fabulist, would claim with some exaggeration that he was really the first to engage with the new style, and then, the first to abandon it.