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Circulation and Permanence of French Naturalist Literature in Brazil
Circulation and Permanence of French Naturalist Literature in Brazil Pedro Paulo GARCIA FERREIRA CATHARINA Federal University of Rio de Janeiro RÉSUMÉ Cet article se propose de retracer la présence de la littérature naturaliste française au Brésil à partir de la seconde moitié du XIXe siècle jusqu’en 1914, en mettant en relief son importance et sa diversité dans le champ littéraire brésilien ainsi que sa permanence à travers l’association avec d’autres formes d’art, notamment le théâtre et le cinéma. À l’appui, il présente des données qui témoignent de la circulation dans le pays des œuvres des principaux écrivains naturalistes français le long de cette période et de l’existence d’un public varié de lecteurs. Enfin, il montre comment ces écrivains naturalistes devenus des célébrités ont pu exercer leur emprise au- delà de la sphère littéraire proprement dite, surtout sur la mode et les coutumes The reader, who on 10 January 1884 thumbed through a copy of the newspaper Gazeta de notícias from Rio de Janeiro, could find on page two an announcement about a curious fashion item – the literary bracelet. The object that was “to cause an uproar among wealthy women” comprised twelve gold coins inserted into two chains containing, on the back, the name of the owner’s favourite authors. The decorative item was a “kind of confession” of the wearer’s literary preferences: […] For example, the ladies who favour naturalist literature will carry the names of Zola, Goncourt, Maupassant, Eça de Queirós, Aluísio Azevedo, etc. The ladies who are more inclined to the romantic school will adopt on their bracelets the names of Rousseau, Byron, Musset, Garret, Macedo, etc. -
Realism in Paris: a Partnership Between Guy De Maupassant and Baron Georges Haussmann Julie M. Patterson a SENIOR THESIS For
Realism in Paris: A Partnership Between Guy de Maupassant and Baron Georges Haussmann by Julie M. Patterson A SENIOR THESIS for the UNIVERSITY HONORS COLLEGE Submitted to the University Honors College at Texas Tech University in partial fulfillment of the requirement for the degree designation of HIGHEST HONORS December 2001 Approved by: L2. - /~>- o I Dr."we~dell M·. KycocV ' Date Associate Dean, Graduate School 9 ;, ~~~ ~I Dr. Gary ~ell Date Dean, Uni rsity Honors College The author approves the photocopying of this document for educational purposes. %0^ P Teddle of Contents Acknowledgements 2 Notes on Text 3 Section I I. Introduction 5 II. Baron Georges Haussmann And His Public Works Progreuns For Paris 7 A. ^^Les Reseaiix" 10 B. Haussmann, Realism, and Nineteenth-Century Paris...l3 Section II. Discussion of Short Stories I. Guy de Maupassant 17 II. Haussmannization and Maupassant's Female Characters...21 III. Cemeteries and Parisians 29 IV. Women's Roles and Haussmannization. 36 V. Tradi t ion v. Haus smanni z at ion 41 Conclusion 52 Bibliography 54 Acknowledgements I would like to extend my deepest appreciation to several individuals who have helped me with this project. Dr. Wendell Aycock acted as my mentor professor for this project. He helped me formulate many of my ideas, potential research avenues, and acted as my main editor. He introduced me to Guy de Maupassant and lent me anything I needed out of his own resource materials for this project. Dr. Jill Patterson acted as my reviewing professor and did wonders with the editing process. I would also like to thank the Texas Tech Honors College for giving me the opportunity to undergo this kind of project at the undergraduate level. -
Cézanne Portraits
© Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. Introduction: The Reading of the Model JOHN ELDERFIELD La lecture du modèle, et sa réalization, est quelquefois très lent à venir pour l’artiste. Cézanne to Charles Camoin, 9 December 19041 Paul Cézanne was born in Aix-en-Provence on 19 January 1839, and died there aged sixty-seven on 23 October 1906. He made almost 1,000 paintings, of which around 160 are portraits.2 This publication accompanies the only exhibition exclusively devoted to these works since 1910, when Ambroise Vollard, who had been the artist’s dealer, showed twenty-four ‘Figures de Cézanne’. The present, much larger selection was chosen with the aims of providing a guide to the range and development of Cézanne’s portraits, the methods of their making, and the choice of their sitters. Also, more broadly, it is intended to raise the question of what the practice of portraiture meant for Cézanne when he was painting – or, as he said, reading and ‘realising’ – the model. Old Rules When Cézanne began painting portraits in the early 1860s, portraiture in France had long been acknowledged as a genre second in importance only to paintings of historical and mythological subjects. It was growing in popularity, and it would continue to do so during the period of Cézanne’s career: in the late 1880s, a National Portrait Gallery would be proposed for Paris, as well as a special gallery for portraits in the Louvre.3 It was during the 1860s and 1870s, however, that many ambitious painters found themselves enquiring what a portrait should aim to do. -
Thesis Is That It Was Crucial for Any Artist to Employ Specific Exhibition Strategies in Order to Be Noted and Appreciated in This Plenitude of Art Works
UvA-DARE (Digital Academic Repository) Foreign artists versus French critics Exhibition strategies and critical reception at the Salon des Indépendants in Paris (1884- 1914) van Dijk, M.E. Publication date 2017 Document Version Final published version License Other Link to publication Citation for published version (APA): van Dijk, M. E. (2017). Foreign artists versus French critics: Exhibition strategies and critical reception at the Salon des Indépendants in Paris (1884-1914). General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:07 Oct 2021 Foreign Artists versus French Critics: Exhibition Strategies and Critical Reception at the Salon des Indépendants in Paris (1884-1914) by Maite van Dijk University of Amsterdam 2017 Foreign Artists versus French Critics: Exhibition Strategies and Critical Reception at the Salon des Indépendants in Paris (1884-1914) ACADEMISCH PROEFSCHRIFT ter verkrijging van de graad van doctor aan de Universiteit van Amsterdam op gezag van de Rector Magnificus prof. -
ÉCRITURE ARTISTE and the IDEA of PAINTERLY WRITING in NINETEENTH-CENTURY FRANCE by ALEXANDRA SLAVE a DISSERTATION Presented To
ÉCRITURE ARTISTE AND THE IDEA OF PAINTERLY WRITING IN NINETEENTH-CENTURY FRANCE by ALEXANDRA SLAVE A DISSERTATION Presented to the Department of Romance Languages and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy September 2017 DISSERTATION APPROVAL PAGE Student: Alexandra Slave Title: Écriture Artiste and the Idea of Painterly Writing in Nineteenth-Century France This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of Romance Languages by: Evlyn Gould Chairperson Nathalie Hester Core Member Alexandre Albert-Galtier Core Member George J. Sheridan Institutional Representative and Sara D. Hodges Interim Vice Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded September 2017 ii © 2017 Alexandra Slave iii DISSERTATION ABSTRACT Alexandra Slave Doctor of Philosophy Department of Romance Languages September 2017 Title: Écriture Artiste and the Idea of Painterly Writing in Nineteenth-Century France My interdisciplinary dissertation, Écriture Artiste and the Idea of Painterly Writing in Nineteenth-Century France, studies the notion of écriture artiste as an ideologically charged aesthetic doctrine that provides a better understanding of the rapports between art and the socio-historical context of mid nineteenth-century France. Specifically, using a case study approach, I examined four encounters between writers and painters, including Gustave Flaubert, Gustave Moreau, the Goncourt brothers, Eugène Delacroix, Émile Zola, Édouard Manet, J.-K. Huysmans and Odilon Redon. I analyzed how these pairings, each illustrative of a different facet of écriture artiste, highlight extratextual realities of the time through aesthetic embellishments. -
Copyright Material for Reference Only
1841–77 Chapter 1 1841–77 Renoir to age 36; a Bohemian Leader among the Impressionists; Model Lise and their Secret Children, Pierre and Jeanne In November 1861, when he was only twenty, Renoir made one of the most fortuitous decisions he ever took: to study in the Parisian studio of the Swiss painter, Charles Gleyre. A photograph around this time reveals that Renoir was a serious, intense young man. Gleyre’s studio was simply one of many that fed into the École des Beaux-Arts (the government-sponsored art school in Paris), where students learned anatomy and perspective through drawing and paint- ing. Te men Renoir met at Gleyre’s would become some of the most important companions of his life. About a year after he arrived, first Alfred Sisley in October, then Frédéric Bazille in November and lastly Claude Monet in December 1862 became fellow students.1 On 31 December 1862, the four were already close friends when they met at Bazille’s home in Paris to celebrate the New Year together.2 Trough these friends, Renoir met Paul Cézanne and Camille Pissarro, studying nearby at the Académie Suisse. Tese artists would not only become lifelong friends, but would also be of critical importance for Renoir’s artistic Renoir, 1861. Photographer unknown development. In his early twenties, Renoir also made the acquaintances of Édouard Manet and Edgar Degas. Trough them, he later met the two women of his training: ‘Not having rich parents and wanting to be a painter, began by artists, Berthe Morisot and Mary Cassatt. By the early 1870s, all of these painters way of crafts: porcelain, faience, blinds, paintings in cafés.’3 Despite his artisan would form the core of the Impressionist movement. -
Georges Charpentier (1846-1905), Le Plus Parisien Des Éditeurs
Virginie Meyer Georges Charpentier (1846-1905), le plus Parisien des éditeurs Un rire a retenti dans l’antichambre. (…) Sans quelques cheveux blancs mêlés à ses longs cheveux noirs, on le prendrait pour un adolescent. Il est mince et joli garçon, avec un menton légèrement pointu, nuancé de bleu par une barbe drue et soi - gneusement rasée. (…) Créé pour le mot sympathique à moins que le mot n’ait été inventé pour lui, l’éditeur Georges Charpentier s’avance… 1 Esquissé par Guy de Maupassant, voici le portrait d’un éditeur peu commun au tempérament d’artiste et de lettré, ami intime d’Émile Zola, mécène des impressionnistes, habitué des premières et des salons. Prenant la suite de son père en 1871, il dirige la maison d’édition familiale qu’il doit céder à son associé, Eugène Fasquelle, en 1896 2. Parisien, Georges Charpentier l’est parce qu’il est né à Paris et qu’il y exerce – quai du Louvre puis rue de Grenelle –, mais surtout parce que sa personnalité et son mode de vie l’inscrivent dans cette capitale des livres et de la culture qui voit naître la librairie de masse. Dans cette « deuxième révolution du livre » qui est celle de l’industrialisation et de la consommation de masse, l’éditeur peut compter sur son « flair de vieux parisien » vanté par Léon Daudet . Dans l’univers du livre en effet, le XIX e siècle industriel n’est pas seulement celui des innovations techniques. C’est l’en - semble du marché du livre qui se trouve bouleversé en profondeur pour s’or - ganiser autour d’une figure nouvelle : l’éditeur s’impose alors comme le maillon central du champ littéraire. -
Et Émile Zola : Redécouvrir Ceux Que Le Maître De Médan Éclipsa
Élise Guignon, CERCLL (ED 586) Université de Picardie Jules Verne, France http://dx.doi.org/10.18778/8088-896-8.12 LES « PETITS NATURALISTES » ET ÉMILE ZOLA : REDÉCOUVRIR CEUX QUE LE MAÎTRE DE MÉDAN ÉCLIPSA L’histoire littéraire, sacrée et sacrificielle, nous apparaît souvent comme une parallèle artistique du darwinisme : elle sélectionnerait naturellement les œuvres appelées à la postérité, laissant au fur et à mesure celles indignes d’estime sombrer dans l’oubli. C’est ainsi que le XIXe siècle conserve la figure d’Émile Zola comme emblématique et nécessaire à la compréhension de l’évolution du roman, et que les jeunes élèves français découvrent très vite le nom de cet auteur ainsi que le mouvement naturaliste. Ce « mouvement » naturaliste est très souvent évoqué, et l’on ne s’arrête pas toutefois sur le fait qu’un « mouvement » artistique pré- suppose le dynamisme et l’implication de plusieurs artistes ; aussi Zola était-il en- touré de ceux que l’on appelle, lorsqu’on s’octroie la permission de parler d’eux, les « petits naturalistes ». L’adjectif qui les qualifie, « petits », a bien sûr vocation à les comparer au « grand » naturaliste, Émile Zola. À la majorité quantitative s’oppose une minorité qualitative, qui aurait conduit, actuellement, à une repré- sentation majoritaire de la qualité contre une représentation minoritaire de la quantité. Un jugement de valeur a donc condamné les « petits naturalistes » à un manque de représentation, à une réception moindre et dévalorisée ; ce désinté- rêt mérite notre attention, et amène une réflexion sur les raisons qui poussent la critique et l’histoire littéraire à mettre de côté des écrivains. -
Liste Électorale CNCC Collège NON
LISTE DES ELECTEURS 1 COLLEGE NON EIP ELECTIONS DU CONSEIL NATIONAL Dépouillement le mercredi 30 septembre 2020 NOM PRENOM 2 ADRESSE2 ABADIE Anne-Laure 38 rue de Langelle 65100 Lourdes ABADIE Sandrine 1220, avenue de l'europe 82000 Montauban ABASTADO David 71 avenue Victor Hugo 75116 Paris ABAZ Didier 25, bis avenue Marcel Dassault 31500 Toulouse ABBO André 28, rue Colonel Colonna D'ornano BP 44 20180 Ajaccio Cedex 1 ABDELLAOUI Noureddine 1 Rue Du Docteur Gey 60110 Meru ABDERRAHMANE Zohra 9 rue Tronchet 69006 Lyon ABEHSERA Cedric 7 Rue Chateaubriand 75008 Paris ABEHSERA Laurent 9 Rue Moncey 75009 Paris ABEHSSERA Albert 112 bis rue Cardinet 75017 Paris ABEILLE Jean-Michel 9, Rue d'arcole 13006 Marseille ABEL Edith 18 rue de l'ours 68200 Mulhouse ABERGEL Alain 143 Rue De La Pompe 75116 Paris ABERGEL Laurent 9 rue Pyramide 75001 Paris ABERGEL Prosper 75/79 rue Rateau Bat H3 93120 La Courneuve ABETTAN Elisabeth 32, rue Berzelius 75017 Paris ABHAY Mélanie 67 Rue Jean de la Fontaine 75016 Paris ABITBOL Ilan 87, rue Marceau Bâtiment BP 176 93100 Montreuil ABITBOL Luc 12 rue La Boétie 75008 Paris ABITBOL Michaël 45 avenue Charles de Gaulle 92200 Neuilly Sur Seine ABJEAN Patrick 13 rue Lebrun Malard 56230 Questembert ABOU Hamidou 4, rue du Fer à Moulin 75005 Paris ABOUKAD Soufyane 10, route d'espagne 31100 Toulouse ABOULKER Guillaume 100 rue de Commandant Rolland 13008 Marseille ACCARDI Frédéric 46 Boulevard Exelmans 75116 Paris ACCIAIOLI Jean Charles 321, boulevard Mège Mouries 83300 Draguignan ACCOSSATO-ARANCIO Céline 3319 Route des Escaillouns 06390 Berre Les Alpes ACH Yves Alain 31 Rue Du Theatre 75015 Paris ACHARD DE LA VENTE Guillain 29 Bis rue de la Prairie 78120 Rambouillet ACHDJIAN Chahé 146 A, rue Galliéni 92100 Boulogne-Billancourt ACHTE Stéphane 184 rue Sadi Carnot 59320 Haubourdin ACIER Roger 21 Avenue de Messine 75008 Paris ACKER Romain 6 rue Pierre Gilles de Gennes 76130 Mont Saint Aignan ACQUAVIVA Robert 480, Avenue du Prado B.P. -
L'amitié, Le Groupe De Médan, Un Remède À La Névrose Zolienne
L’amitié, le groupe de Médan, un remède à la névrose zolienne Monné Caroline DOUA OULAÏ Université Paris-Sorbonne – Paris IV ABSTRACT This paper is about friendship, one of Zola’s methods for combatting and overcoming his neurosis. Specifically, this study deals with the amicable relations within a literary group, the groupe de Médan, made up of five young writers, “the disciples” and Zola himself, “the master.” From 1877 to 1883, Émile Zola had an open and solid friendship with Guy de Maupassant, Joris-Karl Huysmans, Henry Céard, Léon Hennique and Paul Alexis. With his sympathizers, the novelist upheld the principles of the naturalist school. The literary camaraderie amongst the members of the groupe de Médan proved an extra advantage for Zola’s psychological stability. A writer who suffers from a neurosis needs to belong to a group where joys and suffering can be shared in order to move forward. As a result of the therapeutic effect of this group experience, Zola continued throughout his life to constitute networks of friends and contacts. L’amitié a toujours été au cœur des relations zoliennes. Elle a toujours compté dans la vie de l’écrivain. Que ce soient les amis de jeunesse ou les amis de la maturité, Émile Zola, toute sa vie, “cherche à constituer des réseaux d’amitié et de relations […].”1 En effet, “les lettres de jeunesse révèlent le besoin d’appartenir à une petite communauté, de discuter, de faire partager ses idées, ses ‘rires’ et ses ‘pleurs,’ pour ‘marcher plus sûrement sous l’aile d’une franche amitié.”2 S’adressant à ses amis Baille et Cézanne le 2 octobre 1860, l’écrivain affirme: “Je ne suis pas, […] de ces êtres qui peuvent s’atteler impunément à leur travail comme à une charrue et traîner péniblement la charge imposée. -
Collecting As Self-Exploration in Late 19Th-Century French Literature
Collecting as Self-Exploration in Late 19th-Century French Literature Kirsten B. Ellicson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Kirsten B. Ellicson All rights reserved ABSTRACT Collecting as Self-Exploration in Late 19th-Century French Literature Kirsten B. Ellicson Collecting, as it was practiced in the 1880s, meant cultivating a comforting and busy, but also disorienting and disconcerting domestic, and mental, interior. This study examines how this meaning was developed in French literature at the end of the 19th century. I consider how collecting investigates the self, exercises the powers of the mind, inquires into the individual's relationship to society and to texts. The study takes, as its point of departure, comments about the cultural significance of collecting, as a widespread taste for domestic interiors filled with objects, made by Paul Bourget and Edmond de Goncourt, two writers of the 1880s. I then focus on fictional texts from the 1880s by J.-K. Huysmans and Pierre Loti, who, more than any other writers at the end of the 19th century, depict collecting as an earnest activity of self-exploration. The specific collections involved are Huysmans' protagonist's whimsically decorated house outside of Paris, Loti's protagonist's collection of Japanese objects in Japan, Loti's protagonist's floating museum on board his ship, and the author Loti's home museum in Rochefort. Through close readings of my two texts—paying attention to repeated words, descriptions, imagery, figurative language, ironies, contradictions, juxtapositions, ambiguities, tone and intertextual references, textual form and structure—I analyze how collecting is a process of defining the self, an apprentissage. -
A Study of the Literary Theories and Art Criticism of Emile Zola and Joris-Karl Huysmans
Durham E-Theses A study of the literary theories and art criticism of Emile Zola and Joris-Karl Huysmans Burdon, Jennifer How to cite: Burdon, Jennifer (1975) A study of the literary theories and art criticism of Emile Zola and Joris-Karl Huysmans, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/10424/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 ABSTRACT An examination is made* in this dissertation, of the art criticism of Zola and Huysmans. Chapter One provides a biographical framework; this is based mainly on correspondence between Zola and Huysmans. Chapter Two contains an expose of Zola's literary theory, with especial reference to Le Roman experimental, and includes a discussion of realism and Naturalism making reference to the writings of Balzac, Flaubert and Goneourt. The particular characteristics of Zola's literary theory are pointed out: his insistence upon truth and the author's individuality; this is paralleled in his art criticism, as Chapter Four illustrates.