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Homoeroticism in Neoclassical Poetics: French Translations of the Ideal Male Nude in Late-Eighteenth-Century Word and Image

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Homoeroticism in Neoclassical Poetics: French Translations of the Ideal Male Nude in Late-Eighteenth-Century Word and Image Homoeroticism in neoclassical poetics: French translations of the ideal male nude in late-eighteenth-century word and image. Satish Padiyar, University College London, PhD. 1999 BIBL LONDON flnv. 1 Abstract The thesis consists of four chapters, an Introduction and a Conclusion. The Introduction considers the theoretical frameworks within which recent readings of the late-eighteenth-century French homoerotic ideal male nude have been developed; and how these readings have in turn emerged from a wider extra-art-historical discourse on the sexual politics of representation and the representation of sexual politics. A clear picture of the ideal male nude as a contested field emerges; and a justification of the materials which will be used in the thesis clarifies their critical engagement with these polemical debates surrounding the object of study. Chapter 1 is in two parts. Part one deals with the possibilities of a textual representation of homosexuality in French neoclassical poetics by focusing on the notion of 'anacréontisme' as a synonym for 'veiled' homoeroticism. Contrary to the present understanding of the notion, it is argued here, by recourse to successive French translations of the Greek source text, that homosexuality was explicitly problematized in the development of anacréontisme as a critical term, rather than consensually hidden. Part two reviews a social history of homosexuality in eighteenth-century France, in order to contextualize the preceding anacreontic debate. A Kantian reading of the beau ideal, in Chapter 3, attempts to contradict the now dominant understanding of this figure as being simply a high-cultural sign of patriarchal dominance. The chapter traces the philosophical coordinates of the beau ideal from the late seventeenth century until the moment when this figure coincides with the Kantian transcedental aesthetic, and thereby propels it into an anti-ideological space. Chapters 4 and 5 focus on a prime exemplar in current art-historical literature of the homoerotic male nude, David's painting Leonidas at Thennopylae. Chapter 4 argues for a newly politicized reading of the picture, by focusing on its sociohistorical moment. Chapter 5 reads David's painting through selected texts, and commentary on, Sade, in order to account for its 'perversity' in more ways than the simply sexual. Leonidas is finally understood here as a repositary of the various histories which have been precedingly traced. the Conclusion reflects on how those methodological procedures may open out the study of the homoerotic male nude and the construction of masculinity to further examination. 2 Contents Introduction 6 Chapter 1 :Sexuality Part One. Translating the Homoerotic. Homosexuality 13 and Anacréontisme in Eighteenth-century France Part Two. Homosexuality and Eighteenth-century 50 Phantasies of Social Order Chapter 2: Aesthetics The Kantian Male Nude and Aesthetic Theory 75 in Post-revolutionary France. Chapter 3: Politics The Representation of Leadership in Napoleonic 121 France: David's Leonidas at Thermopylae. Chapter 4: Pornography David/Sade 173 Conclusion 214 Appendix 220 Bibliography 227 Illustrations 237 3 Acknowledgements I am grateful to the Graduate School University College London for an award of an Acesss Fund Graduate School Scholarship. I would like to extend my warmest thanks to Tom Gretton, and to my supervisors on this project, Adrian Rifkin and Helen Weston. 4 Illustrations 1. Anne-Louis Girodet-Trioson Ode XXJX, illustration from The Odes of Anacreon, ed. Coupin, 1825. 2. Anne LeFevre Dacier, Les Poesies d'Anacreon et de Sapho, text of Ode XXIX. 3. Jean-Baptiste Regnault, Liberty or Death, 1795. Oil on canvas, 23x19 (60x49). Kunsthalle, Hamburg. 4. Jean Broc, The Death of Hyacinth, 1801. Oil on canvas. 68x47 (175x120). Musée de Poitiers. 5. Jacques-Louis David, Leonidas at the Pass of Thermopylae, 1814. Oil on canvas. 156x209 (323x531), Musée du Louvre, Paris. 6. Anne-Louis Girodet-Trioson, Hippocrates Refusing the Gifts of Artaxerxes, 1792. Oil on canvas. 99x135, Paris, Faculté de Médecine. 7. Anne-Louis Girodet-Trioson, The Revolt at Cairo, 1810. Oil on canvas. 356x500. Versailles, Musée national du Château. 8. Jacques-Louis David, Premiere pensée for 'Leonidas at Thermopylae'. Graphite O.320x0.420. Montpelier, Musée Fabre. 9. Jacques-Louis David, Etude d'en.semble for 'Leonidas at Thermpoylae'. Black chalk on paper. O.406x0.550. New York, Metropolitan Museum of Art. 10. Phillipe-Auguste Hennequin, La liberté de l'Italie dédiée aux hommes libres, c. 1798. Etching and mezzotint. Cabinet des estampes, Bibliotheque nationale. 11. Jacques-Louis David, Nude warrior, study for 'Leonidas at Thermopylae'. Graphite. 0. 150x0. 120. Montpelier, Musée Fabre. 12. Engraving after Charles Meynier, Le Retour de Napoleon dans l'Isle de Lobau après Ia Bataille d'Essling, le 23 mai 1809, 1812. Oil on canvas. 371x529. Musée National du Château de Versailles. 13.Detail of engraving accompanying 1797 Dutch edition of de Sade's La Nouvelle Justine. 14. Jacques-Louis David, detail of 'Leonidas at Thermopylae'. 1814. 5 Introduction If 'the body is a code' (Barthes), and the code itself historically variable, or at least negotiable, a recourse to both poetics and translation in the study of the ideal male nude will provide us with an understanding of the object in both its fixed and its mutating forms. It is through the combination of these two factors that I have tried, in what follows, to sustain a certain double vision in this study of the ideal male nude - noting both its foreclosed form and the historical possibilities of its transformation - as it appears in late French neoclassicism. To insert 'homosexuality' into this twin tool of textual exegesis - analysis of poetics and mechanics of translation - is to consider the changing 'conditions of possibility' of its articulation; its representability. I have duly attempted to chart the vicissitudes of neo- classical poetics, and to locate the ideal male nude within those developments. If, for example, in early French neoclassicism homosexuality could be articulated as a stylistic exemplar of le bas, the gradual constriction of le bas in late neoclassicism - in that of the reactionary First Empire - gradually delimits the articulation of homosexuality and - we, might say, exiles it to the confines of the perverse - to, for example, the 'pornographic' scene of Sadean sodomy. The boundaries of a poetics - its delimitations, or constitutive exclusions - thus determine, insofar as they utilize a certain a priori censorship, the presence or absence of the figure of homosexuality in the texts of neoclassicism. This relation between censorship and regard for representabilizy is a close one, as Freud pointed out in his Interpretation of Dreams! and the form which we designate as 'homoerotic' in late eighteenth/early nineteenth-century French painting will be consequently read here as the enunciative 'Freud, 1991, p.650-i. outcome of a dynamic relation between a system of poetics and a system of censorship. A further complicating factor is translation. What will translation admit to be articulated, to be carried across? This is a vital question, largely ignored, in the art-historical study of the homoerotic ideal male nude, where translation is traditionally considered in terms of a stylistic, rather than a semantic, re-articulation of the 'source'. But renewed attention to the 'translations' which the homoerotic male body undergoes is important in two respects. Firstly, it is a self-reflexive enterprise; it is in the very nature of neoclassicism that a certain given content is transmitted from source to work. The task of translation is of the very essence of the neoclassical enterprise. Yet what model of cultural transmission will we take to produce the meaning of late-eighteenth-century homoerotics? What is the nature of the néos of 'neoclassicism', this restaging or reiteration which, in recent theories of signification, has come to be the focus of a transformed textual exegesis of radical consequence? Then there is a historical dimension to this problem. What was changed in the process of the translation of a Greek homosexuality to a French homoeroticism depended not only on an ethical judgement of the content's admissability or inadmissability, but also on translation's historically variable internal rules, or criteria. An analysis of anacreontism in Chapter One will demonstrate how the way homosexuality was articulated in French 'receptor' texts was dependent on the vicissitudes of translation theory; on its varying emphasis on 'freedom' or strict philological accuracy. So, we will not only be cognisant of poetics and censorship, but also the poetics of translation. What, we will ask, is the figurability of homosexuality, in the interstices of these discourses? It should now be clear that we will consider the 'homoerotic' in neoclassicism not simply as a sociological urban practise, or as psychoanalytic relation of desire, but also as a figure in the text. We will return to the question of the semantics of this figure after some further remarks on the historical representability of homosexuality. Our emphasis on textuality is to some extent an exercise which is critical of Foucault's problematic of homosexuality; or at least of the effects of the Foucault debate on recent interpretations of the material here under consideration. 2. The complex question of the regard for representabilitv in this matter of the ideal male nude's homoeroticism has largely been overlooked as
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