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NARRATIVE INSTABILITY, INSANITY, and the SEARCH for ANSWERS in LATE NINETEENTH CENTURY FRENCH FICTION by ELIZAB

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NARRATIVE INSTABILITY, INSANITY, and the SEARCH for ANSWERS in LATE NINETEENTH CENTURY FRENCH FICTION by ELIZAB A MAD CERTAINTY: NARRATIVE INSTABILITY, INSANITY, AND THE SEARCH FOR ANSWERS IN LATE NINETEENTH CENTURY FRENCH FICTION by ELIZABETH B. COGAN 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 December 2019 DISSERTATION APPROVAL PAGE Student: Elizabeth B. Cogan Title: A Mad Certainty: Narrative Instability, Insanity, and the Search for Answers in Late Nineteenth Century French Fiction 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 Fabienne Moore Core Member Regina Psaki Core Member David Frank Institutional Representative and Kate Mondloch Interim Vice Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded December 2019 ii © 2019 Elizabeth B. Cogan iii DISSERTATION ABSTRACT Elizabeth B. Cogan Doctor of Philosophy Department of Romance Languages December 2019 Title: A Mad Certainty: Narrative Instability, Insanity, and the Search for Answers in Late Nineteenth Century French Fiction Writers of every period articulate a sense that the world is changing; in modernity, that constant change is intensified by an accelerating pace and comprehensive upheaval. Our reaction to change (personal, social, or technological) and its concurrent disequilibration defines us. Some adapt to new circumstances and struggle through the uncertainty while others turn instead to delusion or constructed realities that provide the illusion of certainty. In the latter reaction late19th-century French psychologists recognized the possibility of insanity: religious mania, megalomania, spiritualism, and use of hallucinogens were all possible pathologies related to this dynamic. Fin-de-siècle French novelists were very aware of contemporary psychological theories and models, as some demonstrate in their texts. Gustave Flaubert, Guy de Maupassant, Isidore Ducasse, Auguste Villiers de l’Isle-Adam, Joris-Karl Huysmans, and Jean Lorrain explore the danger in constructing selective realities and sketch the failure and madness inherent in these strategies. All manipulate the tropes and typical construction of fiction to highlight their depictions of madness; the authors variously reshape the narrative arc, introduce comedy to undercut narrative reliability, and create temporal inconsistencies and ambiguities. Using thematic analysis via late 19th-century psychological theories and the iv “New Rhetoric” as well as narratological examination of plot and structure, I have charted the spectrum of the insane reactions these authors portray. These works combine the madness of the protagonists with unsettling narrative techniques to portray the dangers and depths of untenable reactions to the wrenching changes of their time. v CURRICULUM VITAE NAME OF AUTHOR: Elizabeth B. Cogan GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene Université de Paris VI, Paris, France DEGREES AWARDED: Doctor of Philosophy, Romance Languages, 2019, University of Oregon Master of Arts, French, 2001, University of Oregon Bachelor of Arts, French and Chemistry, 1999, University of Oregon AREAS OF SPECIAL INTEREST: Fin-de-siècle French fiction Structural narratology Twentieth-century rhetorical models PROFESSIONAL EXPERIENCE: Graduate Teaching Fellow, Department of Romance Languages, University of Oregon, September 1999-June 2001 Graduate Teaching Fellow, Department of Chemistry, University of Oregon, September 2002 – June 2003 Graduate Research Assistant, Department of Chemistry, University of Oregon, June 2003 – September 2003 Graduate Teaching Fellow, Department of Romance Languages, University of Oregon, September 2009 – April 2102 Graduate Teaching Fellow, Department of Romance Languages, University of Oregon, March 2013 – December 2019 Graduate Teaching Fellow (Summer), Department of Romance Languages, University of Oregon, July 2014 – August 2014 vi Graduate Teaching Fellow (Summer), Department of Romance Languages, University of Oregon, August 2015 – September 2015 GRANTS, AWARDS, AND HONORS: B.A. Cum laude, University of Oregon, 1999 Departmental Honors in Chemistry, University of Oregon, 1999 Departmental Honors in French, University of Oregon, 1999 PUBLICATIONS: Ansell, Michael A., Astrid C. Zeppenfeld, Kenichi Yoshimoto, Elizabeth B. Cogan, and Catherine J. Page. "Self-Assembled Cobalt−Diisocyanobenzene Multilayer Thin Films." Chemistry of Materials 8.3 (1996): 591-94. Ansell, Michael A, Elizabeth B Cogan, Grace A Neff, Rachel Von Roeschlaub, and Catherine J Page. "Self-assembly of Thin Film Superstructures Based on Alternating Metal-bisphosphonate and Cobalt-diisocyanide Layers." Supramolecular Science 4.1-2 (1997): 21-26. Cogan, Elizabeth B, G.Bruce Birrell, and O.Hayes Griffith. "A Robotics-Based Automated Assay for Inorganic and Organic Phosphates." Analytical Biochemistry 271.1 (1999): 29-35. Ansell, Michael A., Elizabeth B. Cogan, and Catherine J. Page. "Coordinate Covalent Cobalt-Diisocyanide Multilayer Thin Films Grown One Molecular Layer at a Time." Langmuir 16.3 (2000): 1172-179. Hedberg, Karen K, Elizabeth B Cogan, G.Bruce Birrell, and O.Hayes Griffith. "Sensitive Fluorescent Quantitation of Myo-inositol 1,2-cyclic Phosphate and Myo- inositol 1-phosphate by High-performance Thin-layer Chromatography." Journal of Chromatography B: Biomedical Sciences and Applications 757.2 (2001): 317-24. Cogan, Elizabeth B. “Positive Means to Decadent Eds – The Portrait Gallery of À Rebours.” Fuite/Evasion, 40th Annual Nineteenth-Century French Studies Colloquium, 16 October 2014, University of Puerto Rico, San Juan, PR. Conference Presentation. Cogan, Elizabeth B. “Sketching the Unimaginable: Flaubert’s “portrait” of the God of the Jews in La Tentation de Saint Antoine.” In Concert: Literature and the Other Arts, 87th Annual South Atlantic Modern Language Association Conference, 14 November 2015, Sheraton Imperial Hotel and Convention Center, Durham, NC. Conference Presentation. vii ACKNOWLEDGMENTS I gratefully acknowledge the invaluable assistance of the members of my committee: Prof. Evlyn Gould, my mentor and model; Prof. Fabienne Moore, who helped me understand and appreciate particularly Les Chants de Maldoror; Prof. Regina Psaki, who worked with me for months to refine and elucidate my work; and Prof. David Frank, who introduced me to the essential theory of the “New Rhetoric.” viii To my father, Daniel J. Cogan, who read every work I have studied and every word I have written; he has inspired creativity and original thinking through every step. ix TABLE OF CONTENTS Chapter Page I. INTRODUCTION: QUESTS FOR CERTAINTY, JOURNEYS INTO MADNESS ............................................................................................................. 1 II. OTHER-WORLDLY CERTAINTY: RELIGIOUS DELUSION AND “HIGHER TRUTH” – LA TENTATION DE SAINTE ANTOINE AND “LE HORLA” ............................................................................................................... 27 Religious delusion, higher truth – La Tentation de Saint Antoine ........................ 30 Narrative structure of anti-dogma – La Tentation de Saint Antoine ..................... 37 Obsession with the invisible - “Le Horla” ............................................................ 49 Narrative disequilibration - “Le Horla” ................................................................ 68 Certainty and illusion - La Tentation de Saint Antoine and “Le Horla” ............... 74 III. MASTERS OF REALITY: MEGALOMANIA AND THE CERTAINTY OF “GENIUS” - LES CHANTS DE MALDOROR AND L’ÈVE FUTURE........ 76 Les Chants de Maldoror – Critical Background ................................................... 80 Criminal genius – Les Chants de Maldoror .......................................................... 87 Magician, mastermind, monster – L’Ève future.................................................. 110 Dissociated grandiosity – Les Chants de Maldoror and L’Ève future ............... 167 IV. ALTERNATIVE CERTAINTY: LA NEVROSE AND “ALTERNATIVE” REALITY – À REBOURS AND CONTES D’UN BUVEUR D’ÉTHER ........... 169 An unnatural aesthete – À Rebours ..................................................................... 173 Addiction and alternative reality – Contes d’un buveur d’èther ......................... 201 Manipulation of narrative time in alternative reality .......................................... 231 Aesthetics and substances – À Rebours and Contes d’un buveur d’éther .......... 235 V. CONCLUSION: DELUSIONAL ANSWERS AND UNSTABLE CERTAINTY ...................................................................................................... 237 x LIST OF FIGURES Figure Page 1. Interior [top] and exterior [bottom] plot shapes – Tentation ................................. 39 2. Interior [top] and exterior [bottom] plot shapes – "Le Horla". .............................. 70 xi LIST OF TABLES Table Page 1. Individual “visions” in La Tentation...................................................................... 32 2. Individual “attacks” in “Le Horla” ........................................................................ 52 3. Stages of philosophical equilibrium in “Le Horla”................................................ 56 4. Individual stories in the Contes.............................................................................
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