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This book explores how writers responded to the rise of the newspaper over the course of the nineteenth century. Taking as its subject the ceaseless intertwining of fiction and journalism at this time, it tracks the representation of newspapers and journalists in works by Honoré de Balzac, Edmond and Jules de Goncourt, and Guy de Maupassant. This was an era in which novels were published in newspapers and novelists worked as journalists. In France, fiction was to prove an utterly crucial presence at the newspaper’s heart, with a gilded array of predominant literary figures active in journalism. Today, few in search of a novel would turn to the pages of a daily newspaper. But what are usually cast as discrete realms – fiction and journalism – came, in the nineteenth century, to occupy the same space, a point which complicates our sense of the cultural history of French literature.
Struggling to make sense of the Revolution of 1789, the French in the nineteenth century increasingly turned to visual forms of historical representation in a variety of media. Maurice Samuels shows how new kinds of popular entertainment introduced during and after the Revolution transformed the past into a spectacle. The wax display (in which visitors circulated amid life-size statues of historical figures), the phantasmagoria show (in which images of historical personages were projected onto smoke or invisible screens), and the panorama (in which spectators viewed giant circular canvases depicting historical scenes) employed new optical technologies to entice crowds of spectators. Such entertainments, Samuels asserts, provided bourgeois audiences with an illusion of mastery over the past, allowing them to picture their new role as historical agents.Samuels demonstrates how the spectacular mode of historical representation pervaded historiography, drama, and the novel during the Romantic period. He then argues that the early Realist fiction of Balzac and Stendhal emerged as a critique of the spectacular historical imagination. By investigating how postrevolutionary France envisioned the past, Samuels illuminates a vital moment in the cultural history of modernity.
Mastering the Marketplace examines the origins of modern mass-media culture through developments in the new literary marketplace of nineteenth-century France and how literature itself reveals the broader social and material conditions in which it is produced. Anne O’Neil-Henry examines how French authors of the nineteenth century navigated the growing publishing and marketing industry, as well as the dramatic rise in literacy rates, libraries, reading rooms, literary journals, political newspapers, and the advent of the serial novel. O’Neil-Henry places the work of canonical author Honoré de Balzac alongside then-popular writers such as Paul de Kock and Eugène Sue, acknowledging the importance of “low” authors in the wider literary tradition. By reading literary texts alongside associated advertisements, book reviews, publication histories, sales tactics, and promotional tools, O’Neil-Henry presents a nuanced picture of the relationship between “high” and “low” literature, one in which critics and authors alike grappled with the common problem of commercial versus cultural capital. Through new literary readings and original archival research from holdings in the United States and France, O’Neil-Henry revises existing understandings of a crucial moment in the development of industrialized culture. In the process, she discloses links between this formative period and our own, in which mobile electronic devices, internet-based bookstores, and massive publishing conglomerates alter—once again—the way literature is written, sold, and read.
“This thoughtful academic treatise . . . explores the lives of three famous gender nonconformists in fin-de-siècle Paris.” —Publishers Weekly Before the term “transgender” existed, there were those who experienced their gender in complex ways. Before Trans examines the lives and writings of Jane Dieulafoy (1850–1916), Rachilde (1860–1953), and Marc de Montifaud (1845–1912), three French writers whose gender expression did not conform to nineteenth-century notions of femininity. Dieulafoy fought alongside her husband in the Franco-Prussian War; later she wrote novels about girls becoming boys and enjoyed being photographed in her signature men's suits. Rachilde became famous in the 1880s for her controversial gender-bending novel Monsieur Vénus, published around the same time that she started using a calling card that read “Rachilde, Man of Letters.” Montifaud turned to erotic writings, for which she was repeatedly charged with "offense to public decency"; she wore tailored men's suits and a short haircut and went by masculine pronouns among certain friends. Dieulafoy, Rachilde, and Montifaud established themselves as fixtures in the literary world of fin-de-siècle Paris at the same time as French writers, scientists, and doctors were becoming fascinated with sexuality and sexual difference. Even so, the concept of gender identity as separate from sexual identity did not yet exist. Before Trans explores these three figures' efforts to articulate a sense of selfhood that did not align with the conventional gender roles of their day. Their personal stories provide vital historical context for our own efforts to understand the nature of gender identity. “A fresh and original take on trans history.” —Jack Halberstam, author of The Queer Art of Failure
This book uses six canonical novelists and their recreations in a variety of media to argue a reconceptualisation of our approach to the study of adaptation. The works of Balzac, Hugo, Flaubert, Zola, Maupassant and Verne reveal themselves not as originals to be defended from adapting hands, but as works fashioned from the adapted voices of a host of earlier artists, moments and media. The text analyses reworkings of key nineteenth-century texts across time and media in order to emphasise the way in which such reworkings cast new light on many of their source texts, and how they reveal the probing analysis nineteenth-century novelists undertake in relation to notions of originality and authorial borrowing. Adapting Nineteenth-Century France charts such revision through a range of genres encompassing the modern media of radio, silent film, fiction, musical theatre, sound film and television. Contents Introduction, Kate Griffiths I Labyrinths of Voices: Emile Zola, Germinal and Radio, Kate Griffiths II Diamond Thieves and Gold Diggers: Balzac, Silent Cinema and the Spoils of Adaptation, Andrew Watts III Fragmented Fictions: Time, Textual Memory and the (Re)Writing of Madame Bovary, Andrew Watts IV Les Misérables, Theatre and the Anxiety of Excess, Andrew Watts V Chez Maupassant: The (In)Visible Space of Television Adaptation, Kate Griffiths VI Le Tour du monde en quatre-vingts jours: Verne, Todd, Coraci and the Spectropoetics of Adaptation, Kate Griffiths Conclusion, Andrew Watts
Examines the role of village notables in nineteenth-century France.
In this book, Maurice Samuels brings to light little known works of literature produced from 1830 to 1870 by the first generation of Jews born as French citizens. These writers, Samuels asserts, used fiction as a laboratory to experiment with new forms of Jewish identity relevant to the modern world. In their stories and novels, they responded to the stereotypical depictions of Jews in French culture while creatively adapting the forms and genres of the French literary tradition. They also offered innovative solutions to the central dilemmas of Jewish modernity in the French context—including how to reconcile their identities as Jews with the universalizing demands of the French revolutionary tradition. While their solutions ranged from complete assimilation to a modern brand of orthodoxy, these writers collectively illustrate the creativity of a community in the face of unprecedented upheaval.
"Kari Weil's new book takes readers back to an era when horses were an inescapable part of daily life and when horse ownership became an increasingly realizable dream, not just for soldiers, but for middle-class (bourgeois) boys and girls. It charts the rise of the horse as an integral part of daily life in Paris (as work, sport, and food) and the social, political, and affective changes that brought about and followed from the presence of horses on streets and in parks, in the show ring and race track, and even on plates. It also ably traces a rise in "equestrian rhetoric," whose sexual, class, and racial inflections were influenced both by Anglomania and by colonialist attraction to the "hot-blooded" horses of Arab countries. Moving between literature, painting, natural philosophy, popular cartoons, sport manuals, and tracts of public hygiene, this book seeks to understand the changing relations to horses who straddled conceptions of pet and livestock, existing between objects of affection, on the one hand, and material as well as symbolic capital, on the other"--
Literature is ostensibly a sequential and thus temporal medium, and painting a static and spatial one; yet writers like George Sand and Emile Zola have attempted repeatedly to represent visual and spatial phenomena in literary texts, just as painters like Eugene Delacroix and Claude Monet have sought consistently to capture effects of time and movement on canvas. The incorporation of elements from one artistic medium into another creates a dynamic interplay of image and ideology, both between art forms and within individual texts and paintings, which constitutes the crux of this book. Each chapter involves the detailed analysis of a text and a painting, related through topic, theme, and technique. By juxtaposing the works of ten major writers and ten painters of comparable stature, the book explores the various modalities and layers of meaning in nineteenth-century French art, both verbal and visual, and proposes ways of reading the ambivalent artifacts of "modernity." Illustrated.