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Takes the literature of the period both as a window on various mindsets and as an object of fascination in its own right. Beginning with history, the century's biggest problem and potential, this title looks at narrative responses to historical, political and social experience, before devoting central chapters to poetry, drama and novels.
The city of Paris experienced rapid transformation in the middle of the nineteenth century: the population grew, industry and commerce increased, and barriers between social classes diminished. Innovations in printing and distribution gave rise to new mass-market genres: literary guidebooks known as tableaux de Paris and illustrated physiologies examined urban social types and fashions for a broad audience of Parisians hungry to explore and understand their changing society. The works in this volume offer a lively, humorous tour of the manners and characters of the flâneur (a leisurely wanderer), the grisette (a young working-class woman), the gamin (a street urchin), and more. While the names of authors such as Paul de Kock are no longer familiar, their works still open a window onto a vivid time and place.
French realism's immortal siren crawled from the gutter to the heights of society, devouring men and squandering fortunes along the way. Zola's 1880s classic is among the first modern novels.
The traditional relationship between painting and literature underwent a profound change in nineteenth-century France. Painting progressively asserted its independence from literature as it liberated itself from narrative obligations whilst interrogating the concept of subject matter itself. Simultaneously the influence of art on the writing styles of authors increased and the character of the artist established itself as a recurring motif in French literature. This book offers a panoramic review of the relationship between art and literature in nineteenth-century France. By means of a series of case studies chosen from key moments throughout the nineteenth century, the aim of this study is to provide a focused analysis of specific examples of this relationship, revealing both its multifaceted nature as well as offering a panorama of the development of this on-going and increasingly complex cultural relationship. From Jacques Louis David’s irreverence for classical texts to Victor Hugo’s graphic works, from Edouard Manet’s illustrations to Vincent Van Gogh’s paintings of books, from Honoré de Balzac’s Unknown Masterpiece to Joris-Karl Huysmans’s A Rebours, this interdisciplinary investigation of the links between literature and art in France throws new light on both fields of creative endeavour during a critical phase of France’s cultural history.
Examines nineteenth-century hairstyles and their cultural associations, and analyzes the social and symbolic roles that hair played in literary representations of the new body ideal of the era in fashion magazines, and as clues to social status, sexual availability and character in the fiction of major French authors including Baudelaire, Balzac, Flaubert, and Zola.
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
Fashioned Texts and Painted Books examines the folding fan's multiple roles in fin-de-siecle and early twentieth-century French literature. Focusing on the fan's identity as a symbol of feminine sexuality, as a collectible art object, and, especially, as an alternative book form well suited to the reception of poetic texts, the study highlights the fan's suitability as a substrate for verse, deriving from its myriad associations with coquetry and sex, flight, air, and breath. Close readings of Stephane Mallarme's eventails of the 1880s and 1890s and Paul Claudel's Cent phrases pour eventails (1927) consider both text and paratext as they underscore the significant visual interest of this poetry. Works in prose and in verse by Octave Uzanne, Guy de Maupassant, and Marcel Proust, along with fan leaves by Edgar Degas, Edouard Manet, Berthe Morisot, and Paul Gauguin, serve as points of comparison that deepen our understanding of the complex interplay of text and image that characterizes this occasional subgenre. Through its interrogation of the correspondences between form and content in fan poetry, this study demonstrates that the fan was, in addition to being a ubiquitous fashion accessory, a significant literary and art historical object straddling the boundary between East and West, past and present, and high and low art.
Focusing on the Paris book world of this period, Allen reveals how the rise of a new popular literature—jolly chansonniers, the roman-feuilletons or serial novels, melodramas, gothic and sentimental novels, dramatic nationalistic histories—by such authors as Dumas, Sand, Lamennais, Ancelot, Desnoyer, and de Kock coincided with remarkable developments in the production, distribution, and consumption of books. Allen's research ranges from a survey of the then-popular romantic titles and authors and the trade catalogs of booksellers and lending libraries, to the police records of their activities, diaries and journals of working people, and military conscript records and ministerial literacy statistics. The result is a remarkable picture of the exchange between elite and popular culture, the interaction between ideas and their material reality, and the relationship between the literature and the history of France in the romantic period.
Contributing to the current lively discussion of collaboration in French letters, this collection of essays raises fundamental questions about the limits and definition of authorship in the context of the nineteenth century's explosion of collaborative ventures. The volume will interest scholars of nineteenth-century French literature, and more generally, any scholar interested in what's at stake in redefining the role of the French author.
Between about 1830 and the outbreak of the First World War, print culture, reading, and writing transformed cultural life in Western Europe in many significant ways. Book production and consumption increased dramatically, and practices such as letter- and diary-writing were widespread. This study demonstrates the importance of the nineteenth century in French cultural change and illustrates the changing priorities and concerns of l'histoire du livre since the 1970s. From the 1830s on, book production experienced an industrial revolution which led to the emergence of a mass literary culture by the close of the century. At the same time, the western world acquired mass literacy. New categories of readers became part of the reading public while western society also learned to write. Reading Culture and Writing Practices in Nineteenth-Century France examines how the concerns of historians have shifted from a search for statistical sources to more qualitative assessments of readers' responses. Martyn Lyons argues that autobiographical sources are vitally important to this investigation and he considers examples of the intimate and everyday writings of ordinary people. Featuring original and intriguing insights as well as references to material hitherto inaccessible to English readers, this study presents a form of 'history from below' with emphasis on the individual reader and writer, and his or her experiences and perceptions.