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Women in 19th-century French art were represented as victims of a harsh urban working-class life. This book offers the argument that this representation obscured the model woman of ideas, a prominent figure in the narratives of French national and sexual politics.
'Reclaiming Feminine Agency' identifies female agency as a central theme of recent feminist scholarship & offers 23 essays on artists & issues from the Renaissance to the present, written in the 1990s & after.
Complicity in Fin-de-siècle Literature examines late-nineteenth century French understandings of literature as a morally collusive medium, which implicates readers, writers, and critics in risqué or illicit ideas and behaviour. It considers definitions of complicity from the period's evolving legal statutes, critical debates about literary 'bad influence', and modern theories of reader response, in order to achieve a deeper understanding of how cultural production of the period forged relationships of implication and collusion. While focusing on fin-de-siècle French culture, the book's theoretical discussions provide a new terminology and conceptual framework through which to analyse literary influence and reception, applicable to different historical periods and national settings. Interdisciplinary in nature, the study draws on methods associated with close reading, literary history, law and literature studies, cultural studies, and sociology of literature. Each of the book's chapters highlights how particular literary themes or techniques encouraged readers' identification with transgression and facilitated alternative forms of solidarity. The analysis draws on a range of case studies from different media forms, including: Naturalist, Decadent, and psychological novels, biographically revealing fiction ('romans à clefs'), little magazines ('petites revues'), and saucy magazines ('revues légères'). Texts written by well-known literary figures--such as Émile Zola, Octave Mirbeau, and Rachilde--appear alongside previously overlooked periodical and archival sources. The book's varied corpus reveals the widespread appeal of risqué topics and illicit solidarity across the literary spectrum.
Women Writing Antiquity argues that the struggle to define the female intellectual in seventeenth-century France lay at the centre of a broader struggle over the definition of literature and literary knowledge during a time of significant cultural change. As the female intellectual became a figure of debate, France was also undergoing a shift away from the dominance of classical cultural models, the transition towards a standardized modern language, the development of a national literature and literary canon, and the emergence of the literary field. This book explores the intersection of these phenomena, analyzing how a range of women constructed the female intellectual through their reception of Greco-Roman culture. Women Writing Antiquity offers readings of known and less familiar works from a diverse corpus of translators, novelists, poets, linguists, playwrights, essayists, and fairy tale writers, including Marie de Gournay, Madeleine de Scud?ry, Madame de Villedieu, Antoinette Deshouli?res, Marie-Jeanne L'H?ritier, and Anne Dacier. Challenging traditionally formalist and source-text orientated approaches, the study reframes classical reception in terms of authorial self-fashioning and professional strategy, and explores the symbolic value of Latin literacy to an author's projected identity. These writers used reception of Greco-Roman culture to negotiate the value attributed to different genres, the nature of poetics, the legitimacy of varied modes of authorship, the qualities and properties of French, and even how and by whom these topics might be debated. Women Writing Antiquity combines a new take on the literary history of the period with a retelling of the history of the figure of the 'learned woman'.
Popular lithographic series on lawyers, on married life, on liberated women, etc. Includes Un Héros de Juillet, Mai 1831, La Crise Actuelle Se Complique!, Le Passé. Le Présent. L'venir, Melle Etienne-Joconde-Cunégonde-Bécassine de Constitutionnel, Voyage À Travers Les Populations Empressées, Rue Transnonain, La Tentation, Quand Le Diable Devint Vieux, and more.
The earliest known literary productions by women living in Europe were probably written by French writers. As early as the 12th century, women troubadours in the south of France were writing poems. French women continued writing through the ages, their number increasing as education became more available to women of all classes. And yet, of the great number of works by women writers who preceded the current feminist movement, very few have survived. A few writers such as Marie de France, George Sand, and Simone de Beauvoir became part of the canon. But critics, mostly male, had judged the works of only a few women writers worthy of recognition. As part of the feminist move to reclaim women writers and to rethink literary history, scholars in French literature began to take a new look at women writers who had been popular during their lifetimes but who had not been admitted into the canon. This reference book provides extensive information about French women writers and the world in which they lived. Included are several hundred alphabetically arranged entries for authors; literary genres, such as the novel, poetry, and the short story; literary movements, such as classicism, realism, and surrealism; life-cycle events particular to women, such as menstruation and menopause; events and institutions which affected women differently than men, such as revolutions, wars, and laws on marriage, divorce, and education. The volume spans French literature from the Middle Ages to the present and covers those writers who lived and worked mainly in France. The entries are written by expert contributors and each includes bibliographical information. The entries focus on each writer's awareness of how her gender shaped her outlook and opportunities, on how categorizations, structures, and terms used to describe literary works have been defined for women, and the ways in which women writers have responded to these definitions. The volume begins with a feminist history of French literature and concludes with a selected, general bibliography and a chronology of women writers.
How a nation educates its children tells us much about the values of its people. From the Salon to the Schoolroom examines the emerging secondary school system for girls in nineteenth-century France and uncovers how that system contributed to the fashioning of the French bourgeois woman. Rebecca Rogers explores the variety of schools--religious and lay--that existed for girls and paints portraits of the women who ran them and the girls who attended them. Drawing upon a wide array of public and private sources--school programs, prescriptive literature, inspection reports, diaries, and letters--she reveals the complexity of the female educational experience as the schoolroom gradually replaced the salon as the site of French women's special source of influence. From the Salon to the Schoolroom also shows how France as part of its civilizing mission transplanted its educational vision to other settings: the colonies in Africa as well as throughout the Western world, including England and the United States. Historians are aware of the widespread ramifications of Jesuit education, but Rogers shows how French education for girls played into the cross-cultural interactions of modern society, producing an image of the Frenchwoman that continues to tantalize and fascinate the Western world today.
Brings into relief a critical relationship between the female mind and body that is essential to understanding the discursive position of the turn-of-the-century woman writer. This book includes novels that confront this mind/body problem through a wide variety of styles and genres that challenge conventional fin-de-siecle notions of femininity.
Best known as a satirist of Parisian politics and daily life, Honoré Daumier (1808-1879) was a prolific caricaturist. This book is the first to examine the role of exoticism in his art, and to offer a detailed history of the journal Le Charivari in which the lithographs appeared. These satires of China, Haiti, the United States, Africa, and the Middle East not only target the theater of international politics, but also draw on a broad range of physical stereotypes supported by contemporary ideas about race and cultural difference. In an art of comic inversion, Daumier used the exotic to expose the foibles and pretensions of the Parisian bourgeoisie. A pacifist and a Republican, Daumier also satirized the non-European world in order to covertly attack the imperialism of Napoléon III in an age of press censorship. Idealistic as well as pragmatic, he used humor to stage political critique as well as to envision a more unified and compassionate world.
Filling a critical void, this book examines French women dramatists of the nineteenth-century who staged works prior to the lifting of censorship laws in 1864. Though none staged overtly feminist drama, Sophie de Bawr, Sophie Gay, Virginie Ancelot, and Delphine Girardin questioned patriarchal dominance and reconstructed ideals of womanhood.