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Paris and the Nineteenth Century moves between social and cultural history, literature, painting and photography. At its heart lies a series of readings of major nineteenth century texts - by Balzac, Hugo, Baudelaire, Michelet, Flaubert, Zola, Valles, Laforgue and others. In each of these texts the city becomes a matter for and problem of representation. Prendergast concludes by sketching some perspectives which join the pre-modern Paris of the nineteenth century to the postmodern city of the late twentieth century.
The scientific and social history surrounding the 1880 incident of a foul odor in Paris and the development of public health culture that followed. Late in the summer of 1880, a wave of odors enveloped large portions of Paris. As the stench lingered, outraged residents feared that the foul air would breed an epidemic. Fifteen years later—when the City of Light was in the grips of another Great Stink—the public conversation about health and disease had changed dramatically. Parisians held their noses and protested, but this time few feared that the odors would spread disease. Historian David S. Barnes examines the birth of a new microbe-centered science of public health during the 1880s and 1890s, when the germ theory of disease burst into public consciousness. Tracing a series of developments in French science, medicine, politics, and culture, Barnes reveals how the science and practice of public health changed during the heyday of the Bacteriological Revolution. Despite its many innovations, however, the new science of germs did not entirely sweep away the older “sanitarian” view of public health. The longstanding conviction that disease could be traced to filthy people, places, and substances remained strong, even as it was translated into the language of bacteriology. Ultimately, the attitudes of physicians and the French public were shaped by political struggles between republicans and the clergy, by aggressive efforts to educate and “civilize” the peasantry, and by long-term shifts in the public’s ability to tolerate the odor of bodily substances. “A well-developed study in medically related social history, it tells an intriguing tale and prompts us to ask how our own cultural contexts affect our views and actions regarding environmental and infectious scourges here and now.” —New England Journal of Medicine “Both a captivating story and a sophisticated historical study. Kudos to Barnes for this valuable and insightful book that both physicians and historians will enjoy.” —Journal of the American Medical Association
In 1862 the Salpêtrière Hospital in Paris became the epicenter of the study of hysteria, the mysterious illness then thought to affect half of all women. There, prominent neurologist Jean-Martin Charcot's contentious methods caused furore within the church and divided the medical community. Treatments included hypnosis, piercing and the evocation of demons and, despite the controversy they caused, the experiments became a fascinating and fashionable public spectacle. Medical Muses tells the stories of the women institutionalised in the Salpêtrière. Theirs is a tale of science and ideology, medicine and the occult, of hypnotism, sadism, love and theatre. Combining hospital records, municipal archives, memoirs and letters, Medical Muses sheds new light on a crucial moment in psychiatric history.
In nineteenth-century Paris, passionate involvement with revolution turned the city into an engrossing object of cultural speculation. For writers caught between an explosive past and a bewildering future, revolution offered a virtuoso metaphor by which the city could be known and a vital principle through which it could be portrayed. In this engaging book, Priscilla Ferguson locates the originality and modernity of nineteenth-century French literature in the intersection of the city with revolution. A cultural geography, Paris as Revolution "reads" the nineteenth-century city not in literary works alone but across a broad spectrum of urban icons and narratives. Ferguson moves easily between literary and cultural history and between semiotic and sociological analysis to underscore the movement and change that fueled the powerful narratives defining the century, the city, and their literature. In her understanding and reconstruction of the guidebooks of Mercier, Hugo, Vallès, and others, alongside the novels of Flaubert, Hugo, Vallès, and Zola, Ferguson reveals that these works are themselves revolutionary performances, ones that challenged the modernizing city even as they transcribed its emergence. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1994.
The living and the dead cohabited Paris until the late 18th century, when, in the name of public health, measures were taken to drive the latter from the city. Cemeteries were removed from urban space, and corpses started to be viewed as terrifyingly noxious substances. Working across a broad range of disciplines this book seeks to understand the meaning of the dead and their role in creating one of the most important cities of the contemporary world.
"Apartment Stories works from the brilliant premise that urban culture and domestic architecture are indeed related in a number of unpredictable and mutually enlightening ways. Marcus's readings of Balzac and Zola novels in the context of the new urban architecture are absolutely superb, and she remains subtle and unexpected at every step."--Bruce Robbins, author of Feeling Global
"First published in the United Kingdom by Icon Books Ltd"--Title page verso.
When Cäleste Mogador's memoirs were first published in 1854 and again in 1858, they were immediately seized and condemned as immoral and unsuitable for public consumption. For a reader in our more forgiving times, this extraordinary document offers not only a portrait of the early life of an intelligent, courageous, and infinitely intriguing Frenchwoman but also an exceedingly rare inside look at the world of the courtesans and prostitutes of nineteenth-century France. ø Writing to conciliate judges and creditors, Mogador (born Cäleste Venard in 1824) explains how with tenacity, wit, and audacity, she managed to escape a difficult childhood and subsequent life of prostitution to become, successively, a darling of the dance halls, a circus rider, and an actress, all the while attracting wealthy young men who vied for her favor. Although her account gives readers a peek into the rakish demimonde made famous by Verdi's opera La Traviata, its greatest value lies in its candid picture of a spunky, self-educated woman who doggedly transformed herself into an esteemed and prolific novelist and playwright, who fell in love with a count and married him, and who made her name synonymous with the bohemian life of the 1840s and 1850s in Paris.
What did it mean to call someone 'eccentric' in nineteenth-century Paris? And why did breaking with convention arouse such ambivalent responses in middle-class readers, writers, and spectators? From high society to Bohemia and the demi-monde to the madhouse, the scandal of nonconformism provoked anxiety, disgust, and often secret yearning. In a culture preoccupied by the need for order yet simultaneously drawn to the values of freedom and innovation, eccentricity continually tested the boundaries of bourgeois identity, ultimately becoming inseparable from it. This interdisciplinary study charts shifting French perceptions of the anomalous and bizarre from the 1830s to the fin de siècle, focusing on three key issues. First, during the July Monarchy eccentricity was linked to fashion, dandyism, and commodity culture; to many Parisians it epitomized the dangerous seductions of modernity and the growing prestige of the courtesan. Second, in the aftermath of the 1848 Revolution eccentricity was associated with the Bohemian artists and performers who inhabited 'the unknown Paris', a zone of social exclusion which middle-class spectators found both fascinating and repugnant. Finally, the popularization of medical theories of national decline in the latter part of the century led to decreasing tolerance for individual difference, and eccentricity was interpreted as a symptom of hidden insanity and deformity. Drawing on a wide range of sources, including etiquette manuals, fashion magazines, newspapers, novels, and psychiatric treatises, the study highlights the central role of gender in shaping perceptions of eccentricity. It provides new readings of works by major French writers and illuminates both well-known and neglected figures of Parisian modernity, from the courtesan and Bohemian to the female dandy and circus freak.