Work and Leisure in Late Nineteenth-Century French Literature and Visual Culture: Time, Politics and Class

2015 ◽  
Vol 69 (4) ◽  
pp. 549-550
Author(s):  
James McFarthing
Keyword(s):  
Nineteenth Century ◽  
Visual Culture ◽  
French Literature ◽  
Late Nineteenth Century ◽  
Culture Time ◽  
Late Nineteenth ◽  
Nineteenth Century French Literature

scholarly journals Tea with the Divorcees: Five’o Clock Figures

2019 ◽  
Author(s):  
Marion GLAUMAUD-CARBONNIER ◽  
Keyword(s):  
Nineteenth Century ◽  
Short Stories ◽  
Social Status ◽  
French Literature ◽  
Late Nineteenth Century ◽  
Divorce Law ◽  
The Press ◽  
Late Nineteenth ◽  
Nineteenth Century French Literature

Promulgated in July 1884, the divorce law introduces a new character in late nineteenth century French literature: the figure of the divorcee. This woman, who is very little portrayed in novels, however intrigues the press because of her unprecedented social status. In the short stories published in newspapers, the divorced woman often appears at tea time, a gallant Parisian hour that serves as a setting for gossip. The aim of this paper is therefore to enlighten, by using a sociopoetic approach, these figures of the crépuscule.

Looking Backward

Queer Timing ◽  
2019 ◽  
pp. 101-121
Author(s):  
Susan Potter
Keyword(s):  
Nineteenth Century ◽  
Visual Culture ◽  
Female Body ◽  
Cultural Norms ◽  
Late Nineteenth Century ◽  
Specific Response ◽  
Early Cinema ◽  
Late Nineteenth ◽  
Electric Light ◽  
Stage Performances

This chapter focuses on an expanded visual archive that is emblematic of the intermediality of early cinema: the electric light dance performances of late-nineteenth-century celebrity Loïe Fuller and their early film copies. The chapter argues that Fuller’s on-stage performances, and the cinematic remediations that imitated her disembodied modes of performance, represent a specific response to, and transformation of, conditions of vision, practices of looking, and modes of voyeurism that had until recently been cultural norms for women. Fuller’s visual archive suggests how the developing sexual subjectivities of female spectators were already bound up in proto-cinematic forms of spectatorship that turned on the visual pleasures of the moving female body. Appropriating and reorienting the sexuality effects of late-nineteenth-century visual culture, Fuller’s performances sustained a paradoxically disembodied and depersonalized homoerotic mode of spectatorship.

scholarly journals The Monastic Hermitage in the End of 19th Century French Literature: a New Identity Space

2015 ◽  
Vol 4 (2) ◽  
pp. 103-118
Author(s):  
Mickaëlle Cedergren
Keyword(s):  
Nineteenth Century ◽  
19Th Century ◽  
French Literature ◽  
Late Nineteenth Century ◽  
Literature Searching ◽  
Late Nineteenth ◽  
New Literature ◽  
The 19Th Century

Abstract Through a comparative reading of three novels of the late nineteenth century, namely Le Disciple, A rebours and Un homme libre, the monastic hermitage has emerged as a common place in which the protagonists of the novels, in search for a spiritual space, let themselves be shaped and transformed by the materiality of places. Through the consideration of the specific features of these closed and sacred sanctuaries, as well as the identity and the dream of the end of the 19th century man, a new literature searching for an ideal will appear openly.

scholarly journals Are We in the Movies Now ?

2007 ◽  
Vol 8 (3) ◽  
pp. 135-158
Author(s):  
Stacey Johnson
Keyword(s):  
Nineteenth Century ◽  
Visual Culture ◽  
North American ◽  
Late Nineteenth Century ◽  
Postwar Period ◽  
The Family ◽  
Late Nineteenth ◽  
The 1950S ◽  
American Families

ABSTRACT The popularity of 8mm, home movie making swelled to notable proportions in the postwar period and throughout the 1950s, at which point 8mm movie cameras were in their widest, popular use in North American families. This paper explores the rise to ubiquity of postwar home movie production by tracing its cultural precedent to the mass-popularization of photography in the late-nineteenth century, and the ways in which a producing and consuming visual culture established itself in the family.

Ottoman Tanzimat and the Decadence of Empire

2021 ◽  
Author(s):  
Özen Nergis Dolcerocca
Keyword(s):  
Nineteenth Century ◽  
Ottoman Empire ◽  
French Literature ◽  
Late Nineteenth Century ◽  
Avant Garde ◽  
Aesthetic Autonomy ◽  
Late Nineteenth ◽  
Historical Question ◽  
Ottoman Literature ◽  
New Literature

This article considers late nineteenth-century Ottoman literature, concentrating specifically on the tension between the poetics of the avant-garde “New Literature” (1896–1901) and the poetics of conservative modernizers, spearheaded by the prominent Tanzimat author Ahmet Midhat. In calling for experimentation with traditional Ottoman poetic forms and a new mode of composition using an uncompromisingly elaborate style, the avant-gardists sought to capture the fin-de-siècle spirit in the Ottoman Empire, overwhelmed by the sense of decline and urgency for modernization. What unites the different decadent practices of the time is the objective to challenge the communicative language of systematic modernization by pursuing aesthetic autonomy. The conservative modernizers, politically committed to social and cultural reforms, attacked these authors for being decadent and excessively influenced by French literature, initiating what later came to be known as the “decadence controversy,” which became part of the larger historical question of modernization and westernization.

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