scholarly journals Reading the Greuze Girl: The Daughter's Seduction

2012 ◽  
Vol 117 (1) ◽  
pp. 86-119 ◽  
Author(s):  
Emma Barker
Keyword(s):  
Eighteenth Century ◽  
Young Girl ◽  
Dead Bird ◽  
French Culture

This essay challenges the generally accepted interpretation of Greuze's Young Girl Weeping over Her Dead Bird (1765) as an allegory of lost virginity by considering the painting in relation to eighteenth-century representations of the young girl in a range of discourses. The central contention is that the implied spectator to whom the picture is addressed is a quasi-paternal figure who disavows his own desire for the girl whilst nevertheless enjoying an eroticized intimacy with her. In thereby raising the specter of incest even as it represses it, the painting exemplifies deep-seated tensions within later eighteenth-century French culture.

Surrealism in Twentieth-Century Russian Poetry: Churilin, Zabolotskii, Poplavskii

Slavic Review ◽  
1967 ◽  
Vol 26 (4) ◽  
pp. 605-617 ◽  
Author(s):  
Simon Karlinsky
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Young Girl ◽  
Russian Word ◽  
Russian Poetry ◽  
Zinaida Gippius

All her life Zinaida Gippius remembered how startled she was when as a young girl she was told that the Russian word predmet was devised and introduced into the language by Karamzin at the very end of the eighteenth century. The discovery left her wondering how the Russians who lived before that time could discuss all sorts of basic things without a word denoting “object” in the language. We may well be startled in a similar way when we stop to realize that the handy adjective “surrealistic” was coined only in the late 1920s. Furthermore, the word did not initially mean what it came to mean later. When Vladimir Maiakovskii encountered the French Surrealists during his trip to Paris in 1927, he was not sure just what their movement was about but from their behavior concluded that they must be the French equivalent of his own LEF group.

Conclusions

2017 ◽  
Author(s):  
Kathryn L. Ness
Keyword(s):  
Eighteenth Century ◽  
Middle Class ◽  
Spanish America ◽  
Spanish Empire ◽  
Spanish American ◽  
Spanish Society ◽  
French Culture ◽  
Spanish Atlantic ◽  
New Ideas ◽  
The Impact

This chapter concludes Setting the Table and summarizes the argument that individuals on both sides of the Atlantic were participating in developing a Spanish-Atlantic identity that amalgamated Spanish heritage with new ideas and goods from other parts of Europe, Asia, and the Americas. It emphasizes that Spain and Spanish America were closely connected as late as the eighteenth century and that Spanish Americans continued to look to Spain as a model for fashion and culture. The chapter argues that data from the St. Augustine sites suggest that traditional interpretations of status and displays of Spanish identity need to be reevaluated in light of changing fashions in eighteenth-century Spain and the similarities between eighteenth-century Spanish and Spanish-American sites. It also contends that the transition away from traditional stews and the possible adoption of French culinary techniques by middle class Spaniards and elite Spanish Americans calls into question previous hypotheses regarding the impact of French culture on Spanish society after the advent of the Bourbon dynasty in 1700. Lastly, it considers other directions and ways in which this study could benefit those studying other parts of the Spanish empire.

The Origin of the Weaving Songs and the Theme of the Girl at the Fountain

PMLA ◽  
1922 ◽  
Vol 37 (2) ◽  
pp. 141-181 ◽  
Author(s):  
Charles Bertram Lewis
Keyword(s):  
Eighteenth Century ◽  
Critical Edition ◽  
Old French ◽  
Young Girl ◽  
Romantic Period ◽  
Ancient Times

The poems called in this study Weaving Songs were in ancient times also known as History Songs, for the first name applied to them was Chansons d'istoire; then, a little later apparently, they were called Chansons de toile or Weaving Songs. By modern critics they have also been termed Romances but this name is not altogether satisfactory. If one glances through the critical edition of these poems published by Karl Bartsch under the title Romanzen und Pastourellen one finds that the Weaving Songs are mixed up with other poems under the loose title of Romanzen. The term Romance, in use since the days of Grimm and Fauriel but first made popular by the collection of old French poems published by Paulin Paris under the title of Le Romancero français, was borrowed from the Spanish towards the end of the eighteenth century and then it designated, as it does still today, poems of historical content like our English Ballads. If the term was suitable enough during the Romantic period when the Romancero appeared, it is a source of dangerous confusion nowadays when the same term is applied to poems so widely different in nature as the Weaving Songs and, to give only one instance, the lament of the young girl in the famous poem of Marcabru, A la fontana del vergier, which is generally termed a Romance.

Nobility

2014 ◽  
Author(s):  
Jay M. Smith
Keyword(s):  
Eighteenth Century ◽  
French Culture ◽  
Noble Identity ◽  
Political Solidarity

The nobility became a widely despised target of French revolutionaries despite its own lack of unity and its general openness to reform. The strength of the antipathy toward nobility is explained in part by the debates about noble identity that had coursed through French culture for much of the eighteenth century. Those debates brought forth conflicting perspectives, as some sought to revive and expand while others sought to attenuate noble power, standing, and influence. Perhaps the most important consequence of these debates, however, was to reveal the uncertain and contested foundations of noble pre-eminence—a cultural ambiguity that contrasted sharply, and troublingly, with noble assertions of political solidarity in 1788–9.

"There Was no such Thing as the 'Newtonian Revolution,' and the French Initiated it." Eighteenth-century Mechanics in France before Maupertuis

2004 ◽  
Vol 9 (3) ◽  
pp. 257-292 ◽  
Author(s):  
Keyword(s):  
Eighteenth Century ◽  
Nicolas Malebranche ◽  
French Culture ◽  
History Of ◽  
Way Of Thinking ◽  
Cultural Explanation

AbstractTwo linked arguments are offered in this paper. The first half argues that I.B. Cohen's notion of the "Newtonian Revolution" in mechanics needs to be revised in light of the recent historical work of Michel Blay, Henk Bos, and Niccolò Guicciardini. It further suggests a new way of thinking about the history of French mathematical mechanics in the decades around 1700 that follows as a consequence of these historical revisions. The second half of the paper builds upon these revisions by offering a cultural explanation for the particularly French approach to mechanics that was developed after 1690. Specifically, it suggests that the broad circulation and influence of the philosophy of Nicolas Malebranche in France between 1680 and 1715 exemplifies the ways that French culture contributed to the development of its particular approach to mechanics.

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