By Nigel Harkness, Lisa Downing, Sonya Stephens
This quantity attracts individuals from worldwide who signify the total diversity of ways to scholarship in nineteenth-century French experiences: historic, literary, cultural, artwork historic, philosophical, and comparative. The topic of the quantity - beginning and dying - is one with specific resonance for nineteenth-century French experiences, because the 19th century is usually perceived as an age of recent lifestyles and upkeep. it's the epoch that witnessed an efflorescence of commercial and inventive development, the beginning of the person and the start of the radical, and the production of an city inhabitants within the significant demographic shift from the agricultural provinces to Paris. even as, even though, it's the century of Decadence and degeneration thought, marked by way of a well-liked morbid aesthetic within the inventive sphere and a fascination with illegal activity, ethical decay and the pathologization of racial and sexual minorities within the clinical discourses. it's also the century within which mirrored image on techniques of creative production starts to problematize suggestions of mimetic illustration, the functionality of the writer and the prestige of the textual content. within the context of the dialectical caliber of nineteenth-century French tradition, stuck among an obsession with the recent and cutting edge and a paranoid experience of its personal encroaching decay, the dual topics of start and demise open onto a number of concerns - literary, social, historic, inventive - that are explored, interrogated and reassessed within the essays contained during this quantity
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Extra info for Birth and death in nineteenth-century french culture
This is the context in which she meets Don José, who arrests her and then is persuaded into releasing her, clearly susceptible to her charms (‘Je ne sais pas si dans sa vie cette fille-là a jamais dit un mot de vérité; mais, quand elle parlait, je la croyais’ (p. 371)), but also fearful of her as potential castratrix. This susceptibility is due precisely to her ability to speak his language, and thus appear to take on his cultural identity, even if she is not completely convincing, to the point of deforming the Basque tongue: ‘Elle estropiait le basque, et je la crus Navarraise; ses yeux seuls et sa bouche et son teint la disaient bohémienne’ (p.
Responding to the narrator’s attempt to establish that they are conversant in the homosocial code of tobacco, which is a recurrent feature in the story, the stranger replies in the affirmative. 6 His ‘oui, monsieur’ (p. 347) is followed by the narrator’s commentary on how it has been pronounced in Spanish (‘je remarquai qu’il ne prononçait pas l’s à la manière andalouse’), not only highlighting further the narrator’s idea of himself as an expert on lan5 Luke Bouvier, ‘Where Spain Lies: Narrative Dispossession and the Seductions of Speech in Mérimée’s Carmen’, Romanic Review, 90 (1999), 353-77 (p.
1 (1520). Faire que ce qui etait énoncé dans une langue le soit dans une autre, en tendant à l’équivalence sémantique et expressive des deux énoncés. […] 2. Exprimer, 50 Larry Duffy tion, on the part of text, internal narratives, narrators and characters, an essential mechanism in pinning down the essence of various Others: Andalusians, Basques, Gypsies, women, Spanish people in general, particularly in terms of their proximity to North Africa – basically, in expressing a version of anyone not French, bourgeois, classically educated and male.
Birth and death in nineteenth-century french culture by Nigel Harkness, Lisa Downing, Sonya Stephens
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