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Decadence's stricken speech often revels in images borrowed from medical writing, particularly those related to pulmonary consumption. Expectoration and blood-spitting become symbols of a literary achievement, not only taking disease for its object, but invaded and pervaded by ailment. Thus, spitting may be considered both as one the fine arts (as the slang use of "spitting " as a synonym for "utterance" reminds us), and a metaphor of diseased or "decadent" writing.
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In the novels and pamphlets of Georges Darien (1862-1921), the motif of the crowd – alongside that of the individual – reveals the writer's struggle against post-1870 ideology, the bourgeoisie, as well as institutions and their representatives. Eager to defend the ideal of a free individual in a free land, Darien takes up a theme – the crowd and its related lexemes (people, peat, masses) – which he considers critically, thereby affirming a pamphleteer's word and style characteristic of the rebellious writer he embodied at the turn of the nineteenth century, like Octave Mirbeau.
Keywords: foule, siècle, Georges Darien, pamphlet, bourgeoisie, idéologie, révolte, liberté, crowd, 19th century, Georges Darien, pamphlet, bourgeoisie, ideology, revolt, liberty
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In a study of the critical reception in the five films that Jean Renoir made in the United States between 1940 and 1946, the author analyses the conflict between the Frenchness of Renoir and the American film production system. He argues that the films were poorly received by audiences in France because Jean Renoir had created works with French themes but had used the schematism of American film, producing a combination which could only disorient the French public.
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De légendaires, les grandes figures féminines des mythes anciens sont devenues, au fil du XIXe siècle, emblématiques. Le mouvement s’amplifie vers la fin du siècle et l’imaginaire « féminin » se nourrit alors d’un discours social qui contribue à construire la féminité en termes de menace et de dépravation. Les figures mythiques prêteront leurs traits à celle de la femme fatale, devenue le symbole de la dégénérescence de la société française. Engrangeant dans son corps représenté tous les vices du siècle, la figure féminine nous est apparue éminemment révélatrice quant à la compréhension d’une époque. Or, la figure de la femme fatale s’avère fondamentalement ambivalente et Lilith, pouvant à la fois incarner l’amour et la destruction, affiche ce double visage de la féminité. Nous démontrons …
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The collector figure, analyzed from 1840 to the end of the l9th century in a large variety of literary and non-literary texts, evolves from an excentric and monomaniac type leading a cloistered life, to a fashionable connoisseur, very ken on exhibiting his possessions. This change in representation proves collecting being totally reconsidered in the period, as well as values associated to it: aristocratic and traditional values of art and art of life versus new republican values of knowledge and science. Private collections, formerly aimed at personal delight, now respond to the duty of national heritage preservation.
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