publisher colophon

271Index

Adorno, Theodor, 8–10, 200, 204, 208n15, 209n20, 258n56

Sartre and, 9–10

Agamben, Giorgio, 214n19, 248n26

agency, individual, 1, 2, 10–11, 33, 36, 37, 43, 50, 67, 74, 76–77, 120, 148, 149, 152, 162, 175, 189, 196–98, 237n20

art and, 4, 6, 8–11, 21, 27–28, 64, 76–77, 107, 165, 202, 206n7, 213n15

body and, 141, 148–49, 159, 171

Algeria, 173–74, 195–96, 252n3, 256nn2930, 25657n31

allegory, 7, 27, 64, 97, 140

Baudelaire and, 41–42, 47, 64, 84, 87–89, 91, 94, 102, 104–7, 110–11, 116, 124, 133, 134, 178, 203, 223n1, 224n2, 22627n13, 228n17, 22829n21, 23233n44, 254n17

Benjamin and, 106, 238n25

the body and, 133–34

in Camus, 174, 179, 185–87, 192, 194, 200, 216n25, 256n28, 256n30

de Man and, 219n37

irony and, 37, 39, 41, 42, 221n48

in Rachilde, 143–44, 149

Teskey on, 133, 243–44n57

violence and, 84–85, 91–92, 97, 111–12, 133–34, 143–44, 149, 178, 185–86, 203–4, 213n15, 24344n57

L’Animale, 144–48

l’art pour l’art or art pur, 3, 5–6, 57, 59, 71–72, 104, 139, 140

“Assommons les pauvres !” 66, 81–82, 136–37, 170–71, 185, 187, 244n1

bad faith, 31, 183, 184, 195, 209n20, 21314n17, 223n1, 253n11

Baer, Ulrich, 25–26, 120n2, 213n17

Baise-moi, 154–72, 194, 24849n28, 249n30, 250n37, 251n40

Balzac, 235nn9–10

La Fille aux yeux d’or, 98–101, 104, 105, 235n9

Bara, Joseph, 88, 89, 231n36

Barrès, Maurice, 142, 246n9

Bartman, Saartjie, 118, 239n32

Baudelaire, Charles: canonization as poet of trauma, 1–4, 19–26, 136–37, 170, 171, 244n1

legacy, 135–38

modernism and, 12–14, 53–56, 96–99, 104–5

revolution and, 58–59, 79–82, 89–92

Baudelaire’s works: “À une passante,” 23, 106, 143–44

“La Belle Dorothée,” 123–29, 24142n48, 242n49–51

“Les Bijoux,” 165

“La Corde,” 83–94, 97, 231nn3637, 23233n44, 233n47

“Le Cygne,” 64, 22627n13, 241n45

“De l’essence du rire,” 38, 39–52, 184, 21718n30, 21920n42, 220n44, 22122n52, 254n16

Exposition universelle de 1855, 117–23

“Femmes damnées,” 163, 164

“Les Fenêtres,” 186

“Les Foules,” 84, 102–3, 104, 108, 236n15

“Le Gâteau,” 90, 92, 227n15, 230n29, 232n42

“L’Héautontimorouménos,” 31–36, 37, 54, 59, 69–70, 21415n21, 217n27

“L’Invitation au voyage,” 65, 145, 251n39

“Une Martyre,” 105–12, 235n11, 237n18

“Une Mort héroïque,” 65–79, 227n15, 22728n16, 228n20, 22930n24, 231–32n39

Le Peintre de la vie moderne, 19, 98, 148

“Salon de 1846,” 157–58, 176

“Les Sept Vieillards,” 206n7

“La Solitude,” 231n35

Le Spleen de Paris, 53–94, 112–29

“Les Yeux des pauvres,” 80–81

Benjamin, Walter, 109–10, 139, 203, 250–51n38

Baudelaire’s historicity, 59–60, 63, 78–79, 93

on Baudelaire’s modernity, 20–26

on commodification and, 93, 103, 106–7, 236n14, 237n22

shock and, 20–26, 21011n6, 211n7, 211n9, 212nn12–13

Bernard, Suzanne, 61

Bersani, Leo, 210n3

“Les Bijoux,” 165

black Venus, 118–19, 123–29, 131, 239n33, 245n2

Saartjie Bartman and, 118–19

Blood, Susan, 209n20, 210n4, 214n17

body, 12–14, 107–8, 114, 117–18, 135, 196, 234n3, 235n10, 236n14, 236n16, 237n22

in Baise-moi, 160–61, 163–70

in La Chute, 191–98

ethics and, 2–3, 183, 204

female body in Baudelaire, 95–134

la femme sauvage, 117–18

in Mallarmé, 129–34

modernism and, 95–98

in politics, 59–60, 74–75, 85–90

Rachilde, 145–54

reclaimed as waste, 163–72

as resistance to representation, 179, 192–96

Bonnefoy, Yves, 124–25

bourgeoisie, 3, 60–61, 103, 106, 148–49, 168, 176, 236n14, 237n21, 255n23

modern, 168, 170–72

Breillat, Catherine, 155, 157, 166, 171, 251n40

Breton, André, 167

Brison, Susan J., 250n36

Brown, Laura, 161, 250n35

Burt, Ellen, 213n15, 22627n13

Burton, Richard, 22425n5, 244n1

Butler, Judith, 209n19, 215n24, 234n3, 258n5

cafrine, 241n47, 24243n53

Camus, Albert, 5–6, 10, 138, 173–98, 199–200, 201, 25152n1, 252nn23, 252n7, 25253n9, 256n30, 257n35

allegory and, 174, 179, 185–87, 192, 194, 200, 216n25, 256n28, 256n30

ethics of imagination and, 191–98, 255n24, 256n28, 25657n32, 257–58n1

guilt and, 187–91, 253n12, 254n16, 254n18, 25455n20, 256–57n32

irony as counterviolence and, 10–11

poetics of terror, 14

Sartre and, 11, 174–76, 180–82, 197–98, 252n2

witnessing and, 11, 185, 189–90, 191–92, 198

Camus’ works: La Chute, 181–87, 193–97, 199, 200, 254n19, 25455n20, 255n24, 256n28, 25657n32, 257–58n1

L’Homme révolté, 175–82

capitalism, 20, 22, 60–61, 99–101, 121, 175–76, 23435n6, 23738n24

Caruth, Cathy, 10, 33, 34, 36, 218n32

censorship, 56, 74–76, 172, 22930n24, 250n37

Chambers, Ross, 2089n18, 218n31, 226n13, 243n56, 244n59

La Chute, 181–87, 191–200, 254n19, 25455n20, 255n24, 256n28, 25657n32, 25758n1

Cohen, Margaret, 212n12, 212n14, 225n6

colonialism, 104–5, 119–24, 127–28, 174, 196, 240n27, 241n45, 252n3, 257n32

commerce, 81, 91, 94, 203, 207n9, 231n35, 23233n44, 233n46

commitment, 4–11, 197, 201–2

Camus and, 174, 180, 182, 197

form and, 5–6

poetry and, 5

testimony vs., 9

commodity, 64, 98–107, 112, 119–20, 122–23, 128, 133

conspiracy, 65–79, 229n23

“La Corde,” 83–94, 97, 231nn3637, 23233n44, 233n47

counterviolence, 10–15, 29–30, 55, 199, 215n23, 245n2

in Camus, 178, 182, 192

in Despentes, 156–57

irony and, 13, 30

in Rachilde, 138–44

reading as, 136–40

Sartre and, 197–98

Crystal Palace, 119, 240n36

cultural studies, 7

“Le Cygne,” 64, 22627n13, 241n45

dandyism, 80, 91, 148–54, 168, 247nn19–20

Daumier, 22223n57

decadence, 140–44, 156, 169, 192

Le Décadent, 140

deconstruction, 3, 7, 12, 20–21, 25, 36–40, 50

Delacroix, 100, 237n18

“De l’essence du rire,” 39–52

Delphine and Hippolyte, 163, 164

de Maistre, Joseph, 232n43

de Man, Paul, 20–21, 25, 26, 38, 44–46, 47–48, 207n10, 210n2, 219n37, 220n47, 221n49, 221n51, 222n56

“The Rhetoric of Temporality,” 44–46, 47–48, 210n2, 219n37, 220n47, 221n49, 221n51, 222n56

de Saint-Pierre, Bernardin and Virginie, 40–43

Despentes, Virginie, 5, 13–14, 138, 139–40

Baise-moi, 154–72, 194, 24849n28, 249n30, 250n37, 251n40

“Les Dons des fées,” 227n14

Duval, Jeanne, 118–19, 23940n34

engagement. See commitment

English pantomime, 51–52, 223n58

“L’Étranger,” 173, 25152n1

Evans, Margery, 158, 238n28

exoticism, 46–47, 117–23, 239n30

Exposition universelle de 1855, 117–23, 240n36, 240n38, 241n43

Eymery, Marguerite. See Rachilde

Felman, Shoshana, 199–200, 25455n20, 25758n1

Felski, Rita, 245n1

“La Femme sauvage et la petitemaîtresse,” 112–17

“Femmes damnées: Delphine et Hippolyte,” 163

“Les Fenêtres,” 186

fetishism, 98–102, 107, 139, 237n22

La Fille aux yeux d’or, 98–101, 104

Flaubert, 61, 80, 101, 163, 21112n10

form: commitment and, 5–6

experimentation with, 8

ideology and, 53–69

prose poem and, 59–65

violence and, 93, 149, 167, 178–80

Foucault, Michel, 29, 148–49, 180, 205n3, 214n20, 215n22, 247n20, 256n9

“Les Foules,” 84, 102–3, 104, 108, 236n15

Freud, Sigmund, 23, 211n8, 212nn11–12

Friedrich, Hugo, 22324n2

Gasarian, Gérard, 22627n13, 238n27

“Le Gâteau,” 90, 92, 227n15, 230n29, 232n42

Gautier, Théophile, 5, 53, 92, 21011n6

Guerlac, Suzanne, 208n13, 217n29

guilt, 186, 195–96

politics of, 187–91

Guys, Constantin, 102, 213n15

Habermas, Jürgen, 54

Hannoosh, Michèle, 220n44, 22021n48, 228n19, 238n25

Hanssen, Beatrice, 28, 214n20

héautontimorouménos, 31–36, 37, 54, 59, 69–70, 21415n21, 217n27

Hiddleston, James, 230n29

Hoffmann, E. T. A., 48

Holocaust, 9, 25–27, 195–96, 199–201, 214nn1819, 254n20, 257–58n1

Auschwitz, 199–200, 208n17

L’Homme révolté, 175–82

“Hop Frog,” 70–71

Horace, 74–75, 229n22

Hugo, Victor, 19

hysteria, 245n6, 246n9

identification in art, 11, 15, 35, 64, 103, 107–8, 110–11, 172

imperialism, 117, 119–24, 173

logic of, 177–79

intellectual defeatism, 25556n25

“L’Invitation au voyage,” 65, 145, 251n39

irony, 4–6, 11, 13, 15, 136, 184–85, 193, 199, 216n25, 217n28, 218n33, 219n37

Camus and, 184–86, 189–90, 192–93

as counterviolence, 29–30, 49–52, 182, 189, 198

“De l’essence du rire,” and, 39–52

“L’Héautontimorouménos,” and, 31–36

history of relations to critique, 36–39

surnaturalisme and, 56–59

as trauma, 44–48

Jameson, Fredric, 96–97, 206n6, 234n2, 237n23

Johnson, Barbara, 57, 61, 79–80, 23334n48

La Jongleuse, 141, 143

Kierkegaard, Sören, 37–38

LaCapra, Dominick, 2067n8, 208n16, 210n5, 222n56, 25455n20, 256n30

laughter, 38, 39–52, 184, 21718n30, 21920n42, 220n44, 22122n52, 254n16, 254n19

comique absolu and, 46, 47–48, 73, 220–21n48

comique significatif and, 46–48, 73, 22021n48, 228–29n21

purity vs., 40

shock of, 48–49

lesbianism, 163, 164–65, 25051n38, 251n39

Levi, Primo, 25455n20, 255n25

Lévy, Bernard-Henri, 25556n25, 257n35

Leys, Ruth, 36, 218n32

Lionnet, Françoise, 128–29, 24243n53

Louis XVI, 89

Louis-Philippe, 106–7, 237n21

MacLean, Marie, 137

Mallarmé, Stéphane, 129–34

Manet, Edouard, 83, 86–87

Marder, Elissa, 21112n10, 212n12

Mazauric, Marion, 155, 251nn41–42

McClintock, Ann, 119

Mercier, Louis-Sébastien, 89, 231n38

Miller, Christopher, 124, 241n45, 241nn4748, 24243n53

modernism, 3–6, 12–13, 27, 192, 207n9, 207n11, 207n12, 209n20, 214n18, 223n1, 22627n13, 234nn1–2

French, 14–15, 53–55, 199

gender and, 104–5, 154, 172

recession of reference and, 96–99, 112, 133

modernity, 3–5, 12, 13, 19, 30, 54, 204, 206nn67, 210n1, 210n4, 21112n10, 21314n17, 21718n30, 220n43, 222n53, 22324n2, 232n43, 23435n6, 245n1

violence of, 4–11, 21

Monsieur Vénus, 140–44, 148–54, 194, 24748n21

“La Mort des amants,” 237n23

Napoléon III, 76, 77

Newmark, Kevin, 48–49, 21213n15, 222n53

Oehler, Dolf, 232n42

Orr, Linda, 79, 233n46

Pachet, Pierre, 93, 21517n25, 229n23, 230n27

Parnassianism, 58, 114, 152, 236n13, 23839n29

Le Peintre de la vie moderne, 19, 98, 148, 159, 213n15

Perec, Georges, 26

performativity, 29, 202, 203, 234n3, 244n2, 245n1

performative force and, 8–9, 30, 97, 154, 178, 202–3, 208n18

“Le Phénomène futur,” 130–32

Pichois, Claude, 58–59, 224nn34, 241n46

Poe, Edgar Allan, 35, 69–70, 217n29, 232n43, 238n26, 240–41n41

“Hop Frog,” 70–71

poet’s role, 3

as “bad girl” in Despentes, 167

as detective, 109–11

as flâneur, 75, 84, 102–3, 108, 206n7

as prostitute, 102–4, 159, 186

as ragpicker, 62–65, 226n12

as traumatophile, 20–24

as victim and executioner, 6, 31–34, 71, 91–94, 110–11

pornography, 140, 154, 155, 165–66, 172, 251n40

Poulet-Malassis, Auguste, 75

prose poetry, 59–65, 225n9, 239n31

prostitution, 97–104, 124, 127, 141, 146, 23435n5, 23435n6, 235n12, 235–36n13

of poetry, 102–5

psychoanalysis, 7, 20, 23, 24

Pygmalion, 151–52

Quillot, Roger, 180, 252n8

Rachilde, 5–6, 13–14, 138, 139–40, 140–54, 245n3, 246n9, 24748n21, 248n22

Rachilde’s works: L’Animale, 144–48

La Jongleuse, 141, 143

Monsieur Vénus, 140–44, 148–54, 194, 24748n21

Ramazani, Vaheed, 216n25

Rancière, Jacques, 207n9, 214n18

rape, 160–62, 165, 238n27, 250nn35–36

Raser, Timothy, 120, 240n37

representation, 28

crisis of, 1, 3–5, 9, 12–13, 19, 21–28, 35, 38, 96, 199–200, 222n55

Holocaust and, 9, 25–27, 195–96, 199–201

and reference, 5, 24, 27, 55–56, 96–97, 129, 132–33, 179

violence of, 28–30

republicanism, 58–59, 66–67, 75–76, 79, 88, 224n3, 22425n5, 231n33, 233n46

Revolution of 1848, 58, 59, 88–92

Baudelaire’s disillusionment with, 83, 88–89

rhetorical legacy of, 79–82

utopianism and, 91–92

“The Rhetoric of Temporality,” 44–46, 220n47

Richon, Emmanuel, 23940n34

Rony, Fatimah Tobing, 126

Roubiac, Louis de, 232n41

Rouland, Gustave, 75

sacrifice: Baudelaire and, 89–91, 94, 203, 232n43

Camus and, 175–77, 196, 21517n25, 230n27, 256n32

Despentes and, 158

Rachilde and, 141, 146–48, 151

“Salon de 1846,” 157–58, 176

Salut public, 58

Sartre, Jean-Paul, 5, 7–11, 54, 180–82, 197–98, 208n13, 209n20, 253n11, 253n13, 257n33, 257n35

Adorno vs., 9–10

on bad faith, 31, 209n20, 213n17

on Baudelaire, 31, 54, 181, 197–98, 207n12, 21314n17, 253n11

and genre, 7–8

Qu’est-ce que la littérature, 7–8, 10

rift with Camus, 11, 174–75, 180–82, 25253n9, 253n11, 25556n25, 257n33, 257n35

on violence, 197

Schlegel, Friedrich, 37, 38, 44, 21819n34, 220n46, 22728n16

Schor, Naomi, 99, 101, 234n5

Schultz, Gretchen, 23536n6, 238n29

Second Empire, 61, 76, 79, 82, 90, 105–6, 151, 212n13, 230n27, 237n21, 238n26, 240n37

Sedgwick, Eve Kosofsky, 248n25

self-reflexivity, 30–31, 36–37, 46, 53–57, 67, 96–98, 105, 133, 196

“Les Sept Vieillards,” 206n7

sexuality, 118–19, 141, 150–51, 235n9, 236n8, 251n40

sexual violence. See rape; violence

shame, 152–53, 157, 160, 166, 169, 194–95, 214n19, 248nn25–26

shock, 1, 3–4, 8–9, 19–27, 211n7, 211n9, 21112n10, 212n14, 213n16, 222n53

laughter as, 48–52

poetics of, 3, 23–24

protection from, 23, 159

“La Solitude,” 231n35

Le Spleen de Paris, 53–94, 112–17, 123–29

Spoiden, Stéphane, 249n30

Stephens, Sonya, 61, 225n9, 230n29

suicide, 83–94, 229n23

surnaturalisme, 56–59, 67, 72, 114–15

Swain, Virginia, 74, 224n4, 228n17, 229n22, 230n28, 232n44

Tasso, Torquado, 33–34

Terdiman, Richard, 61, 215n23, 219n38, 22526n10, 22627n13

terror, 11, 14, 193, 195–98, 201–3, 209n19

Baudelaire and, 82, 88, 90–92

Camus as moral terrorist, 180–81

Camus’ definition of, 183

contemporary climate and, 1–3, 11, 14, 201–3

diagnosis in L’Homme révolté, 175–82

as narrative principle in La Chute, 182–87

Teskey, Gordon, 133, 24344n57

testimony, 1, 4–6, 9–11, 25–26, 196, 199–201, 207n9, 209n10, 244n59

in La Chute, 185, 189–90, 191–92, 198–201

commitment vs., 9

and witness, 21, 95–134, 135, 147–48, 199–200, 238n27, 243n55, 244n58

Thelma and Louise, 162

Thélot, Jérome, 21517n25, 230n27, 238n28, 239n31

Third Republic, 151

Thrinh Thi, Coralie, 154–55, 166

totalitarianism, 175–76, 178–80, 190, 257n35

and Nazism, 174, 190, 195–96

trauma, 1–7, 9–10, 19–20, 199–201

and Baudelaire, 19–28, 33–36

history and, 20–23

Holocaust and, 9, 25–27, 199–201

insidious, 161

irony as, 44–48

laughter as, 49–52

modernism and, 55, 207n9

rape and, 160–62, 238n27, 250nn35–36

violence vs., 21–22. See also Baudelaire, Charles

Trezise, Thomas, 208n17, 214n18

La Tribune nationale, 58

“Une Martyre,” 105–12, 235n11, 237n18

“Une Mort héroïque,” 65–79, 80, 22930n24, 23132n39

United States, 92, 202, 205n1, 209n19

Vallette-Eymery, Marguerite. See Rachilde

Vichy régime, 192

violence: allegory and, 84–85, 91–92, 111–12, 133–34, 143–44, 185–86

in Baudelaire’s poetics, 27–28, 51, 129, 135

Baudelaire’s vision of, 2, 82, 91–92, 93–94, 203

Camus on, 175–80, 192, 196–98

critique of; 12–14, 198

defined, 28

Despentes’ vision of, 162

as equalizing force, 81–82, 136–37, 170–71

and form, 93, 149, 167, 178–80

reading and, 136–38

and representation, 28–30

sacrificial, 88–91, 101, 170

Sartre and, 196–98

sexual, 105, 155, 157–59, 161–62, 165, 238n27, 250nn35–36

and shame, 152–54

structural or institutional, 80–82, 97, 116–17, 147, 156, 158, 160–61, 188–89

trauma vs., 21–22. See also counterviolence; terror

woman: as commodity, 98–100, 104–12, 132–34

as counterviolent reader, 135–73

exoticism and, 123–29

felines and, 146–48, 247n18

femme fatale, 140, 141

femme sauvage, 149, 156, 160

modernism/modernity and, 95–102, 104–5

as pornographer, 165–67, 171–72

as regressive materiality, 112–17, 144–48, 158–62, 166

sexual violence and, 157, 160–62

World War II, Camus and, 173–75

wound culture, 1, 15

“Les Yeux des pauvres,” 80–81

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Additional Information

ISBN
9781421429304
Related ISBN
9781421429298
MARC Record
OCLC
1048233279
Pages
271-276
Launched on MUSE
2018-08-15
Language
English
Open Access
Yes
Creative Commons
CC-BY-NC-ND
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