Project MUSE®: Nineteenth-Century French Studies - Latest Articles
https://muse.jhu.edu/journal/137
Project MUSE®: Latest articles in Nineteenth-Century French Studies.daily12026-05-19T00:00:00-05:00text/htmlen-USVol. 29, no. 3 & 4 (2001) through current issueLatest Articles: Nineteenth-Century French StudiesTWOProject MUSE®Nineteenth-Century French Studies1536-01720146-7891Latest articles in Nineteenth-Century French Studies. Feed provided by Project MUSE®Plots of Land: Revolution and Property Reform in Victor Ducange’s Isaurine et Jean-Pohl ou Les Révolutions du château de Gît-au-Diable (1830)
https://muse.jhu.edu/article/985106
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The revolutionary period in France ushered in radical changes in property law and large shifts in land ownership. Prior to the Revolution, around ninety-five percent of French land was held in divided domain, a situation in which one individual (a seigneur) held the title to the land while another had the right to its use in exchange for dues and other forms of service or homage (Blaufarb 64). Many estates, moreover, had multiple layers of overlords, each with a partial claim to the land. During the French Revolution, the National Assembly undertook to unravel this hierarchy, initially through a system of rachat (buying out) that allowed vassals to purchase from their lords the lands they tilled and later through
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/137/image/coversmallPlots of Land: Revolution and Property Reform in Victor Ducange’s Isaurine et Jean-Pohl ou Les Révolutions du château de Gît-au-Diable (1830)2026-03-06text/htmlen-USPlots of Land: Revolution and Property Reform in Victor Ducange’s Isaurine et Jean-Pohl ou Les Révolutions du château de Gît-au-Diable (1830)2026-03-062026TWOProject MUSE®704482026-05-19T00:00:00-05:002026-03-06Rêves de pierre: la littérature par la sculpture au dix-neuvième siècle
https://muse.jhu.edu/article/985107
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En clin d’œil au célèbre poème sur “La Beauté” de Baudelaire, définie comme un “rêve de pierre” (2: 20), nous proposons d’étudier le rapport entre la sculpture et la littérature à l’âge romantique. Tout semble en effet opposer ces deux formes artistiques, la sculpture étant massive, palpable, immuable dans l’espace et la littérature au contraire composée entièrement de signes s’écoulant dans la durée. Mais entre la pierre et le rêve, entre le tangible et le fluide il y a des interférences qui ont une portée esthétique indéniable. Peu d’études existent à ce jour sur les rapports entre littérature et sculpture au dix-neuvième siècle; un numéro spécial de la revue Nineteenth-Century French Studies a toutefois permis
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/137/image/coversmallRêves de pierre: la littérature par la sculpture au dix-neuvième siècle2026-03-06text/htmlen-USRêves de pierre: la littérature par la sculpture au dix-neuvième siècle2026-03-062026TWOProject MUSE®681062026-05-19T00:00:00-05:002026-03-06Paris, capitale de la mode: rayonnement ou brouillard?
https://muse.jhu.edu/article/985108
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Depuis au moins quatre siècles, la Ville Lumière s’enorgueillit d’être le tribunal du goût pour tout ce qui orne et habille la vie mondaine et moderne. Bien que la mode et ses industries aient fourni à Paris ses lettres de noblesse sous Louis XIV, c’est au dix-neuvième siècle que la ville se pose en véritable arbitre mondial pour tout ce qui brille et scintille. Les modistes avec leur œil pénétrant, les grisettes et leurs mains adroites, les ébénistes, éventaillistes et autres artisans parisiens s’employant à mettre leur technique au service de la beauté, et enfin les vendeuses des grands magasins qui écoulent la pléthore toujours croissante de chapeaux, de vêtements, d’articles finement ouvragés ont fait de Paris
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/137/image/coversmallParis, capitale de la mode: rayonnement ou brouillard?2026-03-06text/htmlen-USParis, capitale de la mode: rayonnement ou brouillard?2026-03-062026TWOProject MUSE®633052026-05-19T00:00:00-05:002026-03-06Desire for a Photograph: Baudelaire’s Imagined Portrait of his Mother
https://muse.jhu.edu/article/985109
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In a letter Baudelaire wrote to his mother in 1865, at the time of his stay in Brussels, he expresses his wish to have a portrait photograph of her (Correspondance 554). He explains carefully how he envisions both the picture and the photographic session and declares that he is obsessed with the idea. This desire for a photograph may seem surprising in light of Baudelaire’s renowned denunciation of the medium in his “Salon de 1859” essay. Yet the letter allows us to see that Baudelaire’s critique of photography targeted a photographic style that had become dominant at the time: the one associated with Realism and clarity. What he describes in the letter to his mother is a different photographic aesthetics—one that
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/137/image/coversmallDesire for a Photograph: Baudelaire’s Imagined Portrait of his Mother2026-03-06text/htmlen-USDesire for a Photograph: Baudelaire’s Imagined Portrait of his Mother2026-03-062026TWOProject MUSE®760472026-05-19T00:00:00-05:002026-03-06A Matter of Patient Dignity: Recovering the Textual Woman in the Goncourts’ Germinie Lacerteux
https://muse.jhu.edu/article/985110
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The UK Association for Medical Humanities defines its field of study as a sustained examination of the practices and science concerned with the human (Hurwitz and Dakin). Rita Charon conceives narrative medicine as a medical ethos to equip physicians with interpretative and analytical skills—to understand their patients, develop empathy, and reflect on their authoritative role—through literary works. The degree to which medical humanities and narrative medicine are kept separated in scholarship reveals a need for bridging them together. The Naturalist novel serves as a natural conduit for both the medical humanities and narrative medicine’s projects of questioning the medical practices and philosophies that emerged
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/137/image/coversmallA Matter of Patient Dignity: Recovering the Textual Woman in the Goncourts’ Germinie Lacerteux2026-03-06text/htmlen-USA Matter of Patient Dignity: Recovering the Textual Woman in the Goncourts’ Germinie Lacerteux2026-03-062026TWOProject MUSE®661352026-05-19T00:00:00-05:002026-03-06Octave Mouret, Experimental Novelist? Reverse Metafiction in Au Bonheur des Dames
https://muse.jhu.edu/article/985111
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Despite some attempts at defending it,1 Émile Zola’s essay “Le Roman expérimental,” first published in Russia in 1879, is more infamous than esteemed. From its first appearance, Zola’s allies and enemies alike had little good to say of it, with both his collaborator Henry Céard and his implacable opponent Ferdinand Brunetière offering near-identical critiques of the compositional method it claimed to advance.Yet there are grounds for rethinking “Le Roman expérimental,” not as a misunderstood insight into the novelist’s art in general, but rather as a glimpse into the structure of one of Zola’s novels, Au Bonheur des Dames. This will involve combining the two texts into what, I shall argue, is a reverse
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/137/image/coversmallOctave Mouret, Experimental Novelist? Reverse Metafiction in Au Bonheur des Dames2026-03-06text/htmlen-USOctave Mouret, Experimental Novelist? Reverse Metafiction in Au Bonheur des Dames2026-03-062026TWOProject MUSE®604682026-05-19T00:00:00-05:002026-03-06On the Threshold of Dreams: Proust and Maine de Biran
https://muse.jhu.edu/article/985112
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From the very first page of Du côté de chez Swann, a theme emerges that will receive extensive development throughout À la recherche du temps perdu—that of sleep, dreams, and awakening. Sleep is presented as an “altered” state of consciousness which makes it difficult to draw the boundaries not only between past and present, imagination and reality, but also between subject and object:Longtemps, je me suis couché de bonne heure. Parfois, à peine ma bougie éteinte, mes yeux se fermaient si vite que je n’avais pas le temps de me dire: “Je m’endors.” Et, une demi-heure après, la pensée qu’il était temps de chercher le sommeil m’éveillait; je voulais poser le volume que je croyais avoir dans les mains et souffler ma
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/137/image/coversmallOn the Threshold of Dreams: Proust and Maine de Biran2026-03-06text/htmlen-USOn the Threshold of Dreams: Proust and Maine de Biran2026-03-062026TWOProject MUSE®793372026-05-19T00:00:00-05:002026-03-06Dinner with Proust: Dreyfusism and Anti-Semitism in À la recherche du temps perdu
https://muse.jhu.edu/article/985113
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With respect to the Dreyfus Affair and the anti-Semitism it exacerbated,1 the conflation of Proust with his narrator in À la recherche du temps perdu has a long and vexed critical history.2 Yet the resemblance of the socialite Marcel Proust to his social-climbing avatar, the narrator, remains partial and problematic: Proust’s Dreyfusism can be identified with the narrator’s but the narrator’s anti-Semitic thoughts cannot be ascribed to the author of the Recherche. Why then does Proust endow his narrator with this bias? I intend to demonstrate Proust’s careful depiction of the relative (but not absolute) independence of the narrator’s Dreyfusism from the Dreyfusism of his Jewish friends Bloch and Swann. Proust thus
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/137/image/coversmallDinner with Proust: Dreyfusism and Anti-Semitism in À la recherche du temps perdu2026-03-06text/htmlen-USDinner with Proust: Dreyfusism and Anti-Semitism in À la recherche du temps perdu2026-03-062026TWOProject MUSE®976952026-05-19T00:00:00-05:002026-03-06How Do You Bury a Poet? Baudelaire Down Under
https://muse.jhu.edu/article/985114
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“J’ai plus de souvenirs que si j’avais mille ans”“How do you bury a poet?” asks the first verse of “Charles Baudelaire’s Grave,” one of the last poems to be written by visionary Australian poet Dorothy Featherstone Porter (1954–2008) before her premature death from breast cancer. This is a provocative question indeed to ask poetry scholars, professionally trained exhumation experts. News in April 2023 of the passing of another Australian poet, John Tranter (1943–2023), sparked that immediate and instinctive drive to unearth his work. Random titles of poems, collections he had written, even broken lines of verse were immediately called back to mind. Tranter seen through the eyes of French studies (broadly intended)
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/137/image/coversmallHow Do You Bury a Poet? Baudelaire Down Under2026-03-06text/htmlen-USHow Do You Bury a Poet? Baudelaire Down Under2026-03-062026TWOProject MUSE®643872026-05-19T00:00:00-05:002026-03-06