By Nigel Harkness, Lisa Downing, Sonya Stephens
This quantity attracts participants from all over the world who symbolize the total variety of methods to scholarship in nineteenth-century French experiences: historic, literary, cultural, artwork ancient, philosophical, and comparative. The subject of the amount - delivery and dying - is one with specific resonance for nineteenth-century French experiences, because the 19th century is usually perceived as an age of latest lifestyles and maintenance. it's the epoch that witnessed an efflorescence of commercial and creative development, the delivery of the person and the start of the unconventional, and the production of an city inhabitants within the significant demographic shift from the agricultural provinces to Paris. whilst, although, it's the century of Decadence and degeneration idea, marked via a renowned morbid aesthetic within the inventive sphere and a fascination with criminal activity, ethical decay and the pathologization of racial and sexual minorities within the clinical discourses. it's also the century during which mirrored image on tactics of creative production starts off to problematize ideas 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 hot and cutting edge and a paranoid experience of its personal encroaching decay, the dual issues of beginning and loss of life open onto a number of matters - literary, social, historic, inventive - that are explored, interrogated and reassessed within the essays contained during this quantity
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Additional resources for Birth and death in nineteenth-century french culture
L A R R Y D U F F Y Perdue en traduction: Translation, Betrayal and Death in Mérimée’s Carmen Abstract: This essay explores Prosper Mérimée’s Carmen as a document concerned at several discursive levels with the dissemination of information about other cultures, and at the same time as a document which is morbidly fascinated with this precise area of activity as a site of mortal risk. The intradiegetic narratives of Don José and Carmen are rich in the use of words from other languages, and in the discussion of the use of foreign terms and languages as strategies of deceit.
The particular cultural context in which he finds himself confronted by Carmen’s polymath capriciousness and ruthlessness is already one in which he is uncertain of his own cultural identity: he is a Basque in Castilian Spain. On the one hand he is noticeable as being from a particular area, but on the other, his social identity is less obvious. Furthermore, he is not merely in Castilian Spain, he is in Andalusia. A rather curious detail mentioned by the narrator in his footnote to his first encounter with José’s accent is that ‘[l]es Andalous aspirent l’s, et la confondent dans la prononciation avec le c doux et le z, que les Espagnols prononcent comme le th anglais’ (p.
358) Once he has thereupon offered her a cigar, her next move is a fauxnaïf enquiry about linguistic and cultural origin. ’; ‘Vous êtes du moins Andalouse. Il me semble le reconnaître à votre doux parler’). These fit progressively more intensely into orientalist discourses on Spain, and finally move from Andalusia to the speculation: ‘Alors, vous seriez donc Moresque, ou... je m’arrêtai, n’osant dire: juive’ (p. 359). Once Carmen reveals her cultural identity (‘vous voyez bien que je suis bohémienne’), the narrative shifts abruptly, via her offer to ‘di[re] la baji’, that is, to indulge in fortune-telling, to talk, on the narrator’s part, of sorcery and the fact that he is in the company of a ‘ser- Translation, Betrayal and Death in Mérimée’s Carmen 55 vante du diable’ (p.
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