31 results on '"Anne-Florence Gillard-Estrada"'
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2. Xavier Giudicelli, Portraits de Dorian Gray. Le texte, le livre, l’image. Préface de Pascal Aquien
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Anne-Florence Gillard-Estrada
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Wilde (Oscar) ,The Picture of Dorian Gray ,book illustration ,History of Great Britain ,DA1-995 - Published
- 2017
3. 'Consummate Too Too': On the Logic of Iconotexts Satirizing the 'Aesthetic Movement'
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Anne-Florence Gillard-Estrada
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George Du Maurier ,Iconotexts ,Aestheticism ,Walter Pater ,periodicals ,Punch ,American literature ,PS1-3576 ,English literature ,PR1-9680 - Abstract
The object of this paper is to examine a series of “iconotexts” (Alain Montandon), such as cartoons in periodicals, illustrations, cards, adverts, etc., that were produced in response to the Aesthetic Movement in the context of late 19th-century marketplace culture (Regenia Gagnier). These iconotexts entail a double reading of the relation between image and text, but most important is their dialogue with high-art productions of Aestheticism. The question of gender, however, is not so much linked to the formal relation between image and text but to the discourse deployed by these iconotexts since what is aimed at is a caricature based on gendered constructions of the category of “Aesthetes”. Finally, one intends to show the poetics at work in such iconotexts by studying those oft-recurring catchphrases that comically and yet creatively encapsulate the aesthetics and formula of life propounded by authors and artists of the Aesthetic Movement.
- Published
- 2016
4. Lene Østermark-Johansen, Walter Pater and the Language of Sculpture
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Anne-Florence Gillard-Estrada
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History of Great Britain ,DA1-995 - Published
- 2013
5. Alma-Tadema et le détournement de la culture savante
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Anne-Florence Gillard-Estrada
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History of Great Britain ,DA1-995 - Abstract
Alma-Tadema’s recreations of Antiquity were informed by his vast archaeological and literary knowledge of Roman and Greek culture, but at the same time, he dealt with themes that were easily readable by middle-class or popular publics. This paper aims at showing that there are different readings of his painting that inscribe him both in the “commodity culture” of the age—because of his interest for objects and archaeological artefacts that are reproduced time and again in his canvases—and in the Aesthetic Movement that posited the doctrine of art for art’s sake. Alma-Tadema also resorted to erudition in order to offer a subversive vision of Antiquity centred on objects. The painter thus expressed the “repressed” of Victorian society—such as unorthodox forms of sexuality or dionysiac practices—thanks to the reutilisation of antique artefacts.
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- 2010
- Full Text
- View/download PDF
6. Bénédicte Coste and Catherine Delyfer, eds., Aesthetic Lives: ‘New experiences, new subjects of poetry, new forms of art’
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Anne-Florence Gillard-Estrada
- Subjects
aestheticism ,art ,History of Great Britain ,DA1-995 - Published
- 2015
7. Between the Olympian and the Dionysian: Pagan Energy in Paintings by Frederic Leighton and Lawrence Alma-Tadema
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Anne-Florence Gillard-Estrada
- Subjects
Alma-Tadema (Lawrence) ,Apollonian ,British classical revival in Painting ,Dionysian ,Greek ideal ,Leighton (Frederic) ,History of Great Britain ,DA1-995 - Abstract
This article aims at examining the tension that characterizes some representations of Antiquity in the works of British painters of the 1860s-1890s as well as the critical reception of those works in contemporary periodicals and monographs. The artists who revived the subjects and forms of Antiquity have been labelled as ‘Classical Painters’ and ‘Olympians’ because of their supposed idealization of Antiquity. And yet the term ‘Olympian’ is highly problematic as it evacuates the ambivalence that characterizes that painting. Such taxonomy indeed evokes the Apollonian while precluding the Dionysian dimension that is in fact present in some of their representations of the antique body. This article first draws on examples taken from Frederic Leighton’s production to show the conflict between the Greek ideal as propounded by the neo-Winckelmannian aesthetic and academic tradition and a more controversial vision of Greek culture exploring more unconventional aspects of paganism. Leighton was in fact deeply influenced by Walter Pater’s revision of Greek culture. Lawrence Alma-Tadema also aimed at exploring the pagan and Dionysian dimensions in his own representations of rituals. The return to Greece in painting was therefore riddled with contradictions, but it contributed to the re-definition of the aesthetics associated with Antiquity.
- Published
- 2014
- Full Text
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8. Bénédicte Coste (ed.), Essais Anglais, Walter Pater
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Anne-Florence GILLARD-ESTRADA
- Subjects
English language ,PE1-3729 ,Social sciences (General) ,H1-99 - Published
- 2013
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9. The Resurrected Youth and the Sorrowing Mother: Walter Pater’s Uses of the Myths of Dionysus and Demeter
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Anne-Florence Gillard-Estrada
- Subjects
History of Great Britain ,DA1-995 - Abstract
In the mid-1870s, Walter Pater wrote two essays on Greek mythology, ‘A Study of Dionysus’ and ‘Demeter and Persephone’, in which he wondered about the relevance of Greek myths to the modern mind and advocated empathy with the primitive mind. In these two essays, he explains his method of composition as one of selection, modification and even ‘refinement’ of the material available to him and he chooses indeed certain aspects of those myths in order to emphasize their Dionysiac or their Chthonian elements. However, there is a notable tension between the Apollinian, hellenizing tendency which in these writings is expressed through his insistence on the plastic, ‘humanized’ embodiments of these myths, and between his acknowledgment of darker elements. Pater in fact uses and appropriates these myths in order to deploy varying and opposed discourses centred on the respective figures of Dionysus and of Demeter while reasserting some of the controversial themes put forth in the earlier essays he collected in the Renaissance volume.
- Published
- 2008
10. Les dialogues de Walter Pater avec Platon : le philosophe et l’amoureux
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Anne-Florence Gillard-Estrada
- Subjects
History of Great Britain ,DA1-995 - Abstract
This paper attempts to re-read Walter Pater’s first articles in the light of their Platonic intertextuality. Thanks to untranslated Greek excerpts, Pater aimed at legitimizing the Platonic discourse on love and on male beauty which was then being obliterated by Plato’s translator, Benjamin Jowett. However, Pater’s divergence from Plato is often underestimated. He shunned the Platonic distrust of the body, the senses and the ‘colours’ of the world, and he never accepted the Platonic primacy of the realm of Ideas. And in his essays on Plato, collected in Plato and Platonism (1895), he took up the aesthetics and the principles formulated in The Renaissance (1873). In his very personal reconstruction of Plato, Pater thus reasserted the role given to the sensible and the visible.
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- 2006
- Full Text
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11. Stefano Evangelista. British Aestheticism and Ancient Greece: Hellenism, Reception, Gods in Exile
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Anne-Florence Gillard-Estrada
- Subjects
History of Great Britain ,DA1-995 - Published
- 2010
12. Ideal yet Actual: Actresses Posing as Antique Heroines in Late-Victorian 'Classical' Portraits
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Anne-Florence Gillard-Estrada
- Subjects
Watts (George Frederic) ,Leighton (Frederic) ,Poynter (Edward) ,portraiture ,Victorian painting ,subject pictures ,Visual arts ,N1-9211 - Abstract
The late-Victorian neoclassical artists George Frederic Watts, Frederic Leighton and Edward Poynter posed three famous actresses, Ellen Terry, Dorothy Dene and Lillie Langtry, in paintings whose subjects were drawn from Antiquity. The choice of mythological or tragic themes would categorize these works as “subject paintings” and not as portraits and yet the actuality of and likeness to the sitter blur such classifications. Building on research on 18th-century portraiture, this article studies a number of works that help address issues linked to their unstable categorisation as portrait or “subject picture”. Besides, two of the artists were romantically involved with the sitters, which raises autobiographical issues. All in all, the painters resorted to Antiquity in order to ennoble the celebrities at a time when models and actresses were frowned upon. However, this artistic ambition collided with the commodification of these actresses’ faces in the context of marketplace culture.
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13. L'esthétisme britannique (1860-1900). Peinture, littérature et critique d'art
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Anne-Florence Gillard-Estrada, Xavier Giudicelli, Équipe de Recherche Interdisciplinaire sur les Aires Culturelles (ERIAC), Université de Rouen Normandie (UNIROUEN), Normandie Université (NU)-Normandie Université (NU)-Institut de Recherche Interdisciplinaire Homme et Société (IRIHS), Normandie Université (NU)-Normandie Université (NU)-Université de Rouen Normandie (UNIROUEN), Normandie Université (NU), Centre Interdisciplinaire de Recherches sur les Langues et la Pensée - EA 4299 (CIRLEP), Université de Reims Champagne-Ardenne (URCA)-Maison des Sciences Humaines de Champagne-Ardenne (MSH-URCA), Université de Reims Champagne-Ardenne (URCA)-Université de Reims Champagne-Ardenne (URCA), Gillard-Estrada, Anne-Florence, Giudicelli, Xavier, Teyssandier, Bernard, and Haquette, Jean-Louis
- Subjects
Préraphaélisme ,Critique d'art -- Grande-Bretagne -- 19e siècle ,[SHS.ART]Humanities and Social Sciences/Art and art history ,Peinture -- Grande-Bretagne -- 19e siècle - Abstract
International audience; Corps sensuels et alanguis, harmonie des formes et des couleurs, culte de la beauté et de la sensation: c'est au Royaume-Uni, au cours du dernier tiers du règne de Victoria (1837-1901), que naît l’esthétisme, sur lequel cet ouvrage a l’ambition d’offrir un éclairage pour un public francophone.Courant artistique et littéraire multiple et contradictoire, associé à des peintres tels que Burne-Jones, Leighton, ou Whistler, à des écrivains comme Pater, Ruskin, Swinburne ou Wilde, l’esthétisme est à la fois intrinsèquement britannique – fondé sur un prolongement de l’art préraphaélite et le rejet d’une industrialisation qui a radicalement transformé les paysages et les modes de vie du Royaume-Uni au fil du XIXe siècle – et résolument européen, puisant ses sources dans la philosophie allemande et chez des écrivains français comme Baudelaire ou Gautier. Le mouvement esthétique est également trans-artistique et ne saurait se saisir qu’à travers la mise en regard du texte et de l’image – l’étude de l’influence réciproque de la peinture et de la littérature et l’examen d’une critique d’art subjective et créatrice.Ce volume se propose de cerner les contours de ce mouvement polymorphe, qui trouble les genres et les catégories, à travers la traduction richement annotée de quelques-uns des écrits critiques clefs qui en définissent ou en illustrent les principes. La seconde partie de l’ouvrage réunit quatre études rédigées par des spécialistes du champ. Elles portent sur les motifs fondateurs de l’esthétisme et interrogent les rapports inter-artistiques au cœur d’un mouvement qui se situe au seuil de la modernité et dont l’influence excède les frontières strictes du Royaume-Uni.
- Published
- 2020
14. 'Not so, surely, looked the Greeks': Alma-Tadema’s Reconstructions of Grecian Scenes
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Anne-Florence Gillard-Estrada
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History ,Mores ,peinture victorienne ,media_common.quotation_subject ,Rome ,Context (language use) ,peinture de genre ,peinture d’histoire ,media_common ,Literature ,Painting ,Greece ,business.industry ,Taste (sociology) ,General Medicine ,Victorian painting ,antiquity ,language.human_language ,genre painting ,Ancient Greece ,Flemish ,language ,Ideology ,Grèce ,Greeks ,business ,antiquité ,historical painting - Abstract
This article addresses Alma-Tadema’s reconstructions of scenes set in ancient Greece. His Greek subjects raise issues pertaining to the transition in the contemporary pictorial context from history painting to historical genre. Alma-Tadema was influenced by the Flemish genre painters and by the French Néo-Grec movement and his reconstructions of Greek history are in fact everyday-life scenes. They privilege social experience over noble action and simple emotions over elevated sentiment, and so fitted the Victorian taste for genre. Yet perusal of the critical reception of his works shows that the commentators still established distinctions between Greek and Roman subjects—notably because Greece was still expected to conform to a number of aesthetic conventions as well as to gendered or racialist considerations. Moreover, because Alma-Tadema and a number of critics frequently established analogies between the ancients and Alma-Tadema’s contemporaries, the painter in fact held an ambiguous mirror up to his contemporaries. His reconstitutions of Greece tackle unorthodox sexual mores and depicted physical types that were perceived as inappropriate for the Greeks. They therefore went against the aesthetic codes that subsisted when representations of the Greeks were concerned, which raised aesthetic and ideological expectations that were less prominent in the case of Roman subjects. Cet article se propose d’aborder la question de la reconstruction de scènes situées dans la Grèce antique par le peintre Alma-Tadema. Les sujets grecs d’Alma-Tadema reflètent des enjeux liés à la transition, dans le contexte pictural de l’époque, de la peinture d’histoire à la peinture de « genre historique ». Influencé par les peintres de genre flamands et par les Néo-Grecs en France, Alma-Tadema propose des reconstructions de l’histoire grecque qui sont en fait des scènes de la vie quotidienne en Grèce. Elles privilégient l’expérience sociale par rapport aux nobles actions et les émotions simples par rapport aux sentiments élevés, et s’adaptent ainsi au goût victorien pour la peinture de genre. Cependant, l’étude de la réception critique de ses œuvres montre que les commentateurs opéraient des distinctions entre les sujets grecs et romains, la Grèce faisant encore l’objet d’attentes sur le plan esthétique mais aussi en termes de genre et de considérations racialistes. En outre, parce qu’Alma-Tadema et une partie des critiques établissaient des analogies entre les anciens et ses contemporains, le peintre tendait en fait un miroir ambigu à ceux-ci. Ses reconstitutions de la Grèce abordaient en effet des mœurs sexuelles jugées scandaleuses ou montraient des types physiques perçus comme inappropriés pour les Grecs. Elles dérogeaient donc aux codes esthétiques qui perduraient dès lors que la représentation concernait ce sujet précis de la Grèce, alors que les attentes sur le plan esthétique et idéologique semblent avoir été moins marquées pour les sujets romains.
- Published
- 2019
15. Beyond the Victorian/ Modernist Divide
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Anne-Florence Gillard-Estrada and Anne Besnault-Levita
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History ,Visual arts - Published
- 2018
16. Beyond the Victorian/ Modernist Divide : Remapping the Turn-of-the-Century Break in Literature, Culture and the Visual Arts
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Anne-Florence Gillard-Estrada, Anne Besnault-Levita, Anne-Florence Gillard-Estrada, and Anne Besnault-Levita
- Subjects
- Art and literature--Great Britain--History--19th century, English literature--19th century--History and criticism, Modernism (Literature)--Great Britain
- Abstract
Beyond the Victorian/ Modernist Divide contributes to a new phase in the Victorian-modern debate of traditional periodization through the perspective lens of literature and the visual arts. Breaking away from conventionally fixed discourses and dichotomies, this book utilizes an interdisciplinary approach to examine the existence of overlaps and unexplored continuities between the Victorians, the post-Victorians and the modernists, including the fields of music, architecture, design, science, and social life. Furthermore, the book remaps the cultural history of two critical meta-narratives and their interdependence – the myth of'high modernism'and the myth of'Victorianism'– by building on recent scholarly work and addressing the question of the'turn of the century break theory'with a new set of arguments and contributions. The essays presented within acknowledge the existence of a break-theory in modernism, but question this theory by re-contextualising it while uncovering long-masked continuities between artists, genres and forms across the divide. The collection offers a new approach to modernism, Edwardianism, and Victorianism; utilizing the cross-fertilisation of interdisciplinary approaches, and by combining contributions that look forward from the Victorians with other contributions that look backward from the modernists. While literary modernism and its vexed relationships with the nineteenth century is a central subject of the book, further analysis includes artistic discourses and theories stemming from history, the visual arts, science, music and design. Each chapter offers a fresh interpretation of individual artists, navigating away from characteristic classifications of works, authors and cultural phenomena. Ultimately, the volume argues that though periodization and genre categories play substantial roles in this divide, it is also essential to be critically aware of the way cultural history has been, and continues to be, constructed.
- Published
- 2018
17. Testing New Opinions and Courting New Impressions : New Perspectives on Walter Pater
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Anne-Florence Gillard-Estrada, Martine Lambert-Charbonnier, Charlotte Ribeyrol, Anne-Florence Gillard-Estrada, Martine Lambert-Charbonnier, and Charlotte Ribeyrol
- Subjects
- PR5137
- Abstract
Reflecting Walter Pater's diverse engagements with literature, the visual arts, history, and philosophy, this collection of essays explores new interdisciplinary perspectives engaging readers and scholars alike to revisit methodologies, intertextualities, metaphysical positions, and stylistic features in the works of the Victorian essayist. A revised contextual portrait of Pater in Victorian culture questions representations of the detached aesthete. Current editorial and biographical projects show Pater as fully responsive to the emergence of modern consumer culture and the changes in readership in Britain and the United States. New critical views of rarely studied texts enhance the image of Pater as a cosmopolitan aesthete dialoguing with contemporary culture. Conceptual analysis of his texts brings new light to the aesthetic paradox embodied by Pater, between artistic detachment and immersion in the Heraclitean flux of life. Finally, aestheticism is redefined as proposing new artistic and linguistic synthesis by merging art forms and embracing interart poetics.
- Published
- 2017
18. Testing New Opinions and Courting New Impressions
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Charlotte Ribeyrol, Anne-Florence Gillard-Estrada, and Martine Lambert-Charbonnier
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History - Published
- 2017
19. Introduction
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Bénédicte Coste, Anne-Florence Gillard-Estrada, Martine Lambert-Charbonnier, and Charlotte Ribeyrol
- Published
- 2017
20. Walter Pater’s Representation of 'the central love-poetry of Provence'
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Anne-Florence Gillard-Estrada
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History ,Poetry ,Art history ,Performance art ,Representation (arts) ,Cartography - Published
- 2016
21. Fantasied images of women: representations of myths of the golden apples in 'classic' Victorian paintings
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Anne-Florence Gillard-Estrada, Équipe de Recherche Interdisciplinaire sur les Aires Culturelles (ERIAC), Université de Rouen Normandie (UNIROUEN), Normandie Université (NU)-Normandie Université (NU)-Institut de Recherche Interdisciplinaire Homme et Société (IRIHS), Normandie Université (NU)-Normandie Université (NU)-Université de Rouen Normandie (UNIROUEN), and Normandie Université (NU)
- Subjects
[SHS.LITT]Humanities and Social Sciences/Literature ,peinture victorienne ,media_common.quotation_subject ,academicism ,Art history ,0603 philosophy, ethics and religion ,050105 experimental psychology ,aestheticism ,0501 psychology and cognitive sciences ,Greek mythology ,media_common ,Painting ,académisme ,05 social sciences ,esthétisme ,06 humanities and the arts ,General Medicine ,Mythology ,Art ,[SHS.ART]Humanities and Social Sciences/Art and art history ,Victorian painting ,forme humaine ,mythologie grecque ,060302 philosophy ,Aestheticism ,human form ,plastic forms ,Humanities ,formes plastiques - Abstract
International audience; This article studies a number of Victorian paintings that represented Greek myths of the golden apples. These artworks – often identified as “classical” by contemporary art critics but also categorized as “Aesthetic” – articulate gendered tensions, fantasies and anxieties. In particular, this article explores representations of the myths of Atalanta’s race and of the garden of the Hesperides. Close attention is paid to the images themselves thanks to a reading that is informed by the works of French art historian Georges Didi-Huberman. Studying the critical reception of such works in contemporary journalistic reviews also allows to uncover ambivalent approaches to the emotional charge of these works. For beyond academic conventions and formal Aesthetic concerns, what is at stake in these representations of the myths of the golden apples is the significance of the body and its desires.; Cet article se propose d’étudier un certain nombre de tableaux de l’époque victorienne qui traitent de mythes grecs des pommes d’or. Ces œuvres, souvent considérées par la critique d’art de l’époque comme appartenant à l’école « classique » mais situées aussi dans le Mouvement Esthétique, articulent des tensions, des fantasmes et des angoisses contemporaines liées notamment aux représentations des genres. Cette étude s’intéresse particulièrement au traitement du mythe d’Atalante et du Jardin des Hespérides. Ces œuvres sont abordées par le biais des travaux sur les images de Georges Didi-Huberman ainsi qu’à travers la réception critique parfois ambivalente d’œuvres qui contiennent une charge émotionnelle forte, dans les périodiques contemporains. Au-delà des conventions académiques et des préoccupations formelles propres à l’Esthétisme, ce qui se joue dans ces variations sur les pommes d’or est le rôle du corps et de ses désirs.
- Published
- 2016
22. Oscar Wilde’s Aesthetics in the Making: The Reviews of the Grosvenor Gallery exhibitions of 1877 and 1879
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Anne-Florence Gillard-Estrada, Gillard-Estrada, Anne-Florence, Équipe de Recherche Interdisciplinaire sur les Aires Culturelles (ERIAC), Université de Rouen Normandie (UNIROUEN), Normandie Université (NU)-Normandie Université (NU)-Institut de Recherche Interdisciplinaire Homme et Société (IRIHS), Normandie Université (NU)-Normandie Université (NU)-Université de Rouen Normandie (UNIROUEN), and Normandie Université (NU)
- Subjects
Painting ,[SHS.LITT]Humanities and Social Sciences/Literature ,Literature and Literary Theory ,media_common.quotation_subject ,Art history ,Ambiguity ,Art ,[SHS.ART]Humanities and Social Sciences/Art and art history ,Ambivalence ,language.human_language ,Exhibition ,[SHS.LITT] Humanities and Social Sciences/Literature ,Irish ,Aesthetics ,language ,Aestheticism ,[SHS.ART] Humanities and Social Sciences/Art and art history ,media_common - Abstract
This paper explores the first two texts Wilde published in 1877 and 1879 in Irish periodicals, which are reviews of the first and third exhibitions of the Grosvenor Gallery in 1877 and 1879. Wilde commented on the developments that had been affecting British painting for the past fifteen years or so. He addressed the works of artists who were then associated with the “classic” school of painting as well as with “Aestheticism”—which often overlapped. Moreover, he engaged in a dialogue with the reviewers and art critics who were favourable to such art. It was in such fermenting soil that Wilde’s aesthetics was grounded and this essay proposes in particular to explore the aesthetics of ambivalence and ambiguity which characterized these artworks and which becomes central in these two reviews., En 1877 et 1879, Wilde publie dans des périodiques irlandais des comptes rendus des première et troisième expositions de la Grosvenor Gallery. Ces textes constituent un premier commentaire de Wilde sur les développements qui touchaient les arts visuels depuis une quinzaine d’années environ. Wilde évoque dans ces comptes rendus les œuvres d’artistes alors associés à « l’école classique » ou à l’« Esthétisme » (mouvements qui se recoupaient souvent). En outre, Wilde dialogue avec les commentateurs ou les critiques d’art qui étaient favorables à cette peinture. C’est dans ce terreau fertile que l’esthétique de Wilde prend forme, et cet article se propose en particulier d’explorer l’esthétique de l’ambiguïté et de l’ambivalence qui caractérise ces tableaux et qui apparaît comme centrale dans les deux comptes rendus de Wilde.
- Published
- 2016
23. 'Passing into the great romantic loves of rebellious flesh': medieval religion and the body in Walter Pater’s ‘Poems by William Morris’ and ‘Two Early French Stories’
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Anne-Florence Gillard-Estrada, Équipe de Recherche Interdisciplinaire sur les Aires Culturelles (ERIAC), Université de Rouen Normandie (UNIROUEN), Normandie Université (NU)-Normandie Université (NU)-Institut de Recherche Interdisciplinaire Homme et Société (IRIHS), Normandie Université (NU)-Normandie Université (NU)-Université de Rouen Normandie (UNIROUEN), Normandie Université (NU), and Gillard-Estrada, Anne-Florence
- Subjects
[SHS.LITT] Humanities and Social Sciences/Literature ,Literature and Literary Theory ,Poetry ,[SHS.LITT]Humanities and Social Sciences/Literature ,media_common.quotation_subject ,Flesh ,Art history ,Art ,Humanities ,Romance ,ComputingMilieux_MISCELLANEOUS ,media_common - Abstract
La notion d’« esprit medieval » chez Walter Pater a ete relativement peu abordee. A partir de l’etude de deux textes, « Poems by William Morris » et « Two Early French Stories », on s’efforcera de souligner le paradoxe suivant : selon Pater, la reaction contre la religion, qu’elle prenne la forme de l’antinomisme ou d’une liberation sensuelle et physique, a pour origine le christianisme lui-meme. Notre hypothese de lecture est aussi que les modalites du discours sur l’amour sont differentes selon que Pater traite du corps feminin ou masculin, l’un evoquant le desordre et l’autre l’harmonie.
- Published
- 2009
24. Esthétique de l’aliénation : malthusianisme et néo-malthusianisme au Mercure de France
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Pamart, Nolwenn, Muséum national d'Histoire naturelle (MNHN), Direction générale déléguée aux collections (DGD.C), and Anne-Florence Gillard-Estrada, Florence Fix
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Malthusianisme ,[SHS.HISPHILSO]Humanities and Social Sciences/History, Philosophy and Sociology of Sciences ,Paul Robin ,[SHS.LITT]Humanities and Social Sciences/Literature ,néo-malthusianisme ,Mercure de France ,représentations ,avant-garde - Abstract
International audience; À l’aube des années 1890, Paul Robin ramène du Royaume-Uni une nouvelle lecture des théories malthusiennes : afin de pallier à l’insuffisance des ressources naturelles face à l’augmentation des populations à l’ère industrielle, il ne s’agit plus de prôner auprès des pauvres une chasteté teintée de morale puritaine. Au contraire, l’enjeu est de transmettre à large échelle des méthodes de contrôle des naissances. Cette « libre maternité », qui séduira certains courants féministes , apparaît alors comme un moyen d’échapper à une double aliénation : la condition féminine à la fin du siècle et la menace de la misère.Il n’est pas étonnant que les théories de Paul Robin aient attiré l’attention des milieux libertaires. Elles sont aussi relayées et discutées dans les revues de l’avant-garde artistique et littéraire, notamment La Revue blanche et Le Mercure de France, et intéressent des écrivainscomme Laurent Tailhade ou Octave Mirbeau.Dans cet article, nous nous proposons d’étudier comment le néo-malthusianisme apparaît dans les pages du Mercure de France, selon deux approches complémentaires : une étude des différentes occurrences des noms de Malthus, Paul Robin ou encore de la Ligue de Régénération humaine dans les pages de la revue, qu’il s’agira de comparer aux visions artistiques de la pauvreté, notamment féminine, dans cette même revue
- Published
- 2022
25. An Entomology of Literature: Male Taxonomies and Female Antennae from Mrs Gaskell to Virginia Woolf
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Lanone, Catherine, LANONE, Catherine, and Anne-Florence Gillard-Estrada, Anne Besnault-Levita
- Subjects
[SHS] Humanities and Social Sciences - Published
- 2018
26. Victorian Gothic and Gothic Modernism: Remapping Literary History across the Centuries
- Author
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Besnault, Anne, Équipe de Recherche Interdisciplinaire sur les Aires Culturelles (ERIAC), Université de Rouen Normandie (UNIROUEN), Normandie Université (NU)-Normandie Université (NU)-Institut de Recherche Interdisciplinaire Homme et Société (IRIHS), Normandie Université (NU)-Normandie Université (NU)-Université de Rouen Normandie (UNIROUEN), Normandie Université (NU), Anne Florence Gillard-Estrada, Anne Besnault-Levita, and Besnault, Anne
- Subjects
[SHS] Humanities and Social Sciences ,ComputingMilieux_MISCELLANEOUS ,[SHS]Humanities and Social Sciences - Abstract
International audience
- Published
- 2018
27. Unimpassioned Passion: Inner Excess and Exterior Restraint in Pater’s Rhetoric of Affect
- Author
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Nicholas Manning, Université Grenoble Alpes (UGA), Manning, Nicholas, Bénedicte Coste, Anne-Florence Gillard-Estrada, Martine Lambert-Charbonnier, and Charlotte Ribeyrol
- Subjects
Emotion ,Decadence ,[SHS.LITT] Humanities and Social Sciences/Literature ,Affect ,[SHS.PHIL] Humanities and Social Sciences/Philosophy ,Affect theory ,Literature ,[SHS] Humanities and Social Sciences ,Walter Pater ,Literary theory ,ComputingMilieux_MISCELLANEOUS ,[SHS]Humanities and Social Sciences - Abstract
International audience
- Published
- 2017
28. Subverting ‘Lives of the Artists’: William Beckford’s 'Biographical Memoirs of Extraordinary Painters' (1780)
- Author
-
Châtel, Laurent, Centre d'Études en Civilisations, Langues et Lettres Étrangères - ULR 4074 (CECILLE), Université de Lille, Anne-Pascale Bruneau-Rumsey (éd.), Anne-Florence Gillard-Estrada (éd.), and Shannon Wells-Lassagne (éd.)
- Subjects
[SHS.LITT]Humanities and Social Sciences/Literature ,ComputingMilieux_MISCELLANEOUS ,[SHS]Humanities and Social Sciences - Abstract
International audience
- Published
- 2015
29. Écrire l'art/Writing Art : formes et enjeux du discours sur les arts visuels en Grande-Bretagne et aux États-Unis
- Author
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Bruneau-Rumsey, Anne-Pascale, Gillard-Estrada, Anne-Florence, Shannon, Wells-Lassagne, Héritages et Constructions dans le Texte et l'Image (HCTI), Institut Brestois des Sciences de l'Homme et de la Société (IBSHS), Université de Brest (UBO)-Université de Brest (UBO)-Université de Bretagne Sud (UBS)-Université de Brest (UBO), Anne-Pascale Bruneau-Rumsey, Anne-Florence Gillard-Estrada, and Shannon Wells-Lassagne
- Subjects
[SHS.LITT]Humanities and Social Sciences/Literature ,[SHS.ART]Humanities and Social Sciences/Art and art history ,Art criticism, Art et littérature, Critique d'art ― Grande-Bretagne, Critique d'art ― États-Unis, Ekphrasis, Esthétique, N7475. .B78x 2015 ,[SHS]Humanities and Social Sciences - Abstract
International audience; La question posée par Louis Marin continue de nous interroger. Discours sur la peinture se voulant à l'occasion discours de peinture, discours en mots ou en images, discours critique ou artistique, discours dont l'opportunité est parfois mise en débat : les discours sur l'art et sur les oeuvres d'art sont multiples, leurs finalités aussi. Issus d'horizons de pensée divers, les auteurs des études réunies dans cet ouvrage portent des points de vue contrastés sur la façon dont peuvent être abordés les rapports entre visualité/plasticité et textualité. Leurs propos, centrés sur le monde anglophone, prennent l'art et la critique d'art comme principal champ de réflexion - des écrits de Reynolds à ceux de Danto, en passant par Ruskin, Walter Pater, et Roger Fry, et de l'art de Turner à celui de Whistler, de Philip Guston, et des Young British Artists - mais la manière dont la littérature parle de l'art, notamment par l'ekphrasis, n'est pas oubliée. Il y est question, notamment, de William Beckford et de Robert Burns, de Walter Scott, Vladimir Nabokov, Robert Creeley et Edward Carey. Il y est question, enfin, de la syntaxe même du discours sur l'art, né, comme le suggère Baldine Saint Girons dans son épilogue, de la «démangeaison de témoigner».
- Published
- 2015
30. « L’Esthétisation des écrits sur l’art contemporain britannique »
- Author
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Gould, Charlotte, PRISMES - Langues, Textes, Arts et Cultures du Monde Anglophone - EA 4398 (PRISMES), Université Sorbonne Nouvelle - Paris 3, dirs. Anne-Pascale Bruneau-Rumsey, Shannon Wells-Lassagne et Anne-Florence Gillard-Estrada, and Gould, Charlotte
- Subjects
[SHS.ART] Humanities and Social Sciences/Art and art history ,[SHS.ART]Humanities and Social Sciences/Art and art history ,ComputingMilieux_MISCELLANEOUS ,art britannique - Abstract
International audience
- Published
- 2015
31. «The Uneasy Modernist: John Middelton Murry »
- Author
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Coste , Bénédicte, Centre Interlangues - Texte, Image, Langage ( TIL ), Université de Bourgogne ( UB ), Anne-Florence Gillard-Estrada & Anne Besnault-Levita, Coste, Bénédicte, Centre Interlangues - Texte, Image, Langage (TIL), and Université de Bourgogne (UB)
- Subjects
modernism ,[SHS.LITT]Humanities and Social Sciences/Literature ,[ SHS.HIST ] Humanities and Social Sciences/History ,[SHS.PHIL]Humanities and Social Sciences/Philosophy ,[ SHS.LITT ] Humanities and Social Sciences/Literature ,ethics ,[SHS.LITT] Humanities and Social Sciences/Literature ,[SHS.PHIL] Humanities and Social Sciences/Philosophy ,[ SHS.PHIL ] Humanities and Social Sciences/Philosophy ,value ,[SHS.HIST] Humanities and Social Sciences/History ,victorianism ,John Middelton Murry ,[SHS.HIST]Humanities and Social Sciences/History - Abstract
International audience; This presentation discusses John Middleton Murry "The Trajectory of an Intellectual" (1919)
- Published
- 2014
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