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George Sand's Indiana and Edith Wharton's The House of Mirth share a guiding interest in the function of appearances that--considered within the context of literary realism's development--can be seen as contributing to the gradually dominating trope of exteriority in which fictional characters' identities and actions are ineluctably determined and defined by such external forces as society, language, aesthetics, and commerce. The failure of Sand's Raymon de Ramière and Wharton's Lily Bart to realize themselves as independently empowered individuals exemplifies literary realism's reassessment, closely tied to the rise of sociology as a discipline, of the longstanding, romantic tradition of a person's potential to be a selfdetermining entity. [ABSTRACT FROM AUTHOR]

This article aims to analyze the reception of George Sand in the Río de la Plata region between 1838 and 1880 through the examining of three translation scenes of her as a writer published in the press of the time: first, the publication of a biographical review in 1838 in El Nacional de Montevideo; second, the censorship of her novel André after its third edition in the Folletín section of El Nacional de Buenos Aires in 1861; and finally, an allusion to a literary controversy between Sand and Feuillet, in the paratexts of a novel published by the latter in the Biblioteca Popular de Buenos Aires. Each of these instances sheds light on the contentious reception of Sand, a controversy held in absentia since she, her scandals, and ideological principles were never unmentioned while her works were not to be read. By examining her portrayal, we will uncover the differing standpoints of liberal and Catholic romanticism regarding female reading, writing, and marriage. [ABSTRACT FROM AUTHOR]

Cet article propose une lecture comparée de La Petite Fadette de George Sand et The Mill on the Floss de George Eliot, envisagés comme romans d’apprentissage écologiques au féminin. Il s’agit, d’une part, de mettre en relation la représentation riche et dynamique d’un milieu naturel avec des portraits féminins en mouvement. Nous examinons, d’autre part, comment le processus d’apprentissage des deux héroïnes se traduit par des conflits décisifs entre instincts animaux et impératifs moraux. Plusieurs pistes sont ensuite données pour enseigner ces deux romans dès le secondaire, en couplant la question environnementale à des enjeux sociaux et à une réflexion sur le genre.

Le chapitre IV du roman Mauprat se distingue par une dimension écopoétique visant à dénoncer le geste criminel de Bernard de Mauprat à l’encontre de la chouette de Patience. Pour ce faire, George Sand reprend les codes poétiques du conte de fées qui servent comme matériaux littéraires pour sensibiliser le lecteur au crime de Bernard. En effet, Sand reprend le motif topique de la scène du châtiment, infligé aux héros du conte par un sorcier ou une fée, afin d’inscrire un message didactique en faveur du respect des animaux et de l’environne-ment. Elle reprend également le motif terrifiant de la forêt dans l’optique de proposer une expérience initiatique qui invite Bernard à découvrir les puissances surnaturelles de la nature et à prendre conscience de sa petitesse. Dès lors, la scène de châtiment se métamorphose en une expérience ontologique qui conduit le récit à retrouver les origines du mythe par le biais des motifs folkloriques propres au conte. Cette expérience esthétique répond au vœu écopoétique énoncé récemment par Jean-Christophe Cavallin : l’écologie du récit tend à faire retour vers un monde archaïque reconnectant l’humain à l’environnement.

Статья посвящена профессиональной педагогической и научной деятельности доктора филологических наук, профессора Ольги Бодовны Кафановой. Представлены основные направления ее научной работы (компаративистика, русско-французские литературные связи, Жорж Санд, гендерные исследования), дан обзор ее исследований по русской и зарубежной литературе, переводоведению, обозначен ее профессиональный вклад в развитие международного сотрудничества в области науки и образования.

This article highlights the fascinating interconnectedness of different art forms-music, painting, and literature-through the lens of Frédéric Chopin and George Sand's relationship during their stay in Majorca. The focus is on how these great artists' experiences influenced and enriched each other's creative expressions. Overall, the article reveals the intricate tapestry of culture, where music, painting, and literature converge, enhancing and enlivening each other. The interconnectedness of these art forms underscores the universality of artistic expression and serves as a testament to the enduring impact of creative collaborations in the realm of culture.

Heine was not only recognised as a German poet but also as a French author. This is already documented by Sainte-Beuve’s reviews of the 1830s, which are examined and contextualised more closely in this article. The focus is on the linguistic and stylistic observations made by Sainte-Beuve and the enormous impact of his famous literary reviews. This paper thus sheds light on Heine’s literary naturalisation by Sainte-Beuve but also on the limitations of his method.

George Sand's feminist novels of the 1830s often seem to have a "problem" with sex, or to view sex as a problem. In them, heterosexual sex often appears disempowering for women and therefore politically unpalatable; worse, heterosexual desire itself emerges as primordially marked by patriarchal constraints, predicated on the (self‐)objectification and subjection of women. This article offers a speculative reading of Sand's early fictions as anticipating similar "antisex" attitudes in later twentieth‐century feminism (the so‐called antipornography feminism of the 1980s), and uses close readings of moments in Indiana, Mauprat, and Lélia to reflect on the renewed urgency—in the wake of #MeToo—of the sort of ethical questions raised by such feminism during the "sex wars." If Sand is not, ultimately, an antisex feminist, her novels are nevertheless thought‐provoking in their skepticism, or their pessimistic realism, about the possibility of a politically or ethically motivated reform of sex and desire. [ABSTRACT FROM AUTHOR]

From Indiana to Nanon, from 1832 to 1872, G. Sand never ceased to revolt against the abuse of power of which women are victims in a society made for men and directed by them. She also sought to find a positive response to this tyranny which makes women a dependent being, by reflecting on another form of relationship between man and woman and on a new role that women could play within the society. After being a victim, the Sandian woman becomes an educator of herself and others, a true mediator before engaging in social life alongside men. In this male/female relationship, education, which plays a central role, is based on dialectical thinking. Through education, the Sandian character learns to overcome the social, political, cultural and psychological barriers that hinder being.

This article focuses on three recipe books inspired by women writers: Les Carnets de cuisine de George Sand: 80 recettes d'une épicurienne by Muriel Lacroix and Pascal Pringarbe, Colette gourmande by Marie-Christine and Didier Clément, and Marguerite Yourcenar portrait intime by Achmy Halley. The article opts to treat these three books as though they were works of criticism. Indeed, these three books, which are hybrids of advice books, biographies and anthologies, represent mythographies of the authors who inspired them. Thus, these far from feminist representations of women writers slaving over hot stoves are nonetheless able to offer vindications of those women's demiurgic powers. As such, these works often take on a regionalist and nostalgic tone that reduces them to the status of literary exhibits in a dusty conservatory of folkloric traditions. [ABSTRACT FROM AUTHOR]

Este artículo analiza las dificultades que tuvieron ante los censores franquistas las obras de George Sand, escritora que encarnaba un modelo de mujer emancipada, intelectual, crítica con el sistema, con la familia tradicional y simpatizante del socialismo y el comunismo, movimientos estigmatizados por el régimen. Recorreremos la censura administrativa y moral de una muestra representativa de su prolífica producción literaria. Nos centraremos en concreto en las traducciones al español de Indiana, Mauprat, Francisco el expósito y Ella y él.

From Indiana to Nanon, from 1832 to 1872, G. Sand never ceased to revolt against the abuse of power of which women are victims in a society made for men and directed by them. She also sought to find a positive response to this tyranny which makes women a dependent being, by reflecting on another form of relationship between man and woman and on a new role that women could play within the society. After being a victim, the Sandian woman becomes an educator of herself and others, a true mediator before engaging in social life alongside men. In this male/female relationship, education, which plays a central role, is based on dialectical thinking. Through education, the Sandian character learns to overcome the social, political, cultural and psychological barriers that hinder being. [ABSTRACT FROM AUTHOR]

Copyright of Lublin Studies in Modern Languages & Literature / Lubelskie Materialy Neofilologiczne is the property of Maria Curie-Sklodowska University, Department of German & Applied Linguistics and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

L'originalité de George Sand naît de cette volonté de ne pas être dévastée par les afflictions et les revers qui ont cruellement traversé sa vie. Paradoxalement, le désenchantement politique et la déception sentimentale ont fait d'elle une femme très optimiste et enthousiaste, amoureuse de la vie et de ses joies les plus âpres comme les plus discrètes. Sand n'a jamais cherché à nier les malheurs qui ont consumé sa vie, son coeur et son esprit. Elle les accepte tout en cherchant à en tirer profit et à les sublimer, vivant toujours dans l'espoir de trouver ce qui réjouit son coeur, ravive sa force d'amour et renouvelle sa foi en l'avenir. Cette quête du bonheur, Sand l'a portée jusqu'au dernier souffle : le secret de la béatitude sandienne réside à la fois dans l'écriture et dans la nature.

This essay explores George Sand's (1804–1876) complicated relationship to clothing. The mythology surrounding her notorious cross-dressing has, we argue, occluded her real engagement with the culture of clothing of her time. While Sand was skeptical of fashion's tendency to occupy women at the expense of other pursuits, she was nevertheless fluent in the language of fashion and strategically observed its rules of decorum. Drawing on Sand's rich but unexploited correspondence (1812–1876) and other personal writings, this article contributes a rare first-person voice to the relatively spare literature on women's lived experience of clothing in the past. Contemporary fashion journals, to which Sand subscribed, and portraits of her en homme and en femme are also considered. Emphasizing the collaborative and communal aspects of the culture of clothing in nineteenth-century France this study challenges the equation between consumerism and individuality that attended celebratory accounts of the history of consumer society. We examine Sand's central role in a "community of dress," an extensive network of people she called upon to help clothe herself and her family. Her fraught relationship to her daughter Solange (1828–1899), who was obsessed with fashionable dress, brings into focus the critical distance she maintained from the prevailing fashion culture. [ABSTRACT FROM AUTHOR]

The article discusses the portrayal of George Sand in Janusz Krasiński’s drama Kochankowie z klasztoru Valdemosa [The lovers from Valdemosa convent]. The uniqueness of Sand’s depiction in the context of Polish culture relies not only on an empathetic reading of Sand’s biography (similar to her representation by Ferdinand Hoesick), but also on treating her as a serious writer. The article also juxtaposes this portrait of Sand with the much better known representation presented in Jarosław Iwaszkiewicz’s Lato w Nohant [Summer in Nohant]. The author of the article shows that the thesis which holds that these dramas could be treated as a theatrical diptych about the beginning and the end of the artists’ relationship is unfounded. In her opinion, the differences in the construction of Sand’s character cannot be explained here by the different age of the same heroine, as they serve to convey divergent assessments of her character. The article also reflects on the reasons for the popularity of Iwaszkiewicz’s drama and the lack of wider interest in Krasiński’s drama, seeing them elsewhere than in their artistic quality. [ABSTRACT FROM AUTHOR]

Dr Ikram Chemlali, George Sand et le patrimoine populaire

Cet article propose une lecture écopoétique croisée de l’histoire naturelle de Jules Michelet et du Voyage dans le cristal de George Sand. Dans ces deux œuvres, la pensée écologique trouve à s’exprimer à travers l’analogie – anthropomorphisme des animaux et de la nature chez Michelet ; construction et exploration analogique de la nature dans le conte merveilleux de Sand. Ni chez Michelet ni chez Sand, l’analogie n’est un artifice rhétorique : chez tous deux, elle est partie prenante d’une poétique et d’une cosmologie. Cette double lecture est donc une invitation pour l’écopoétique à prendre la pensée analogique au sérieux et à lire en elle une représentation singulière du monde et une expérience de pensée proposant d’entrevoir une reconfiguration de nos rapports aux autres vivants, aux ressources naturelles et à l’environnement.

Copyright of Acta Universitatis Carolinae Philologica is the property of Charles University Prague, Karolinum Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article considers the representation of catalepsy—a trance-like nervous condition characterised by rigidity of the limbs that resembles death—in the literature of 19th-century France. It begins with an overview of the medical literature on catalepsy and its influence on the literature of the period, which reveals a particularly gendered aspect to the fate of the cataleptic, before turning to its primary case study: George Sand’s Consuelo novels (1842–44). These two texts provide Sand’s most sustained engagement with catalepsy, but they also set Sand’s depiction of the condition apart from how her (male) contemporaries represented it. While in the work of writers like Honoré de Balzac (1799–1850), Jules Barbey d’Aurevilly (1808–89), Théophile Gautier (1811–72), and Émile Zola (1840–1902) the cataleptic is generally an unstable male genius whose tale ends in death, madness, or oblivion, Sand elaborates an alternative model that allows these superior individuals to find self-actualisation (irrespective of their gender). The occult knowledge associated with the cataleptic is not to be feared in Sand’s texts; rather, it provides personal fulfilment and offers new purpose that benefits society. Catalepsy in Sand’s texts is thus endowed with political significance, representing the potential for new beginnings and a move beyond traditional ways of being. Drawing on the Consuelo novels as a model, this article then turns to Sand’s wider oeuvre to posit the poetics of the ‘cataleptic novel’ as inherent to Sand’s literary enterprise.Featured Image: A photograph of Marie 'Blanche' Wittman in a cataleptic pose taken around 1880, in Iconographie photographique de la Salpêtrière: service de M. Charcot / par Bourneville et P. Regnard, volume 3. Public domain, via Wikimedia Commons {{PD-US}}.

This work aims to analyse Chopin's dream - as recounted by George Sand in the last volume of Histoire de ma vie - from the point of view of the writer's literary production, and also of the artistic-literary context of the time in which her autobiography was published. The general analysis of her work shows a recurrence of topical motifs; among all, the theme of the death in the water emerges from the first to the last productions, including the narrative about Chopin, highlighting aesthetic coincidences with some contemporary paintings (in particular with the Ophelia by Millais, depicted with the body floating in water, not yet submerged but in a near-death condition). Reflecting on the intense impact that George Sand's writings will later have on the reception of the composer's image, this article aspires to examine some aspects that will accompany Fryderyk Chopin's pictorial and literary portrayal, suggesting the hypothesis that the chronicle of the Chopinian dream could be influenced more by poetic devices than by a total adherence to the reality of the facts. [ABSTRACT FROM AUTHOR]

December 23, 2022 marked the 150th commemoration of painter George Catlin's death. Two days before Christmas of 1872, this artist passed away, a humble, penniless, almost forgotten old man, after having an extraordinary life experience, travelling enormous distances in space and time, from the forms of the primitive village lost in the northern prairies of the New World, to the glittering metropolises and royal palaces of the Old World. Catlin had an adventurous life, full of satisfactions, glory, unanimous recognition, but also of hardships, of financial entanglements that even led him to the debtors' prison and to the loss of his valuable works and collections, built up with great sacrifices. Educated to become a lawyer, he gave up the bar to devote himself to painting, in which he trained as a self-taught artist. He had some success as a miniature and portrait painter in Philadelphia but his great calling was the prairies and the natives who still roamed them in the first half of the 19th century. Catlin realized the imminent absorption and disappearance of these Native Americans into the mass of European-style civilization. He realized also that, through his art, he could preserve the natural, unaltered appearance of these communities, especially those that, being far from the urban area, had not been altered by contact with the whites. In 1830 he began his great adventure through the still virgin lands of the West. With no financial backing from any institution or wealthy patron, Catlin set out, brave and determined, at his own expense, on this far-reaching venture. For eight years he travelled to remote areas and visited 48 tribes. To make it easier for him to transport his materials, he only bought canvas of a small size (29 × 24 in/74 × 61 cm), which he could wrap in cylinders of waterproof oilskin. Thus, most of his works are of the same size whatever the subject, be they bust or full-length portraits, landscapes or large compositions of buffalo hunters or ceremonies with many figures. For his uncanny ability to reproduce the features of models, the Indians gave him the name Te-ho-pe-nee Wash-ee which translated to White Medicine Man. In 1837 he began exhibiting his Indian Gallery, first in New York, then in Washington, Baltimore, Philadelphia and Boston, and in 1839 he crossed the ocean with 600 paintings and 8 tons of ethnographic pieces, including a 25 feet (7.60 m) high Crow tepee, which he exhibited with great success in London, Paris and Brussels. He was received by Queen Victoria at Windsor Castle and by King Louis Philippe at the Tuileries and St. Cloud. The latter invited him to exhibit at the Louvre and commissioned several copies of works he liked. A gifted memoirist, Catlin wrote several volumes of memoirs about his travels and the Indian chiefs and European royalty he met. George Sand, Théophile Gautier and Charles Baudelaire devoted enthusiastic lines to his works of art. George Catlin is one of the most important 19th century documentary painters of America and worldwide. A pioneer of this art form, a dilettante ethnographer, a talented memoirist of his adventures, an ingenious entrepreneur of folkloric shows, and a world celebrity of his time, George Catlin left a work of enduring value in which the faces and daily activities of Native Americans in the last days of glory of their traditional way of life were preserved before they were assimilated into the mainstream of European-style American civilization. [ABSTRACT FROM AUTHOR]

The article deals with the image of the doll and peculiarities of the opposition ‘living — lifeless’ concerned with this image in the works of George Sand. In her autobiographical texts and memoirs, the author reflects on the educational and gender potential of the doll. At the same time, she counterpoises a traditional doll with a mechanical one, emphasizing the contrast of the natural and the artificial in the given opposition. In this case, the criterion is the state of being programmed, the predictability of the automaton that excludes the chance of game improvisation. The doll “comes to life” only when the human’s creative energy fills the spiritual void of its shell, imparting some individual features to it. An obvious example of such unity is a puppet. The doll as a theatrical attribute appears in the novel of George Sand L’Homme de Neige (1859) and also in her article “Le Théâtre des marionnettes de Nohant” (1876). In the novel, one of the Italian puppet theatre characters named Stenterello, the Florentine analogue of Pulcinella, creates significant opportunities for self-identification for the main character who is striving to unravel the mystery of his origin. In the article, the opposition “natural — artificial” acquires aesthetic sense, and it is interpreted in the course of the correlation of truth and fiction in art. Rough and primitive glove puppets — burattini — come to life in the puppeteer’s hands, acquiring individual features, while automatons, though skilfully imitating living humans, are lifeless because of their mechanical autonomy. The symbiosis of a person and a doll in the works of George Sand becomes a metaphor for creative work that brings into existence artistic images which represent an inseparable unity of creator and her creation.

SAND, George. François, o menino abandonado. Tradução de Liliana Mendonça. Revisão de Lucia Peixoto Cherem. São Paulo: Kazuá, 2017, 92 p.

Nel presente lavoro viene analizzato il sogno di Chopin raccontato da George Sand nell'ultimo volume di Histoire de ma vie, dal punto di vista della produzione letteraria dello scrittore, e includendo il contesto artistico-letterario del tempo in cui furono modificato i loro ricordi. Nell'analisi generale della sua opera di lei suscita una ricorrenza di motivi topici; Tra tutti, il Tema della morte per acqua compare dalle sue prime alle ultime produzioni, compresa la narrazione su Chopin, e segnando coincidenze estetiche con alcuni dipinti dell'epoca (in particolare con l'Ofelia di Millais, nel corpo immerso nell'acqua e nel condizione di pre-morte). Tenendo conto dell'intenso impatto che avranno gli scritti di George Sand sulla ricezione dell'immagine del compositore, questo articolo esamina alcuni aspetti che accompagneranno la rappresentazione pittorica e letteraria di Fryderyk Chopin e ipotizza che sul racconto del sogno chopiniano pesino più accorgimenti poetici che una totale aderenza alla realtà dei fatti.

Durant le premier XIXe siècle, la contredanse, constituée de déplacements et d’interactions entre tous les danseurs n’importe leur place de départ, abolit les contraintes d’une société divisée en classes. Dans Édouard (1825), Claire de Duras compare le moment des contredanses, pendant un bal parisien de l’Ancien Régime, à une échappée vers l’Angleterre, où l’ascension sociale semble réalisable. De plus, la danse crée un espace où l’héroïne peut franchir les barrières entravant les membres de son sexe et empêchant le mariage par amour. George Sand, dans Le Compagnon du Tour de France (1840), contraste la possibilité de l’amour entre des personnages de classes différentes lors des contredanses avec l’impossibilité de ces unions dans la vie quotidienne. En établissant un non-lieu, les contredanses de ces romans produisent des moments éphémères où l’égalité et la liberté règnent, pourtant, hors de la danse, les hiérarchies sociales demeurent rigides.

Cosmopolitanism has been the subject of considerable recent academic inquiry, but the frequently vexed concept has never attracted much interest, to date, in French studies. Yet a cosmopolitan ethos is central to women's cultural production in nineteenth-century France and provides a valuable lens through which to consider networks of meaning and collaborative conversations across the boundaries of nations/languages/cultures. I read George Sand's Consuelo (1842-43) and the career of mezzo-soprano Pauline Viardot-Garcia (1821-1910), to whom the novel was dedicated, as interdependent expressions of women's cosmopolitanism marked by a shared vision of cross-cultural engagement with the politics of difference, mobility, and identity. [ABSTRACT FROM AUTHOR]

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The history of the modern Spanish novel has proved that the character of this country is thinly present at the beginning of the genre. During the first-half of the XIX century translations, and even imitations, occupy an important place at the expense of the national production, according to José F. Montesinos. Regarding to this fact, the French letters influence on Spanish publishing activity is strong. The present study aims to continue the approach initiated by this critic from the date he left it (1850) until nowadays. Taking to account the magnitude of the study, this article focuses on two writers, Paul Féval and George Sand, which got the Spanish favor at the same time that they reached the success in France, and whose vogue continued along the 20th century owing to the particular historical facts lived by Spain. This paper showcases the reception and acculturation phenomena between the both sides of Pyrenees.

In this article the focus is on one of the most challenging novels of the eminent nineteenth-century French author, George Sand. This novel, Lélia, is acknowledged by literary critics as an iconoclastic work of great originality, perhaps of genius. It probes deeply into the psychological malaise of its eponymous heroine, a disorder which the novelist explicitly takes as representative of a generation in French, indeed in European, society. Eclipsed to a large extent during the late nineteenth and early twentieth centuries, the literary reputation of George Sand has been revitalized more recently by feminist criticism. Here it is suggested that the analyses of feminist scholars have concentrated too narrowly on the character of Lélia, and the links between her psychological and sexual issues and feminist themes. In the interpretation offered here more attention is given to the roles of other characters. It is also argued that, because of critics' focus on the characterization of Lélia, the plot structure of the novel, fairly simple as it is, has been unduly neglected. By broadening the focus to include other characters, and by giving more attention to the development of plot, it is argued that another theme, previously overlooked but also of vital feminist significance, comes to the fore: the devastating effects of sexual assault. [ABSTRACT FROM AUTHOR]

Published following the Franco-Prussian War and the Paris Commune, George Sand's 1872 novel Nanon is written as the 1850 memoirs of a peasant woman who had lived through the French Revolution. Focusing on the temporal shifts of the novel, I argue that by considering the temporalities of Nanon in conjunction with spatial movements, we can see Sand's refusal to think about the Revolution as a rupture in history. In the novel, the Frenchmen of the urban revolution are substituted with peasants who can reach back into the Celtic origins of France and construct a more peaceful French society. [ABSTRACT FROM AUTHOR]

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The article recalls George Sand as a writer whose works, especially those of the 1830s and 1840s, inspired the development of a democratic European society. It shows how Sand's involvement in the democratisation of post-revolutionary France is intertwined with the poetics of her prose. The author introduces the term "not-entirely-realistic" to describe Sand's writing, which at the same time consciously uses and transcends the poetics of contemporary realism, introducing into the novel the idealisation of chosen characters and fabulous or idyllic motifs in the creation of the world. On the example of selected works, the article discusses common features of typical Sandian protagonists. They are at the same time idealised (noble, selfless, generous, compassionate, and helpful) and idealists themselves, who dream of a better, more equitable social world, and believe that social commitment is consistent with the true message of the Gospel. The article also demonstrates how idyllic space in Sand's fiction becomes a utopian sphere in which people from different social strata meet and interact as equals. [ABSTRACT FROM AUTHOR]

Copyright of Revue Nerval is the property of Classiques Garnier and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)