How does literature imagine its own powers of representation? Françoise Meltzer attempts to answer this question by looking at how the portrait—the painted portrait, framed—appears in various literary texts. Alien to the verbal system of the text yet mimetic of the gesture of writing, the textual portrait becomes a telling measure of literature's views on itself, on the politics of representation, and on the power of writing. Meltzer's readings of textual portraits—in the Gospel writers and Huysmans, Virgil and Stendhal, the Old Testament and Apuleius, Hawthorne and Poe, Kafka and Rousseau, Walter Scott and Mme de Lafayette—reveal an interplay of control and subversion: writing attempts to veil the visual and to erase the sensual in favor of "meaning," while portraiture, with its claims to bringing the natural object to "life," resists and eludes such control. Meltzer shows how this tension is indicative of a politics of repression and subversion intrinsic to the very act of representation. Throughout, she raises and illuminates fascinating issues: about the relation of flattery to caricature, the nature of the uncanny, the relation of representation to memory and history, the narcissistic character of representation, and the interdependency of representation and power. Writing, thinking, speaking, dreaming, acting—the extent to which these are all controlled by representation must, Meltzer concludes, become "consciously unconscious." In the textual portrait, she locates the moment when this essential process is both revealed and repressed.
Accessibly written, the book also recounts the human story of how an obscure, uneducated woman from the dustbowl of the American Midwest moved to Paris, became a star, and lived openly for decades as a lesbian.
Eighteenth-century iconography is replete with depictions of the activity of reading, and the danger of reading caught the fancy of both male and female novelists. Reading alone was more likely dangerous for young ladies; commentary on ...
Dancing. on. the. Threshold: Wilde's. Salomé. between. Symbolist,. Decadent,. and. Modernist. Aesthetics. By the time Oscar Wilde got to the story of Salome, such writers as Heine, Flaubert, Mallarmé, Laforgue, and Huysmans (together ...
Introduction to one of the theatre's most important and enigmatic writers.
Salome and Her Afterlives Gail P. Streete ... Moreau's painting Salome Dancing before Herod appears in a fevered meditation by the aesthete Des Esseintes in Huysmans's À Rebours ... Meltar, Salome and the Dance of Writing, 17–18. 39.
Decadence and Modernism in European and Russian Literature and Culture: Aesthetics and Anxiety in the 1890s rewrites the story of early modernist literature and culture by drawing out the tensions underlying its simultaneous engagement with ...
24 Some of the original targets of the satire included Dante Gabriel Rossetti and James McNeill Whistler. 25 Ellmann, Oscar Wilde, 151. 26 John Stokes, The French Actress and Her English Audience (Cambridge: Cambridge University Press, ...
La Tentation de saint Antoine 323 Porter , Laurence M. “ Projection as Ego - Defense : Flaubert's Tentation de ... Gertrude Tennant was the oldest daughter of a captain of the English Royal Navy who moved from England to France in 1823.
This one-volume collection is sure to become an important reference for those studying black theater and an engrossing survey for all readers of African American literature.
59 Naomi Segal, Narcissus and Echo: Women in the French Récit (Manchester: Manchester University Press, 1988), 85. 60 Segal, 94. 61 Bernheimer, “Fetishism and Decadence,” 68. 62 David-Weill, Rêve de Pierre, 75.