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Le Roman de l'Histoire (1780-1850) (review)

Le Roman de l'Histoire (1780-1850) (review) convent (71). Disparate treatments of "the feminine hierarchical structure" of bourgeois domesticity by female and male artists (Cassatt, Morisot, Degas) in Chapter 4 mirror the lack of uniformity disclosed in constructions of private and public spaces at the outset of the study (73, 77, 79). This overarching blurring of boundaries of acceptability in nineteenth-century French culture reinforces the view Johnson takes from Foucault that "contradictory discourses related to social mores can weaken a society's dominant ideology" (81), and thus encourage social transformations. A detailed analysis of two sites of tension in Madame Bovary, notably the Bertaux farm and the convent, in Chapter 5 solicits "a reconceptualization of social and gendered space" (85). Chapter 6 closes Johnson's analysis of spatial relations in Flaubert's polyvalent novel, where multiple ideologies contribute to a poetics of indeterminacy that creates alternative feminine spaces (i.e., drawers, armoires, solitude, and the daydream; 111), and at the same time, allow the negation and disintegration of feminine space in (empathetic) response to the psychological effects of oppression. (131). Part Three (135-75) treats the subversion of the idealized space of nature in Maupassant's "Une Partie de Campagne," with Cézanne's L'Enlèvement serving as a counterexample to the obscured line http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Nineteenth Century French Studies University of Nebraska Press

Le Roman de l'Histoire (1780-1850) (review)

Mickel, Emanuel J.
Nineteenth Century French Studies , Volume 32 (3) – May 3, 2004
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Publisher
University of Nebraska Press
Copyright
Copyright © 2004 The University of Nebraska Press.
ISSN
1536-0172
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Abstract

convent (71). Disparate treatments of "the feminine hierarchical structure" of bourgeois domesticity by female and male artists (Cassatt, Morisot, Degas) in Chapter 4 mirror the lack of uniformity disclosed in constructions of private and public spaces at the outset of the study (73, 77, 79). This overarching blurring of boundaries of acceptability in nineteenth-century French culture reinforces the view Johnson takes from Foucault that "contradictory discourses related to social mores can weaken a society's dominant ideology" (81), and thus encourage social transformations. A detailed analysis of two sites of tension in Madame Bovary, notably the Bertaux farm and the convent, in Chapter 5 solicits "a reconceptualization of social and gendered space" (85). Chapter 6 closes Johnson's analysis of spatial relations in Flaubert's polyvalent novel, where multiple ideologies contribute to a poetics of indeterminacy that creates alternative feminine spaces (i.e., drawers, armoires, solitude, and the daydream; 111), and at the same time, allow the negation and disintegration of feminine space in (empathetic) response to the psychological effects of oppression. (131). Part Three (135-75) treats the subversion of the idealized space of nature in Maupassant's "Une Partie de Campagne," with Cézanne's L'Enlèvement serving as a counterexample to the obscured line

Journal

Nineteenth Century French Studies – University of Nebraska Press

Published: May 3, 2004

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