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Le Sourire de Marie-Antoinette: La mort en surimpression dans Mémoires d'outre-tombe

Le Sourire de Marie-Antoinette: La mort en surimpression dans Mémoires d'outre-tombe <p>Abstract:</p><p>In book five of the <i>Mémoires d&apos;outre-tombe</i> Chateaubriand recalls Marie-Antoinette, superimposing the memory of her smile with that of her skull exhumed in 1815. Starting with this hallucinatory overlay (smiling woman / grimacing skull) this article discusses the kinship between Chateaubriand&apos;s writing of memory and the various optical techniques popular at the time, including daguerreotypes, dioramas, waxworks, fantasmagorias, ghost photography, stereoscopy, double exposures, etc. Focusing mainly on the memoir&apos;s female portraits, I show that, while they are obviously indebted to the venerable tradition of the <i>vanitas</i>, they also owe something to modern illusionistic spectacles, and I explore the affinity between the techniques of image mobility and memory phenomena, which were naturally troped in terms of the new optical inventions. (In French)</p> http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Nineteenth-Century French Studies University of Nebraska Press

Le Sourire de Marie-Antoinette: La mort en surimpression dans Mémoires d&apos;outre-tombe

Nineteenth-Century French Studies , Volume 46 (3) – May 2, 2018

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Publisher
University of Nebraska Press
Copyright
Copyright © 2008 The University of Nebraska Press.
ISSN
1536-0172

Abstract

<p>Abstract:</p><p>In book five of the <i>Mémoires d&apos;outre-tombe</i> Chateaubriand recalls Marie-Antoinette, superimposing the memory of her smile with that of her skull exhumed in 1815. Starting with this hallucinatory overlay (smiling woman / grimacing skull) this article discusses the kinship between Chateaubriand&apos;s writing of memory and the various optical techniques popular at the time, including daguerreotypes, dioramas, waxworks, fantasmagorias, ghost photography, stereoscopy, double exposures, etc. Focusing mainly on the memoir&apos;s female portraits, I show that, while they are obviously indebted to the venerable tradition of the <i>vanitas</i>, they also owe something to modern illusionistic spectacles, and I explore the affinity between the techniques of image mobility and memory phenomena, which were naturally troped in terms of the new optical inventions. (In French)</p>

Journal

Nineteenth-Century French StudiesUniversity of Nebraska Press

Published: May 2, 2018

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