Tuesday 28 May, 5.15-6.30pm

Hovenden Room, All Soul's College

Nicole Gadras (St. Hugh's) – ‘Painting the Nineteenth-Century City in Baudelaire and Zola’

The flâneur-artiste emerged in the nineteenth century as a specific variation of the flâneur ‘type’, the Parisian stroller and spectator famously classed by Walter Benjamin as the figure emblematic of modernity. With a focus on selected works by Baudelaire and Zola, this paper will explore how the city of Paris is depicted through the eyes of this flâneur-artiste figure as he roams its streets, as the urban topography is painted onto the page with an artist’s focus on light, colour, and form. The analysis of these literary ‘paintings’ of the city is informed by the wide range of art criticism and theory produced by both Baudelaire and Zola, as well as the backdrop of Haussmann’s redevelopment of Paris during the 1850s and 60s, which thrust the city into its role as ‘the capital of the nineteenth-century’, and the near-contemporaneous emergence of a new, avant-garde style of painting in the works of Manet and the Impressionists.

Rebecca Short (St. Hilda's) – ‘Le spectateur interieur: Didactic frivolity in the work of Louis-Antoine Caraccioli'

Louis-Antoine Caraccioli is an ambivalent figure in eighteenth-century French literature. Throughout his oeuvre, the ‘moraliste mondain’ reproves the decadence of Enlightenment frivolity all-the-while conceding to its potential spiritual and moral benefits. Writing in the siècle de la légèreté, during which illusion and artifice supersede authenticity and depth, the thought of Caraccioli provides an important insight into a potential ‘middle way’. The author sets out with the explicit aim to ‘rendre la vertu aimable’, employing traditionally frivolous tropes to an overtly didactic end. This paper will consider Caraccioli’s 1757 text La Jouissance de soi-même in light of concurrent debates on the role of the theatre in moral instruction. As the moralist questions the value of pleasure, illusion, and imitation in the cultivation of virtue, he proposes a new form of spectacle which is entirely interior. The individual who develops an ordered memory and a bridled imagination is able to source moral example in the ‘theatre’ of their mind. Through analysis of the interplay between surface and depth, and illusion and reality in this work, this presentation will assess the grounding of this theory and its spiritual and moral significance.

Tuesday 14 May, 5.15-6.30pm

Hovenden Room, All Soul's College

Rachel Hindmarsh (Trinity) – ‘Prosthetic Touch of Rabelais's Curing Hands’

The Rabelaisian giant is renowned for eating, drinking, and defecating its way through the texts, a folkloric body wreaking havoc across early modern French society. This paper argues that reading Rabelais in terms of the medical encounter opens up a provocative and newly productive way of understanding the early modern body, and its place in society. I will focus on two encounters between peripheral figures and the giant - the pilgrims who are unintentionally swallowed by Gargantua, and the peasants who are intentionally swallowed by Pantagruel in brass pills to clear an obstruction in his stomach - to explore how Rabelais grapples with the body in his texts in terms of the sense so readily tied up with encounters, 'touch'. It is the instruments that these peripheral figures use, and how they both extend and displace direct touch by acting as prosthetic fingers feeling their way through the giant's bodies, that will help us to understand the textures and dynamics of the curative medical encounter in Rabelais’s texts. 

Kirsty Bennett (University of Lancaster) – ‘The "Isabelle Eberhardt Complex": The Algerian Literary Legacy’

Isabelle Eberhardt was a Russian/French writer who lived in Algeria under the male identity of Mahmoud Saâdi. Since her death in 1904, in a flash flood in the desert, her life has continued to spark the literary and public imagination, and a series of epithets attest to her role as a rebel female figure: as la bonne nomade, l’amazone des sables, la Walkyrie du désert, and la Séverine Algérienne. This typecasting of Eberhardt has been theorised by Emily Apter as the acting out of the ‘Isabelle Eberhardt complex’ – a phenomenon whereby Eberhardt is perpetually (and problematically) consolidated into an historically based, feminist-Orientalist-cross-dressing icon of female empowerment. This presentation examines the latest literary manifestation of the Isabelle Eberhardt complex in the Arabic-language novel, Forty Years Waiting for Isabelle by Saïd Khatibi [2016]. Through an analysis of Khatibi, I present a fresh perspective on the Eberhardt phenomenon, a perspective that both complements and challenges the historic and recent Franco-Algerian afterlives of Eberhardt from writers such as Malika Mokkedem and Leïla Sebbar.

French Graduate Seminar

Trinity 2019

5.15pm-6.30pm, The Hovenden Room, All Souls College

All graduate students are warmly invited to the French Graduate Seminar: no booking required!

Week 3 (Tuesday 14^th May)

Rachel Hindmarsh (Trinity College, Oxford)

Prosthetic Touch of Rabelais's Curing Hands

Kirsty Bennett (University of Lancaster)

The ‘Isabelle Eberhardt Complex’: The Algerian Literary Legacy

Week 5 (Tuesday 28^th May)

Nicole Gadras (St Hugh’s College, Oxford)

Painting the Nineteenth-Century City in Baudelaire and Zola

Rebecca Short (St. Hilda’s College, Oxford)
Le spectateur interieur: Didactic frivolity in the work of Louis-Antoine Caraccioli

Week 7 (Tuesday 11^th June)

Yassine Ait Ali (St Cross College, Oxford)

Blindness and Writing, or the Role of Writing in the Social Rehabilitation of the Blind

Diane Michael (University of Birmingham)

Concrétisations cinématographiques de l’enfance perdue dans L’Assassinat du père Noël et Les Caves du Majestic

Tuesday 26 February, 5.15-6.30pm

Old Library, All Soul's College

Nupur Patel (Lincoln) – ‘Deconstructing Modesty: The Dames des Roches and the Notion of pudeur in Sixteenth-Century France’

First emerging in his 1542 translation of Juan Luis Vives’ Livre de L’Institution de la Femme Chrestienne, Jean de Changy enforces a strikingly gendered interpretation of pudeur or modesty. Indeed, as an oppressive term that is often deployed by male writers supposedly to protect the modesty of women and their bodies, pudeur, I argue, may be reclaimed differently by women themselves. This paper delves into the implications of pudeur with specific reference to women’s writing in sixteenth-century France. By analyzing varying shifts, tonalities and voices that are heard operating both within dialogic subgenres and in specific places, I will examine how far women’s literary works accompany and counter meanings of pudeur in circulation. Using the mother-daughter duo from Poitiers, Madeleine and Catherine des Roches, as a case study, a number of nuanced moves may be unearthed regarding the creation of subcultures of modesty and the ways in which women writers may empower the female body. In their joint works, Les Œuvres, Les Secondes Œuvres and Les Missives, the des Roches women uncover an agency that does not sit neatly with the categories of ‘submissive’ and ‘subversive’, traditionally employed by second-wave feminist scholarship. By using pudeur as a medium of inquiry, we may redefine our understandings of early modern women, taking into account the wide range of positions employed against the backdrop of patriarchal oppression.

Rachel Benoit (Oriel) – ‘Stillborn: the misconceived child in Gustave Flaubert and William Faulkner’

In the works of Gustave Flaubert and William Faulkner reproductive imagery and bodies are repeatedly doomed to failure. In Flaubert’s L’Éducation sentimentale and Faulkner’s Absalom, Absalom! historical facts and events are either notably absent or farcically spectacularised. Instead, private desires and hypothesized realities drive the narrative reality, destabilizing dominant literary modes of writing History. In both texts, the reader is lead through staged misreadings of actual events as the protagonist and the narrative compulsively revisit desired but unrealized events. Incest, sterility, and imagery of the dead child repeatedly interfere and spawn an obsessive focus on the tense relationships between what is, what was and what could have been. Contextualized by the French 1848 Provisional Government’s failed attempts to unify a splintered peuple with a rhetoric of Bourgeois family values, and the role of the family and ‘breeding’ in the articulation of the paternalistic ‘plantation myth’ during the Antebellum and Reconstruction periods in the American South, Faulkner and Flaubert’s convolution of reproductive imagery will be read as their rejection of, as Baudelaire put it in 1855, ‘la philosophie du progrès’. Reading Flaubert and Faulkner together brings into relief the full breadth of this imagery, and the extent to which their grappling with History unfolds at the syntactical level.

Tuesday 12 February
5.15-6.30pm, Old Library, All Soul's College

Marie Daouda (Oriel) – ‘Baudelaire's desperate prayer - Hoping against Hugo’

Something has gone wrong in 1848. Following the Revolution, the fall of the Second Republkic and the institution of the Second Empire, Victor Hugo is exiled, and poets of the younger generation feel bereft of the revolutionary and the poetical ideal he embodied. Yet, his influence is all the more vivid that he still stood for a humanist ideal, merging a Rousseauist belief in innate human goodness and daring poetic experiments. If Baudelaire strives to emulate Hugo's ability to break the accepted aesthetical codes, his dissent towards the master crystalises around the idea of original sin. 

My aim is to show to what extent Baudelaire's despair faces the problem of evil by admitting it as part of a wider harmony, which he dissociates from Nature, and in which he sees a matchless balance of the opposites. Baudelaire's metaphysics, indebted to Pascal and Joseph de Maistre, admit the pit, the splenetic void, as a space for despair, but in which the poet's desperate prayer enters in a contemplative dialogue with the ideal. 

Jessica Rushton (Oriel) – ‘An exploration of olfaction in the poetry of Charles Baudelaire and Arthur Rimbaud’

Smells, perfumes, odours and stenches emanate from the works of Charles Baudelaire and Arthur Rimbaud. Olfaction is an indispensable component in the creation of their poetry. This paper begins with Baudelaire and Rimbaud’s poems which foreground disgusting smells in order to deal with the writing of poetry, society’s corruption and the notions of beauty. It then investigates the poems that deal more explicitly with perfume and its relation to memory and the imagination. This paper will also reveal why the theme of olfaction is rarely the central focus in scholarship devoted to two extensively studied poets, despite Baudelaire and Rimbaud’s unmistakeable foregrounding of olfaction in their poetry.

Tuesday 29 January
5.15-6.30pm, Hovenden Room, All Soul's College

Charlotte Mackay (University of Melbourne) – ‘Aquatic Africas: An ecocritical reading of water symbolism in Léonora Miano’s Les aubes écarlates’

Ecocriticism, broadly defined as “the relationship between literature and the physical environment”, emerged in the Anglo-American milieu in the 1980s and has only recently been applied to the texts of authors originating from formerly colonised territories across the developing world. From the intersection of ecocritical and postcolonial studies was born ecocritical postcolonial studies. This field considers the relationship between the natural environment in all its forms and colonial pasts - memories, traumas and vestiges that have profoundly marked both physically and psychically postcolonial spaces and imaginaries. Ecocritical postcolonial work in Sub-Saharan Africa has tended to focus on the texts of Anglophone white authors neglecting those of black authors all while recognising the need to expand the critical scope to include the region’s abundant Francophone literature. In this paper, I propose to consider the work of a young Cameroonian author, Léonora Miano, through an ecocritical reading of her 2009 novel Les aubes écarlates [Scarlet dawns]. In this novel, Miano integrates the natural elements of her Equatorial African home space as witnesses to the “ignored wounds of the African soul” scarred by the aftereffects of slavery and colonisation whose traumas continue to resonate in the postcolonial era. The author is particularly attentive to water in its numerous manifestations that she erects across her text as a lieu de mémoire for painful pasts and namely that of the Middle Passage. If water is invariably associated in this text with dislocation and death, Miano also invests it with regenerating and federating qualities which enable her to reunite around a common history and memory Africa and her dispersed diasporas on the other side of the Atlantic.

Demystifying the DPhil and Beyond: A Graduate & ECR Roundtable

French Graduate Seminar

Hilary 2019

5.15pm-6.30pm, The Hovenden Room, All Soul’s College

Week 3 (Tuesday 29^th January)

Charlotte Mackay (University of Melbourne) – Aquatic Africas: An ecocritical reading of water symbolism in Léonora Miano’s Les aubes écarlates

Demystifying the DPhil and Beyond: A Graduate and ECR Q&A

Week 5 (Tuesday 12^th February)

Marie Daouda (Oriel) – Baudelaire's desperate prayer: hoping against Hugo?

Jessica Rushton (Oriel) – An exploration of olfaction in the poetry of Charles Baudelaire and Arthur Rimbaud

Week 7 (Tuesday 26^th February)

Nupur Patel (Lincoln) – Deconstructing Modesty: The Dames des Roches and the Notion of pudeur in Sixteenth-Century France

Rachel Benoit (Oriel) – Stillborn: the misconceived child in Gustave Flaubert and William Faulkner