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Author:
Brown, Marilyn, 1951 April 26-
Title:
The Gamin de Paris in nineteenth-century visual culture : Delacroix, Hugo, and the French social imaginary / Marilyn R. Brown.
Publisher:
Routledge,
Copyright Date:
2017
Description:
xiii, 152 pages, 24 pages of plates : illustrations (chiefly color) ; 26 cm.
Subject:
Delacroix, Eugène,--1798-1863.--Liberty leading the people.
Hugo, Victor,--1802-1885.--Misérables.
Liberty leading the people (Delacroix, Eugène)
Misérables (Hugo, Victor)
Arts, French--19th century--Themes, motives.
Boys in art.
Revolutions in art.
Boys in literature.
Revolutions in literature.
Arts, French--Themes, motives.
Boys in art.
Boys in literature.
Revolutions in art.
Revolutions in literature.
1800-1899
Notes:
Includes bibliographical references (pages 121-143) and index.
Contents:
Revolutionary ancestors of the Gamin de Paris -- Child of the people and child of the Fatherland in nineteenth-century French social history -- Child of the people and child of the Fatherland in the French social imaginary -- The Gamin de Paris and the Revolution of 1830 -- The Gamin de Paris in panoramic literature and in the Revolutions of 1848 -- The Gamin de Paris, the second empire, and the commune -- The Gamin de Paris during the early Third Republic -- Epilogue.
Summary:
The revolutionary boy at the barricades was memorably envisioned in Eugene Delacroix's painting Liberty Leading the People (1830) and Victor Hugo's novel Les Miserables (1862). Over the course of the nineteenth century, images of the Paris urchin entered the collective social imaginary as cultural and psychic sites of memory, whether in avant-garde or more conventional visual culture. Visual and literary paradigms of the mythical gamin de Paris were born of recurring political revolutions (1830, 1832, 1848, 1871) and of masculine, bourgeois identity constructions that responded to continuing struggles over visions and fantasies of nationhood. With the destabilization of traditional, patriarchal family models, the diminishing of the father's symbolic role, and the intensification of the brotherly urchin's psychosexual relationship with the allegorical motherland, what had initially been socially marginal eventually became symbolically central in classed and gendered inventions and repeated re-inventions of "fraternity," "people," and "nation." Within a fundamentally split conception of "the people," the bohemian boy insurrectionary, an embodiment of freedom, was transformed by ongoing discourses of power and reform, of victimization and agency, into a capitalist entrepreneur, schoolboy, colonizer, and budding military defender of the fatherland. A contested figure of the city became a contradictory emblem of the nation.
Series:
Routledge research in art history
ISBN:
9781138231139
1138231134
OCLC:
(OCoLC)953425152
Locations:
OVUX522 -- University of Iowa Libraries (Iowa City)

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