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51	L'Anti-Salomé, représentations de la féminité bienveillante au temps de la Décadence (1850-1920) / The Anti-Salome, representations of benevolent femininity in the Time of Decadence Daouda, Marie Kawtar 12 December 2015 (has links) À la charnière entre deux siècles, Salomé fait office de lieu commun inévitable de la littérature et des arts. Cependant, aux côtés de la femme fatale, s'affirme la présence discrète mais tout aussi inévitable de la féminité fragile et bienveillante, formée sur le modèle de la princesse de conte et de l'héroïne de roman gothique, mais surtout sur celui de la vierge et martyre du roman édifiant, qu'il soit antiquisant ou contemporain. Parfois discrète jusqu'à l'illisibilité, cet archétype n'est légitimé dans sa fonction bienveillante que par un sacrifice. La signification religieuse du bouc émissaire reste à la fois lisible et efficace dans les structures narratives du roman, mais aussi dans le détail de l'écriture de ces personnages. Les figures mariales, magdaléennes ou féeriques sont soumises à la même épreuve de destruction, par laquelle l'édification qu'elles symbolisent se fait littéralement construction de sens, juxtaposition d'éléments esthétiques disparates mais efficaces par lesquels un personnage en vient à représenter allégoriquement la création artistique elle-même. En reliant le milieu du XIXe siècle aux années 1920 et en mettant les plus connus des héritiers de Baudelaire en perspective avec ceux dont le nom commence à peine à revenir à la postérité, l'enjeu de la recherche est d'établir dans quelle mesure ces représentations de la féminité bienveillante relèvent d'une permanence, d'un monument – au sens de monumentum – où la fin de siècle va non seulement contempler la mort d'une époque révolue, mais concentrer tout ce qui sert, à l'aube du XXe siècle, à théoriser l'art idéaliste. / At the crossroads between two centuries, Salome plays the part of a mandatory commonplace in art and literature. Nevertheless, next to the femme fatale and just as unavoidable, stands a fragile and benevolent form of feminity, molded in the cast of the fairytale princess and theGothic novel heroine, but inspired above all by the Virgin and Martyr of the edifying novel, be it antique or contemporary. As it might be discrete enough to become unreadable, this archetype's benevolence cannot be legitimated without a sacrifice. The religious meaning of the scapegoat remains just as obvious and as efficient in the novels' narrative structure, as well as in the detailsthrough which such characters are built. Marial, magdalenian and farylike characters must undergo the same destruction trial, through which their edifying meaning becomes a litteral building-up up meaning, by juxtaposing dissimilar and yet efficien aesthetic elements which turn the character into an allegory of artistic creation. By linking mid-19th century and the 1920es and by weaving a link between the most famous of Baudelaire's heirs and the ones whose name is just merging out of oblivion, the purpose of this study is to analyse how much these representations of benevolent femininity must be seen as a permanence, as a monument – or as a monumentum – where late-19th century will not only gaze a the death of a declining era, but concentrate all what will be used to theorize idealist artistic movements on the edge of the 20th century. Salomé Bienveillance Oblativité Sacrifice Dévotion Roman antiquisant Conte Décadence Vierge Parque Sirène Chimère Fée Apparition Spectre Ange Naturalisme Gothique Mouvement d'Oxford Idéalisme Symbolisme Préraphaélite Topos Monumentum Orphée Catholicisme Androgyne Salome Benevolence Oblativity Sacrifice Devotion Antique novel Tale Decadence Virgin Parque Mermaid Chimaera Fairy Ghost Angel Naturalism Gothic Idealism Symbolism Monumentum Oxford movement Preraphaelite Topos Orpheus Catholicism Androgyne
52	"Charity Never Faileth": Philanthropy in the Short Fiction of Herman Melville Goldfarb, Nancy D. January 2014 (has links) Indiana University-Purdue University Indianapolis (IUPUI) / This dissertation analyzes the critique of charity and philanthropy implicit in Melville’s short fiction written for periodicals between 1853 and 1856. Melville utilized narrative and tone to conceal his opposition to prevailing ideologies and manipulated narrative structures to make the reader complicit in the problematic assumptions of a market economy. Integrating close readings with critical theory, I establish that Melville was challenging the new rhetoric of philanthropy that created a moral identity for wealthy men in industrial capitalist society. Through his short fiction, Melville exposed self-serving conduct and rationalizations when they masqueraded as civic-minded responses to the needs of the community. Melville was joining a public conversation about philanthropy and civic leadership in an American society that, in its pursuit of private wealth, he believed was losing touch with the democratic and civic ideals on which the nation had been founded. Melville’s objection was not with charitable giving; rather, he objected to its use as a diversion from honest reflection on one’s responsibilities to others. philanthropy charity censorship humanity capitalism American literature -- 19th century Censorship in literature -- 19th century Humanity in literature -- 19th century

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L'Anti-Salomé, représentations de la féminité bienveillante au temps de la Décadence (1850-1920) / The Anti-Salome, representations of benevolent femininity in the Time of Decadence

"Charity Never Faileth": Philanthropy in the Short Fiction of Herman Melville