This thesis argues for the cultural space of late nineteenth-century Parisian shopgirls as a position of power. The shopgirls' role in society is an ambiguous position connecting fashion consumer culture, class divides, gender and identity perceptions, and the workspace. Using James Tissot's Femme à Paris series, specifically the image Demoiselles de Magasin, and Emile Zola's novel Au Bonheur des Dames as primary sources, I examine the role of the shopgirl as a liminal position within the definition of the iconic 'La Parisienne' woman. By looking at women's work and the role of shopgirls in the boutique and department store world of fashion and consumerism, we can see how shopgirls' unique position gives historical significance to this kind of work. By looking at painting and literature as primary media, we can see how pervasive the shopgirl and La Parisienne imagery really at this time. Using a feminist approach, this thesis shows how the shopgirl occupies a particular social space for women in nineteenth-century France, perhaps even a somewhat influential position in Parisian culture, as she is a primary facilitator in the fashion world for transmitting 'taste'— a marketable branding tool of French fashion that permeates the iconic ideals of French fashion.

Theodore Stanton’s career as a literary middleman exemplifies several of the intermediary professions in book and periodical publishing that were being created and tested in the late nineteenth century in response to expanded publishing opportunities in France, Great Britain, the United States, and Canada. The need for professional middlemen between writers and publishers developed differently in each country, thus their roles and activities, the literary agent’s in particular, varied according to regional demands. Different interpretations of intellectual property in copyright laws determined the balance of power between creators and producers of texts. In turn, writers’ relative ability to control copyrights shaped the middleman’s field of endeavour. The range of professional middleman specializations is described. A case study of some American publications of Émile Zola’s novels shows the legal and logistical difficulties of transatlantic publishing in practice. In chapter 3, Stanton’s beginnings as an American newspaper correspondent in Paris precede his middleman role as editor of the European Correspondent, a weekly galley-proof service printed in English in Paris and syndicated to American newspaper editors. Stanton’s work as a European sub-editor of the North American Review and other magazines is detailed in chapter 4. As the Paris representative of Harper & Brothers from 1899, Stanton presented previously unpublished writings of Honoré de Balzac, Victor Hugo, Émile Zola, and others to American readers, also co-operating with French publishers. Case studies portray the challenges and successes of a middleman position within a large, complex enterprise. In chapter 5, a more independent Stanton arranges the simultaneous, posthumous publication of the memoirs of Eugénie, ex-Empress of France, by D. Appleton and Company in New York and London, and in four European translations. Count Maurice Fleury compiled and authored the two-volume work, which was not published in France. The manuscript took a circuitous path to publication through Stanton’s efforts to ensure authenticity, maintain exclusivity, and protect copyright. Methodological approaches of correspondence editing, bibliography, and textual criticism reveal both the processes and the results of Stanton’s mediation and illuminate how the participation of literary middlemen shaped the way French culture was received and understood in North America.

Theodore Stanton’s career as a literary middleman exemplifies several of the intermediary professions in book and periodical publishing that were being created and tested in the late nineteenth century in response to expanded publishing opportunities in France, Great Britain, the United States, and Canada. The need for professional middlemen between writers and publishers developed differently in each country, thus their roles and activities, the literary agent’s in particular, varied according to regional demands. Different interpretations of intellectual property in copyright laws determined the balance of power between creators and producers of texts. In turn, writers’ relative ability to control copyrights shaped the middleman’s field of endeavour. The range of professional middleman specializations is described. A case study of some American publications of Émile Zola’s novels shows the legal and logistical difficulties of transatlantic publishing in practice. In chapter 3, Stanton’s beginnings as an American newspaper correspondent in Paris precede his middleman role as editor of the European Correspondent, a weekly galley-proof service printed in English in Paris and syndicated to American newspaper editors. Stanton’s work as a European sub-editor of the North American Review and other magazines is detailed in chapter 4. As the Paris representative of Harper & Brothers from 1899, Stanton presented previously unpublished writings of Honoré de Balzac, Victor Hugo, Émile Zola, and others to American readers, also co-operating with French publishers. Case studies portray the challenges and successes of a middleman position within a large, complex enterprise. In chapter 5, a more independent Stanton arranges the simultaneous, posthumous publication of the memoirs of Eugénie, ex-Empress of France, by D. Appleton and Company in New York and London, and in four European translations. Count Maurice Fleury compiled and authored the two-volume work, which was not published in France. The manuscript took a circuitous path to publication through Stanton’s efforts to ensure authenticity, maintain exclusivity, and protect copyright. Methodological approaches of correspondence editing, bibliography, and textual criticism reveal both the processes and the results of Stanton’s mediation and illuminate how the participation of literary middlemen shaped the way French culture was received and understood in North America.

Le développement de la modernité picturale dans la seconde moitié du dix-neuvième siècle français est redevable à l'apport de la critique d'art qui en assura le rayonnement. Émile Zola, ardent défenseur de cette nouvelle esthétique, contribua par ses chroniques artistiques à de nombreuses publications tout au long de sa carrière d'écrivain, soit de 1866 à 1896. Ce mémoire met en lumière l'importance de la contribution de l'écrivain par l'analyse des descriptions du corps que l'on retrouve dans ses Écrits sur l'art. Le choix du corps comme sujet doublement représenté par la toile et le texte, souligne, d'un point de vue anthropologique, la relation intime unissant l'art et l'homme. Plus particulièrement, ce travail s'intéresse à la question de la métaphore alimentaire et de son inscription dans le texte. Afin d'appuyer cette hypothèse d'un lien unissant le descriptif et l'alimentaire, nous irons chercher des exemples à la fois dans les Écrits ainsi que dans deux romans de Zola, soit Le Ventre de Paris et L'OEuvre. Nous établirons une catégorisation des métaphores utilisées afin de rendre lisible ce parcours du sensible et de comprendre son ancrage à la fois dans le contexte de l'avènement de la peinture moderne et également dans l'histoire du développement gastronomique de l'époque. Ce rapport à l'alimentaire que l'on retrouve au coeur de l'écrit zolien est ainsi considéré comme étant représentatif d'une esthétique descriptive propre à l'auteur. Notre travail permet donc l'étude d'un corpus où les paramètres de la critique d'art impressionniste et de la littérature naturaliste se rencontrent par le biais de l'utilisation de la métaphore alimentaire dans la création d'une image corporelle. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Émile Zola, Dix-neuvième siècle, Gastronomie française, Métaphore, Critique d'art, Descriptif.

Thèse d'exercice : Médecine. Médecine générale : Paris 12 : 2007. / Titre provenant de l'écran-titre. 109 f. : ill. Bibliogr. f. 97-99. Notes bibliogr.

Thesis (Ph. D.)--University of Oregon, 2001. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 204-207). Also available for download via the World Wide Web; free to University of Oregon users.

Thesis (Ph. D.)--Ohio State University, 2004. / Title from first page of PDF file. Document formatted into pages; contains vii, 179 p. Includes abstract and vita. Advisor: Eugene Holland, Dept. of French and Italian. Includes bibliographical references (p. 165-179).

Thesis (Ph. D.)--University of Oregon, 2000. / Typescript. Includes abstract. Includes bibliographical references (leaves 216-227). Also available for download via the World Wide Web; free to University of Oregon users.

Thesis (doctoral)--Åbo Akademi, 2004. / Added thesis t.p. inserted. Includes bibliographical references (p. 207-221) and index.

Zugl.: Freiburg (Breisgau), Univ., Diss., 2005/2006 u.d.T.: Spieker, Annika: Der photographische Blick bei Emile Zola