By Scott Carpenter
In his engagingly written and unique booklet, Scott wood worker analyzes a number of manifestations of the fake in nineteenth-century France. below Carpenter's thorough and systematic research, fraudulence emerges as a cultural preoccupation in nineteenth-century literature and society, even if or not it's within the type of literary mystifications, the thematic portrayal of frauds, or the privileging of falseness as a classy precept. Focusing fairly at the aesthetics of fraudulence in works through Merimee, Balzac, Baudelaire, Vidocq, Sand, and others, wood worker areas those literary representations in the context of different cultural phenomena, reminiscent of comic strip, political historical past, and ceremonial occasions. As he highlights the particular dating among literary fiction and fraudulence, chippie argues that falseness arises as a classy preoccupation in post-revolutionary France, the place it introduces a blurring of limits among hitherto discrete different types. This transgression of limitations demanding situations notions of authenticity and sincerity, different types that Romantic aesthetics championed first and foremost of the 19th century in France. Carpenter's research makes an immense contribution to the cultural importance of mystification in nineteenth-century France and furthers our figuring out of French literature and cultural historical past.
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Extra info for Aesthetics of Fraudulence in Nineteenth-Century France
Les faux Démétrius 184; emphasis added) [The grave was opened, ransacked, and the corpse was deposited on the ground far from the chapel, at the other end of the cemetery. T error was widespread: people believed that Dimitri was a kind of diabolical being, a sort of vampire. S everal people rumored that he had learned magic amongst the F inns, and that he was one of these sorcerers who, by their infernal arts, could die and come back to life. ] T here is only one other explicit reference to vampirism, appearing in one of Mérimée’s last works (Lokis).
TRN 1076-7) [Suddenly Mademoiselle Iwinska threw a handkerchief over my eyes and tightened it as hard as she could behind my head. “Y ou’re in the middle of the parlor,” she said, “R each out with your hand. T here! ” cried the General. I walked ahead very slowly, convinced that I would encounter a rope or a stool treacherously placed in my path to trip me up. I heard stifled laughter, which increased my discomfort. Finally I figured I was close to the wall, when suddenly my finger, with which I was reaching forward, entered into something cold and viscous.
Reported in Mérimée et ses amis, cited in TRN 1628). Violent Hoaxes: Mérimée and the Booby-trapped Text 35 fut de voir les deux aides de camp passer par la même épreuve, et ne pas faire meilleure contenance que moi. (TRN 1076-7, emphasis added) [I tore off my blindfold and saw Mlle Iwinska next to me, holding a honey pot, into which I had just stuck my finger while thinking I was going for the wall. ] T he scene of the narrator’s humiliation reveals another distinctive characteristic of the hoax, separating it from many other forms of fraud: the hoax is generally not complete until the victim understands (after the fact) that he has been duped.
Aesthetics of Fraudulence in Nineteenth-Century France by Scott Carpenter