The French art novel, with its tales of artists, models and creative struggles, is often thought to be a specifically nineteenth-century phenomenon, which dies out by 1900. This wide-ranging, interdisciplinary study argues that the art novel does not in fact disappear but rather undergoes a series of transformations in the early twentieth century, in step with radical changes in the visual arts of the period. Examining both well-known and all-but-forgotten novels, Shingler examines the ways in which they move on from their nineteenth-century predecessors, as the development of avant-garde movements makes questions of aesthetic value and authenticity ever more pressing; as changing gender roles increasingly put pressure on writers to acknowledge female creativity; and as the emergent art of the cinema comes to compete with painting as the primary visual reference point for writers.
Collective nouns such asmajorite or foulehave long been of interest to linguists for their unusual semantic properties, and provide a valuable source of new data on the evolution of French grammar. This book tests the hypothesis that plural agreement with collective nouns is becoming more frequent in French. Through an analysis of data from a variety of sources, including sociolinguistic interviews, gap-fill tests and corpora, the complex linguistic and external factors which affect this type of agreement are examined, shedding new light on their interaction in this context. Broader questions concerning the methodological challenges of studying variation and change in morphosyntax, and the application of sociolinguistic generalisations to the French of France, are also addressed.
Gangsters, aviators, hard-boiled detectives, gunslingers, jazz and images of the American metropolis were all an inextricable part of the cultural landscape of interwar France. While the French 1930s have long been understood as profoundly anti-American, this book shows how a young, up-and-coming generation of 1930s French writers and filmmakers approached American culture with admiration as well as criticism. For some, the imaginary America that circulated through Hollywood films, newspaper reports, radio programming and translated fiction represented the society of the future, while for others it embodied a dire threat to French identity. This book brings an innovative transatlantic perspective to 1930s French culture, focusing on several of the most famous figures from the 1930s – including Marcel Carné, Louis-Ferdinand Céline, Pierre Drieu la Rochelle, Julien Duvivier, André Malraux, Jean Renoir and Jean-Paul Sartre – to track the ways in which they sought to reinterpret the political and social dimensions of modernism for mass audiences via an imaginary America.
Bailey is an accomplished bibliographer. . . . His annotations document the scintillating Paris of the early 1900s in smooth prose. Contents are arranged in eight broad topical groups, like `Writers and Their Crowds, ' with author and subject indexes. . . . Scholars of English and French literatures, American and French history, and 20th-century fine arts will find relevant materials here. Choice Americans in Paris, 1900-1930 concentrates on the influx of artistic Americans who booked passage for the City of Lights during the early twentieth century. Bailey traces the Americans' arrival in Paris to their departure during the Great Depression. The book is divided into eight chapters. The first chapter provides background on Americans in Paris prior to 1900 and on the rise of French bohemia. Newspaper Accounts document the astonishing flow of people and money from America to France. The Expatriation Question studies the problem of Americans speaking out against their homeland. Tourism and Americanization probes America's rapid influence in France. Writers and Their Crowd identifies the serious artists who wrote about their experiences in Paris. Painters, Sculptors, Photographers singles out those Americans who enrolled in Paris art schools and benefited from exposure to an art-rich city. Musician and Other Paris Americans rounds out the diverse gathering of these intriguing people. Creative Literature captures the Paris experience in fiction and speaks more truth than many of the memoirs.
From 1900 to 1930, Montparnasse was the center of artistic life for the whole world. Now this major contribution to the social and cultural history of the period -- with its informative text and hundreds of photographs -- is available in paperback once again.
Languages, Modern by Modern Language Association of America
F.C.B. Cadell, J.D. Ferguson, G.L. Hunter and S.J. Peploe are now amongst the most admired of early twentieth century British artists. Their direct contact with French Post-Impressionism and early knowledge of the work of Matisse and the Fauves, encouraged them to produce paintings which are considered some of the most progressive in British art of the early twentieth century. During their lifetime the Colourists developed an international reputation, exhibiting in Paris, London and New York as well as Scotland. Since their deaths they have often been overlooked in histories of British art, but in the last twenty years there has been a dramatic revival of interest in their work. Featuring essays describing the artists' lives and their involvement with the avant garde in Paris in the early years of the twentieth century, this book is richly illustrated with over 100 of the Colourists' most stylish and inventive paintings.
“[An] epic account of life and loves among artists and writers in Paris from belle époque to world slump” (William Feaver, The Spectator). A legendary capital of the arts, Paris hosted some of the most legendary developments in world culture—particularly at the beginning of the twentieth century, with the flowering of fauvism, cubism, dadaism, and surrealism. In Bohemian Paris, Dan Franck leads us on a vivid and magical tour of the Paris of 1900–1930, a hotbed of artistic creation where we encounter Apollinaire, Modigliani, Cocteau, Matisse, Picasso, Hemingway, and Fitzgerald, working, loving, and struggling to stay afloat. Sixteen pages of black-and-white illustrations are featured. “Franck spins lavish historical, biographical, artistic, and even scandalous details into a narrative that will captivate both serious and casual readers . . . Marvelous and informative.” —Carol J. Binkowski, Library Journal, starred review