Joan DeJean - Böcker

Considering Sappho as a creature of translation and interpretation, a figment whose features have changed with social mores and aesthetics, Joan DeJean constructs a fascinating history of the sexual politics of literary reception. The association of Sappho with female homosexuality has made her a particularly compelling and yet problematic subject of literary speculation; and in the responses of different cultures to the challenge the poet presents, DeJean finds evidence of the standards imposed on female sexuality through the ages. She focuses largely though not exclusively on the French tradition, where the Sapphic presence is especially pervasive. Tracing re-creations of Sappho through translation and fiction from the mid-sixteenth century to the period just prior to World War II, DeJean shows how these renderings reflect the fantasies and anxieties of each writer as well as the mentalité of his or her day.

Considering Sappho as a creature of translation and interpretation, a figment whose features have changed with social mores and aesthetics, Joan DeJean constructs a fascinating history of the sexual politics of literary reception. The association of Sappho with female homosexuality has made her a particularly compelling and yet problematic subject of literary speculation; and in the responses of different cultures to the challenge the poet presents, DeJean finds evidence of the standards imposed on female sexuality through the ages. She focuses largely though not exclusively on the French tradition, where the Sapphic presence is especially pervasive. Tracing re-creations of Sappho through translation and fiction from the mid-sixteenth century to the period just prior to World War II, DeJean shows how these renderings reflect the fantasies and anxieties of each writer as well as the mentalité of his or her day.

As the end of the 20th century approaches, many predict that it will mirror the 19th-century decline into decadence. The author of this text finds a closer analogy with the culture wars of France in the 1690s - the time of a battle of the books known as the Quarrel between the Ancients and Moderns. The book reassesses current culture wars from perspective of that earlier fin de siecle, and re-reads the 17th century Quarrel from the vantage of 20th-century warring "ancients" and "moderns". In so doing, DeJean shows that a fin de siecle taking place in the shadow of culture wars can be more a source of constructive cultural revolution than of apocalyptic gloom and doom. Just as the first fin de siecle's battle of the books served as the spark which set off the Enlightenment, introducing radically new sexual and social politics which laid the groundwork for modernity, so current culture wars can result in radical, liberating changes, if we take an active stand against our own "ancients" who seek to stifle such reforms.

As the end of the 20th century approaches, many predict that it will mirror the 19th-century decline into decadence. The author of this text finds a closer analogy with the culture wars of France in the 1690s - the time of a battle of the books known as the Quarrel between the Ancients and Moderns. The book reassesses current culture wars from the perspective of that earlier fin de siecle, and re-reads the 17th century Quarrel from the vantage of 20th-century warring "ancients" and "moderns". In so doing, DeJean shows that a fin de siecle taking place in the shadow of culture wars can be more a source of constructive cultural revolution than of apocalyptic gloom and doom. Just as the first fin de siecle's battle of the books served as the spark which set off the Enlightenment, introducing radically new sexual and social politics which laid the groundwork for modernity, so current culture wars can result in radical, liberating changes, if we take an active stand against our own "ancients" who seek to stifle such reforms.

The concept of obscenity is an ancient one. But as Joan DeJean suggests, its modern form, the same version that today's politicians decry and savvy artists exploit, was invented in seventeenth-century France. The Reinvention of Obscenity casts a fresh light on the mythical link between sexual impropriety and things French. Exploring the complicity between censorship, print culture, and obscenity, DeJean argues that mass market printing and the first modern censorial machinery came into being at the very moment that obscenity was being reinvented - that is, transformed from a minor literary phenomenon into a threat to society. DeJean's principal case in this study is the career of Moliere, who cannily exploited the new link between indecency and female genitalia to found his career as a print author; the enormous scandal which followed his play L'ecole des femmes made him the first modern writer to have his sex life disected in the press. Keenly alert to parallels with the currency of obscenity in contemporary America, The Reinvention of Obscenity will concern not only scholars of French history, but anyone interested in the intertwined histories of sex, publishing, and censorship.

The concept of obscenity is an ancient one. But as Joan DeJean suggests, its modern form, the same version that today's politicians decry and savvy artists exploit, was invented in seventeenth-century France. The Reinvention of Obscenity casts a fresh light on the mythical link between sexual impropriety and things French. Exploring the complicity between censorship, print culture, and obscenity, DeJean argues that mass market printing and the first modern censorial machinery came into being at the very moment that obscenity was being reinvented - that is, transformed from a minor literary phenomenon into a threat to society. DeJean's principal case in this study is the career of Moliere, who cannily exploited the new link between indecency and female genitalia to found his career as a print author; the enormous scandal which followed his play L'ecole des femmes made him the first modern writer to have his sex life disected in the press. Keenly alert to parallels with the currency of obscenity in contemporary America, The Reinvention of Obscenity will concern not only scholars of French history, but anyone interested in the intertwined histories of sex, publishing, and censorship.

This treatise argues that women writers were the originators of the modern novel in France. It uses the novels of Scudery and Lafayette to illustrate how such works undermined French tradition by suggesting that women had a right to choose their husbands and to lead independent lives.

What makes fashionistas willing to pay a small fortune for a particular designer accessory? Why does a special occasion only become really special when a champagne cork pops? Why are diamonds the status symbol gemstone, instantly signifying wealth, power, and even emotional commitment? Writing with great elan, one of the foremost authorities on seventeenth-century French culture provides the answer to these and other fascinating questions in her account of how, at one glittering moment in history, the French under Louis XIV set the standards of sophistication, style, and glamour that still rule our lives today. Joan DeJean takes us back to the birth of haute cuisine, the first appearance of celebrity hairdressers, chic cafes, nightlife, and fashion in elegant dress that extended well beyond the limited confines of court circles. And Paris was the magical center -- the destination of travelers all across Europe. Full of wit, dash, and verve, The Essence of Style will delight fans of history and everybody who wonders about the elusive definition of good taste.

One of the most popular works of the eighteenth century, Lettres d'une Péruvienne appeared in more than 130 editions, reprints, and translations during the hundred years following its publi cation in 1747. In the novel the Inca princess Zilia is kidnapped by Spanish conquerors, captured by the French after a battle at sea, and taken to Europe. Graffigny's brilliant novel offered a bold critique of French society, delivered one of the most vehement feminist protests in eighteenth-century literature, and announced—fourteen years before Rousseau's Julie, or the New Eloise—the Romantic tradition in French literature.