By Scott Carpenter
In his engagingly written and unique e-book, Scott wood worker analyzes a number of manifestations of the fake in nineteenth-century France. lower than Carpenter's thorough and systematic research, fraudulence emerges as a cultural preoccupation in nineteenth-century literature and society, no matter if it's within the type of literary mystifications, the thematic portrayal of frauds, or the privileging of falseness as a classy precept. Focusing rather at the aesthetics of fraudulence in works by means of Merimee, Balzac, Baudelaire, Vidocq, Sand, and others, chippie locations those literary representations in the context of alternative cultural phenomena, similar to cartoon, political background, and ceremonial occasions. As he highlights the unique dating among literary fiction and fraudulence, chippie argues that falseness arises as a cultured preoccupation in post-revolutionary France, the place it introduces a blurring of limits among hitherto discrete different types. This transgression of barriers demanding situations notions of authenticity and sincerity, different types that Romantic aesthetics championed at first of the 19th century in France. Carpenter's research makes an enormous contribution to the cultural value of mystification in nineteenth-century France and furthers our knowing of French literature and cultural heritage.
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Additional resources for Aesthetics of Fraudulence in Nineteenth-Century France
And so the narrator is forced to admit that his little trick did more harm than good: shortly after this episode the girl, who was soon to be married, expires in her father’s arms. T his short tale embedded in the center of the La guzla is remarkable for several reasons. First of all, the violence we witness, marked with blood, situated in a bedroom, associated with marriage, and committed while others are celebrating nearby, is the basic matrix for a number of Mérimée’s texts, ranging from “L a Vénus d’Ille” (1837) to Lokis (1869), and including “La chambre bleue” and many 26 Aesthetics of Fraudulence in Nineteenth-Century France others.
T hat is, when he starts to mutter lines of Racine as an incantation, he is no longer speaking about supernatural events; he is participating in them. Although, of course, this too is simulated. The narrator is looking to trick the D almatian girl—for her own welfare, of course—and thus his slide toward the “inside” of the supernatural remains ambiguous: he is not what he claims to be, and he doesn’t actually believe in his own wizardry. H e maintains his distance while cozying up to the language of the supernatural.
So the mystery begins, and after repeated trips to the house, various brief sightings, a mysteriously delivered love note, and finally a nocturnal visit in his own room by this pale femme fatale, the carefully constructed tale of the supernatural suddenly unravels. In fact, the woman is don O ttavio’s mistress, and seductive gestures are explained by a case of mistaken identity: the narrator and his young host are as alike as two peas in a pod, and the mistress had taken one for the other. The text is thus based on a trick: the reader parallels the narrator’s gullibility, and the great “surprise” of the ghost story is that, in fact, there is no ghost story at all.