George Sand and the Victorians: Her Influence and Reputation in Nineteenth-Century England

1979 ◽  
Vol 74 (4) ◽  
pp. 912
Author(s):  
Valerie Shaw ◽  
Patricia Thomson
Keyword(s):  
Nineteenth Century ◽  
George Sand

“Children of Liberty”: Idealist Historiography in Staël, Shelley, and Sand

PMLA ◽  
2003 ◽  
Vol 118 (3) ◽  
pp. 502-520 ◽  
Author(s):  
Kari Lokke
Keyword(s):  
Nineteenth Century ◽  
French Revolution ◽  
Mary Shelley ◽  
George Sand ◽  
The Past ◽  
The Future ◽  
Spirit World ◽  
Historical Agency ◽  
The French Revolution

This essay explores the contributions of a tradition of nineteenth-century Künstlerromane by Germaine de Staël, Mary Shelley, and George Sand to European idealist historiography as exemplified in Kant's writings on perfectibility. Corinne, Valperga, and Consuelo represent the historical agency of the intellectual and artist as communication with a spirit world inhabited by ghosts of the past so that their secrets and wisdom can be transmitted to the future. In canonical Romanticism, contact with these phantasms provokes crippling guilt over the failure of past projects of perfectibility like the French Revolution (doomed by violence and bloodshed), guilt that is figured in the interdependent tropes of the titanic hero and Romantic melancholy. The novels discussed here perform an explicit critique of masculinist individualism in the name of women and humanity as a whole, replacing melancholy with enthusiasm and deploying spirits aesthetically, as sublime signs of future historical potentiality.

George Sand and the Nineteenth-Century Russian Love-Triangle Novels

1995 ◽  
Vol 60 (4) ◽  
pp. 153
Author(s):  
Mario Hamlet-Metz ◽  
Dawn D. Eidelman
Keyword(s):  
Nineteenth Century ◽  
George Sand ◽  
Love Triangle

scholarly journals De George Sand à Henry Murger : note sur les débuts du bohémianisme (1835-1845)

1969 ◽  
Author(s):  
Françoise Genevray
Keyword(s):  
Nineteenth Century ◽  
Present Article ◽  
Initial Phase ◽  
Research Work ◽  
Social Conditions ◽  
George Sand ◽  
Literary Figure ◽  
History Of ◽  
La Boheme ◽  
Xixe Siecle

L'étude de la bohème est une page importante dans l'histoire des représentations de l'artiste au XIXe siècle. La décennie considérée dans cet article correspond à l'intervalle séparant l'émergence de la bohème comme motif littéraire et sa consécration définitive par les feuilletons de Henry Murger (1845-1849). La double appellation bohème / bohémien pèse encore fortement à ce stade sur la figure journalistique et littéraire de l'artiste pauvre ou de l'intellectuel démuni que l'on rencontre chez Balzac (Illusions perdues) et Champfleury (Chien-Caillou). Cependant, les travaux sur la bohème (J. Seigel, N. Heinich, A. Glinoer) s'attachent peu aux multiples textes de Sand, qui, des Lettres d'un voyageur (1834-1836) à Teverino (1845) en passant par Consuelo et La dernière Aldini, intéressent cette phase initiale du bohémianisme. La fin de l'article met l'accent sur Horace (1842), roman où la figure mythique, presque intemporelle, du bohémien, artiste indépendant et vagabond, fait place à l'analyse d'une situation historique et d'un état social contraignants, qui n'offrent guère d'avenir aux talents créateurs d'origine populaire.AbstractThe study of bohème is an important chapter in the history of nineteenth-century representations of the artist. The decade under scrutiny in the present article corresponds to the interval between the emergence of bohème as a literary motif and its definitive consecration through Henry Murger's feuilletons (1845-1849). The dual designation as bohème/bohemién still bears heavily, at this point, on the journalistic and literary figure of the penniless artist or the destitute intellectual as portrayed by Balzac (Illusions perdues) and Champfleury (Chien-Caillou). Research work on bohème (J. Seigel, N. Heinich, A. Glinoer), however, takes little account of Sand's numerous texts which, from Lettres d'un voyageur (1834-1836) to Teverino (1845) including Consuelo and La dernière Aldini, belong to this initial phase of bohemianism. The end of the article focuses on Horace (1842), a novel where the mythical, almost timeless figure of the bohemian as an independent, wandering artist gives way to an analysis of the constraints imposed by a historical situation and social conditions that offer very little scope for a promising future to creative talents of humble birth.

George Sand and Music Ethnography in Nineteenth-Century France

2015 ◽  
Vol 12 (2) ◽  
pp. 205-225 ◽  
Author(s):  
Anne Marcoline
Keyword(s):  
Nineteenth Century ◽  
Cultural Production ◽  
Folk Music ◽  
Folk Songs ◽  
George Sand ◽  
Rigorous Approach ◽  
Personal Significance ◽  
Art Form ◽  
Nineteenth Century France ◽  
History Of

In Les Visions de la nuit dans les campagnes (1851–1853), George Sand responded to the French government’s newly announced project of collecting the ‘popular’ or folk songs of France, with a critique of their methods of collection as perfunctory. Sand was adamant not only about a more rigorous approach to amassing the nation’s folk songs but also about the inclusion of the music with the lyrics, and her concise, insightful critique of archival methods came after nearly two decades of her own occupation with rendering music in her fiction and, more immediately, a decade focused on folk music in many of what are known as her ‘rustic’ novels. In particular, I bring to the fore in this article discussions in Sand’s expansive novel Consuelo; La Comtesse de Rudolstadt (1842–1844) which both insist upon the historical, cultural and personal significance of the preservation of folk music and navigate the tensions of preserving an art form that is fundamentally non-static and ephemeral, in order to articulate the value Sand places on musical sensibility, memory and heritage. I argue that Les Visions de la nuit dans les campagnes stands along with Sand’s fiction as an ardent defense against the loss of the musical heritage of provincial France in the hands of the state’s archivists. This article thus situates George Sand’s investment in the cultural production from the Berry region within the early history of nineteenth-century music ethnography in France, while maintaining Sand’s own understanding of her cultural production as poetic rather than scientific.

Romancierele: traducerile de romane scrise de femei în cultura română (1841-1918)

Transilvania ◽  
2021 ◽  
pp. 11-21
Author(s):  
Ștefan Baghiu
Keyword(s):  
Nineteenth Century ◽  
George Sand ◽  
Women Novelists ◽  
French Novel ◽  
Woman Author ◽  
American Authors ◽  
Matilde Serao

This article uses the data from the Chronological Dictionary of Novels Translated in Romania from its Origins to 1989 in order to chart the presence of foreign women novelists and their works in Romanian translation between 1841 (the year of the first translation of a novel originally written by a woman author, Sophie Cottin) and 1918 (the year marking the end of the long nineteenth century and the unification of Romanian provinces). The study separates two main periods, starting from the domination of the French novel: 1841-1890 and 1890-1918. The former period comprises more French novel translations, from authors such as Sophie Cottin, Stephanie-Felicité Genlis, George Sand, Countess Dash, M-me Charles Reybaud, and Mie D’Aghonne. The latter comprises Italian and American authors, such as Carolina Invernizio, Matilde Serao, Anna Katherine Green, Frances Elisa Hodgen Burnett, and even northern authors such as Clara Tschudi.

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