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Jules Vallès and the Narration of History
This study focuses on the work of the nineteenth-century journalist and revolutionary, Jules Vallès (1832-1885). By exploring the relationship between Vallès's trilogy of semi-autobiographical novels and the ideology underpinning the early Third Republic,
Jules Vallès and the Narration of History
This study focuses on the work of the nineteenth-century journalist and revolutionary, Jules Vallès (1832-1885). By exploring the relationship between Vallès's trilogy of semi-autobiographical novels and the ideology underpinning the early Third Republic, it argues that his trilogy aimed at several levels to contest the legitimacy of the French Third Republic. The study begins by discussing the historical motivations behind the Republic's forceful propagation of its ideology. It then goes on to chart the typical discursive modes through which Third Republican ideology was (re)produced, in particular the speeches, festivals and iconography of the infant regime. The concluding chapters provide a detailed analysis of literary strategies used by Vallès to combat the ideological discourses of the Republican regime.
Writing, Voice and the Proper
How does literature give voice to the political? In what ways does it articulate a political dimension? For Jules Vallès (1832-1885), member of the Paris Commune of 1871 and editor of Le Cri du Peuple, author of the autobiographical trilogy, L'Enfant (1878), Le Bachelier (1881), and L'Insurgé (1886), the politics of literature is literally a matter of the voice, for it is inherent to the voice as matter: the grain of the voice, the physical trace of the voice in writing, the voice as a heterogeneous effect of writing. An indispensable work for all those interested in autobiographical voice and orality in literature, this study offers both a comprehensive theoretical reflection on the probl...
The Child
The Child is a story about growing up that is comparable in humor and humanity to Great Expectations, even as its unflinching exposure of violence and hypocrisy foreshadows the nightmare realsim of Louis-Ferdinand Céline. Jules Vallès, an anarchist and a bohemian, dedicated his book "to all those who were bored stiff at school or reduced to tears at home, who in childhood were bullied by their teachers or thrashed by their parents," and it tells the (autobiographical) tale of a young boy constantly scapegoated and abused, emotionally and physically, by his peasant mother and schoolteacher father, whose greatest concern is to improve their social status. But the young hero learns to stand up to his parents, even to love them, in time, and for all the intense pain the book registers it is anything but dreary. To the contrary, Vallès’s book is one of the funniest in French literature, a triumph of insubordinate comedy over the forces of order and the self-appointed defenders of decency.
Le Bachelier
This collection of literature attempts to compile many of the classic works that have stood the test of time and offer them at a reduced, affordable price, in an attractive volume so that everyone can enjoy them.
The Paradise of Association
Combines a detailed social analysis of club militants with a "new cultural history" perspective.
Bohemian Paris
Exotic and yet familiar, rife with passion, immorality, hunger, and freedom, Bohemia was an object of both worry and fascination to workaday Parisians in the nineteenth century. No mere revolt against middle-class society, the Bohemia Seigel discovers was richer and more complex, the stage on which modern bourgeois acted out the conflicts of their social identities, testing the liberation promised by post-revolutionary society against the barriers set up to contain it. Turning life into art, Bohemia became a space where many innovative and original figures—some famous, some obscure—found a home.
The Gamin de Paris in Nineteenth-Century Visual Culture
The revolutionary boy at the barricades was memorably envisioned in Eugène Delacroix’s painting Liberty Leading the People (1830) and Victor Hugo’s novel Les Misérables (1862). Over the course of the nineteenth century, images of the Paris urchin entered the collective social imaginary as cultural and psychic sites of memory, whether in avant-garde or more conventional visual culture. Visual and literary paradigms of the mythical gamin de Paris were born of recurring political revolutions (1830, 1832, 1848, 1871) and of masculine, bourgeois identity constructions that responded to continuing struggles over visions and fantasies of nationhood. With the destabilization of traditional, pa...
