Why were the rococo and the Enlightenment not being taken seriously? Because they were gendered feminine and associated with elite women and love. ...we listed each other's work as well.3 My feminist ...analysis of visual representations of the salon in Republic of Letters grew out of conversations with Mary and the art historians I met through her at ASECS meetings and conferences at the Clark Library (UCLA). To understand Vigée-Lebrun as painter to the queen, Mary read deeply in the historical literature on theories of absolutism and the problem of political representation, which were then at the center of historical debates about the French Revolution. Mary was not just enthusiastic, she helped me to select the articles for what became Marie-Antoinette: Writings on the Body of a Queen, which of course included "The Portrait of the Queen," a revised version of chapter 5 of The Exceptional Woman.4 I may have been its editor, but Marie-Antoinette is really a reflection of what Mary was reading and writing, a re-presentation of her interdisciplinary engagement with the queen for students and the public. Two years later Mary and James published another thematic issue, "Only Connect: Family Values in the Age of Sentiment," with an insightful introduction by another historian, Sarah Maza.6 By noticing intellectual connections among submissions, Mary went beyond the journal editor's basic role of selecting individual articles and brought into focus cutting-edge issues that cut across disciplines and made the journal not just a venue for work in different disciplines, but an interdisciplinary conversation in print.
Through case studies of two early nineteenth-century French geologists, this article shows how relations of family and friendship were integral to determining where science took place. Digging up the ...traces of what I call the “affective geographies” of individual scientists that are entangled with their intellectual itineraries, I show how the practice of science is embedded in such affective relations and thus in everyday life.
Celotno besedilo
Dostopno za:
DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
7.
Documenting Art, Writing Biography Goodman, Dena; Talbot, Emily
Journal of family history,
07/2015, Letnik:
40, Številka:
3
Journal Article
Recenzirano
This article concerns six generations of the Silvestre family: a succession of artists, royal drawing masters, and art collectors whose social ascent began in the late seventeenth century in parallel ...with the Bourbon Monarchy and continued after its fall. In this article, we show how the Silvestres legitimized a path of social mobility from seventeenth-century artisans to nineteenth-century aristocrats by narrating and documenting the family’s history in three texts—two catalogues raisonnés that recorded the Silvestre art collections and a family biography that traced the dynasty through the French Revolution. By establishing and advancing the family’s reputation or crédit, the Silvestres built a narrative bridge that carried them across the revolutionary divide.
This article takes up the story of the female subject abandoned by Habermas in a less than hospitable public sphere. Through an analysis of letters written by Geneviève Randon de Malboissière ...(1746-1766) and Marie-Jeanne (Manon) Phlipon (1754-1793), it reintroduces privateness into our discussion of what it means to become a modern female subject, while introducing notions of subjectivity, practice, and construction into our understanding of the relationship of women to the public sphere. I argue that letter-writing women became conscious of themselves as modern, gendered subjects in the gap between a common experience of privateness and the differential positions defined by gender in the public sphere.
This article challenges the false opposition between public and private spheres that is often imposed upon our historical understanding of the Old Regime in France. An analysis of the work of Jürgen ...Habermas, Reinhart Koselleck, Philippe Ariès, and Roger Chartier shows that the "authentic public sphere" articulated by Habermas was constructed in the private realm, and the "new culture" of private life identified by Ariès was constitutive of Habermas's new public sphere. Institutions of sociability were the common ground upon which public and private met in the unstable world of eighteenth-century France. Having superimposed the "maps" of public and private spheres drawn by Habermas and Ariès upon one another, the article then goes on to examine recent studies by Joan Landes and Roger Chartier to show the implications of drawing or avoiding the false opposition between public and private spheres for our understanding of the political culture of the Old Regime and Revolution.
