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Conflicted selves: Women, art, & Par...

Queen's University (Canada).

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Conflicted selves: Women, art, & Paris, 1880--1914.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Conflicted selves: Women, art, & Paris, 1880--1914./
作者:	Johnson, Julie Anne.
面頁冊數:	306 p.
附註:	Source: Dissertation Abstracts International, Volume: 70-02, Section: A, page: .
Contained By:	Dissertation Abstracts International70-02A.
標題:	History, European. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=NR46196
ISBN:	9780494461969

Conflicted selves: Women, art, & Paris, 1880--1914.
Johnson, Julie Anne.

Conflicted selves: Women, art, & Paris, 1880--1914. - 306 p.

Source: Dissertation Abstracts International, Volume: 70-02, Section: A, page: .

Thesis (Ph.D.)--Queen's University (Canada), 2009.

Scholars describe fin-de-siecle Paris as a city of dualities, and examine its past as a series of crises or a tale of burgeoning optimism and opportunity. Historians of women and gender have noted the limitations of this dualistic approach, and have explored new avenues of interpretation. Specifically, they have shown how the combination of positive and negative impulses created a dynamic space in which women could re-imagine and rearticulate themselves. While this approach illuminates the possibilities that existed for women in a complex urban landscape, it also indicates that fin-de-siecle Paris was a contested city, one fraught with challenges for women living in the French capital. If the mingling of crises and belle epoque culture had stimulating results for women's emergence into urban spaces, it had confusing and conflicting effects as well.

ISBN: 9780494461969Subjects--Topical Terms:

1018076
History, European.

Conflicted selves: Women, art, & Paris, 1880--1914.
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502 $a Thesis (Ph.D.)--Queen's University (Canada), 2009.
520 $a Scholars describe fin-de-siecle Paris as a city of dualities, and examine its past as a series of crises or a tale of burgeoning optimism and opportunity. Historians of women and gender have noted the limitations of this dualistic approach, and have explored new avenues of interpretation. Specifically, they have shown how the combination of positive and negative impulses created a dynamic space in which women could re-imagine and rearticulate themselves. While this approach illuminates the possibilities that existed for women in a complex urban landscape, it also indicates that fin-de-siecle Paris was a contested city, one fraught with challenges for women living in the French capital. If the mingling of crises and belle epoque culture had stimulating results for women's emergence into urban spaces, it had confusing and conflicting effects as well.
520 $a My thesis shows how fin-de-siecle Paris was a contradictory city for women artists, at a time when both opportunities and constraints in their profession were at a premium. I examine the ways in which several notable women in the arts -- painters Gwen John, Suzanne Valadon, and Romaine Brooks, sculptor Camille Claudel, and writer Rachilde -- traversed this unsettling path, and evaluated their experiences through artistic representations of private life. Far from portraying the traditional sphere of domesticity, however, which was considered an important form of artistic expression among women at this time, I argue that their depictions of intimate spaces, bodies, children, and female selfhood, were complex and often ambiguous, and part of a larger attempt to grapple with the shifting nature of identity, both as women, and as professionals. John and Claudel created interiors that were signs of independence and artistic innovation, but also sad reflections of hardship; Valadon and Brooks invested images of the female and child's body with strength and power, but also with pain and suffering; and Rachilde developed heroines who were unsuccessful in their attempts to create a unique sense of self. Taken together, these representations demonstrate that women artists did not easily articulate a vision of modern female identity at the turn of twentieth century, but rather, highlighted the inconsistencies of this experience.
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