Abstract:This article places Doctor Duchenne de Boulogne's 1862 study, Mécanisme de la physionomie humaine, in dialogue with Emile Zola's 1872 novel, La Curée, arguing that both texts experimented with copied human expressions and their reader's ability to decode them. In the first part, this article shows that Duchenne's use of photography and his recasting of sculptures trained the reader to detect how facial expressions were copied and modified in different media. In the second part, this article proposes that Zola's narrative, which is an adaptation of Racine's Phèdre, mirrors and extends this form of perceptual training in its use of photography, tableaux vivants, and an embedded stage production of the play it copies. By highlighting practices of making and observing copies, Duchenne's study and Zola's novel cultivated a form of spectatorship in which human expressivity was perceived, and evaluated, through an appreciation of the technical means of its reproduction.

中文翻译：

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副本和知觉：在杜兴和佐拉的人类表达

摘要：本文将杜尚·德·布洛涅（Duchenne de Boulogne）博士1862年的研究《人的生理学》（Mécanismede la physionomie humaine）与埃米尔·佐拉（Emile Zola）1872年的小说《拉库雷》（LaCurée）进行了对话，认为这两种文本都尝试了复制的人类表达及其读者对它们进行解码的能力。在第一部分中，本文显示了Duchenne对摄影的使用以及他对雕塑的重铸训练了读者发现面部表情在不同媒体中的复制和修改方式。在第二部分中，本文提出Zola的叙述（是Racine的Phèdre的改编版）反映并扩展了这种形式的知觉训练，包括摄影的使用，场面活泼的人以及复制品的嵌入式舞台制作。通过强调制作和观察副本的做法，杜兴（Duchenne）的研究和佐拉（Zola）