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The Lion of Belfort, Max Ernst's Une semaine de bonté, and the Uses of the Past
Nineteenth-Century French Studies Pub Date : 2021-02-09 , DOI: 10.1353/ncf.2021.0010
Katie Hornstein

Abstract:

Frédéric Auguste Bartholdi's Lion of Belfort, a 11 × 22-meter sculpture made out of red sandstone, was erected at the foot of the citadel of the frontier town of Belfort in 1879. Associated versions were also exhibited at the Salon and subsequently installed at Place Denfert-Rochereau in Paris. As a nationalist monument to noble resistance (and defeat) as well as an implicit repudiation of the revolutionary spirit of the Commune, Bartholdi's sculpture took the form of the obdurately generalized symbol of the lion, which made it susceptible to unanticipated collective readings against the grain. I trace the resonances of the Lion of Belfort into the twentieth century, when the monument made a belated appearance as the protagonist in the first volume of Max Ernst's collage-novel, Une semaine de bonté (1933–34). Ernst's collage-novel proposes a retrospective reading of the collective revolutionary echoes of a counter-revolutionary monument across time. My paper asks what it means for a Third Republic monument to contend with the various political, class, and temporal boundaries of the nineteenth and early twentieth centuries. I argue that the reappearance of these leonine forms across time and in very different contexts offers a model for examining the unfinished business of nineteenth-century revolutionary history.



中文翻译:

贝尔福之狮,马克斯·恩斯特(Max Ernst)的《联合国报》和过去的使用

摘要:

弗雷德里克·奥古斯特·巴索迪(FrédéricAuguste Bartholdi)创作的11×22米的贝尔福特狮子,是用红砂岩制成的雕塑,于1879年在边境小镇贝尔福特的城堡脚下竖立。相关版本也在沙龙展出,随后安装在广场上巴黎的丹佛·罗切洛(Denfert-Rochereau)。作为反对高贵抵抗(和失败)的民族主义纪念碑,以及对公社革命精神的默示抵制,巴索迪的雕塑采用了狮子的笼统符号,这使其容易受到人们对谷物的意料之外的集体阅读的影响。 。我追溯到二十世纪贝尔福狮子的共鸣,当时该纪念碑在马克斯·恩斯特(Max Ernst)的拼贴画小说的第一卷中以主角的身份出现迟来,蓬特大街(1933–34)。恩斯特(Ernst)的拼贴画小说对历史上反革命纪念碑的集​​体革命回声进行了回顾性解读。我的论文问到,第三共和国纪念碑与19世纪和20世纪初的各种政治,阶级和时空界限相抗衡意味着什么。我认为,这些莱宁形式在不同时间和不同背景下的重新出现为审查19世纪革命历史未完成的业务提供了一个模型。

更新日期:2021-03-16
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