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Fighting for the page: Balzac, Gran...

Berg, Keri Ann.

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Fighting for the page: Balzac, Grandville and the power of images, 1830--1848 (Honore de Balzac, J. J. Grandville).

Record Type:	Electronic resources : Monograph/item
Title/Author:	Fighting for the page: Balzac, Grandville and the power of images, 1830--1848 (Honore de Balzac, J. J. Grandville)./
Author:	Berg, Keri Ann.
Description:	444 p.
Notes:	Source: Dissertation Abstracts International, Volume: 64-11, Section: A, page: 4064.
Contained By:	Dissertation Abstracts International64-11A.
Subject:	Literature, Romance. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3110751
ISBN:	0496582887

Fighting for the page: Balzac, Grandville and the power of images, 1830--1848 (Honore de Balzac, J. J. Grandville).
Berg, Keri Ann.

Fighting for the page: Balzac, Grandville and the power of images, 1830--1848 (Honore de Balzac, J. J. Grandville). - 444 p.

Source: Dissertation Abstracts International, Volume: 64-11, Section: A, page: 4064.

Thesis (Ph.D.)--The University of Texas at Austin, 2003.

The July Monarchy witnessed an influx of images, as improvements in printing and engraving and the introduction of lithography facilitated the production and combination of images and text. Used as a marketing and a pedagogical tool for the growing literate population, the image permeated the press, literature, advertising, schoolbooks and shop windows, destabilizing the historic hegemony of the word. Indeed, writers now found themselves sharing both the market and the pages of their novels with illustrators and caricaturists. Representative of this shift, Honore de Balzac lamented the popularity of illustrated books, denigrating J. J. Grandville's Les Scenes de la vie privee et publique des animaux (1840--1842) as a visual betise. Yet, as the author notes, Les Animaux sold a reported 25,000 copies, making it one of the bestsellers of the 1840s. Grandville's work and Balzac's dismissal testify to illustration's market stronghold and the ensuing rivalry between writer and illustrator.

ISBN: 0496582887Subjects--Topical Terms:

1019014
Literature, Romance.

Fighting for the page: Balzac, Grandville and the power of images, 1830--1848 (Honore de Balzac, J. J. Grandville).
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100 1 $a Berg, Keri Ann. $3 1907354
245 1 0 $a Fighting for the page: Balzac, Grandville and the power of images, 1830--1848 (Honore de Balzac, J. J. Grandville).
300 $a 444 p.
500 $a Source: Dissertation Abstracts International, Volume: 64-11, Section: A, page: 4064.
500 $a Supervisor: Alexandra K. Wettlaufer.
502 $a Thesis (Ph.D.)--The University of Texas at Austin, 2003.
520 $a The July Monarchy witnessed an influx of images, as improvements in printing and engraving and the introduction of lithography facilitated the production and combination of images and text. Used as a marketing and a pedagogical tool for the growing literate population, the image permeated the press, literature, advertising, schoolbooks and shop windows, destabilizing the historic hegemony of the word. Indeed, writers now found themselves sharing both the market and the pages of their novels with illustrators and caricaturists. Representative of this shift, Honore de Balzac lamented the popularity of illustrated books, denigrating J. J. Grandville's Les Scenes de la vie privee et publique des animaux (1840--1842) as a visual betise. Yet, as the author notes, Les Animaux sold a reported 25,000 copies, making it one of the bestsellers of the 1840s. Grandville's work and Balzac's dismissal testify to illustration's market stronghold and the ensuing rivalry between writer and illustrator.
520 $a Drawing on the theoretical work of Pierre Bourdieu, this dissertation examines the collaboration and competition between Balzac and Grandville, investigating their commentary on the role of word, image, writer and illustrator in terms of the larger economic and aesthetic struggles within the nineteenth-century field of cultural production. Chapter 1 reads the artists' early works against the backdrop of the popularization of the press and the book. Chapter 2 looks at Balzac's reviews of Grandville and their joint portrait of le rentier in Les Francais peints par eux-memes (1840--1842), outlining the writer's competition with caricature. Chapter 3 pairs Les Animaux with Balzac's nascent La Comedie humaine (1842--1848), charting Grandville's revision of the rules of illustration and Balzac's own text. Chapter 4 reviews the first edition of La Comedie humaine, focusing on its illustration and Balzac's fictional caricaturist-illustrator as dual means to contain the artist and the image within the author's framework. Concluding with Grandville's Un Autre monde (1844), Chapter 5 explores the artist's break with illustration and his efforts to establish a hybrid visual-verbal language that defies the period's aesthetic boundaries. Throughout the analysis, Balzac and Grandville serve as paradigmatic examples of writer and illustrator and the emerging power of images.
590 $a School code: 0227.
650 4 $a Literature, Romance. $3 1019014
650 4 $a Art History. $3 635474
690 $a 0313
690 $a 0377
710 2 0 $a The University of Texas at Austin. $3 718984
773 0 $t Dissertation Abstracts International $g 64-11A.
790 1 0 $a Wettlaufer, Alexandra K., $e advisor
790 $a 0227
791 $a Ph.D.
792 $a 2003
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3110751