Academic literature on the topic '1809-1882 Influence'

L’Origine des espèces à partir d’un ascendant commun par sélection naturelle (1859) de Charles Darwin (1809-1882), a introduit l’évolution, le temps infini et l’histoire dans le destin de l’homme, proposé la découverte du merveilleux dans le réel, et inspiré d’abord les romanciers réalistes, puis le roman préhistorique, d’aventure et de science-fiction. L’évolution est illustrée scientifiquement par Haeckel, Kupka, Brehm et Gosse. Elle stimule en France l’anthropologie préhistorique ; on représente ancêtres et chaînons manquants parmi les objets de fouille minutieusement copiés. Elle autorise pour Degas et Cormon la fluidité des corps et Duranty l’identifie dans les artefacts humains depuis la haute antiquité. Odilon Redon, puis Jean Carriès, transforme avec une fausse naïveté la faune observée par Darwin en un bestiaire imaginaire. L’Allemagne assimile le darwinisme à Goethe et au romantisme et s’oriente vers l’anthropologie des mythes ; Klinger illustre la lutte pour la vie humaine et animale. Bientôt la veine réaliste s’épuise dans la représentation ; le désenchantement s’installe en Europe, traduit par le symbolisme en peinture et dans l’Art Nouveau. L’évolution (qui ne conduit pas nécessairement au progrès et certainement jamais à la perfection) s’y intègre. Böcklin, Moreau, la Sécession viennoise, voient dans l’évolution la parenté entre les êtres et l’énergie vitale sans pré-détermination. Bon goût, beau idéal et sens moral de John Ruskin, volent en éclat devant « l’esthétique physiologique » évolutionnaire selon Grant Allen. Pour les architectes, l’évolution est une nécessité qui accompagne le fonctionnalisme. Le débat sur l’évolution comme ‘élément culturel nouveau’ ou ‘contre-culture’ fut présent tout au long du XIXe. La science l’avait depuis longtemps acceptée
On the Origin of Species by means of natural selection (1859) by Charles Darwin (1809-1882), introduced evolution, endless time and history in species destiny, seaked wonder in reality, and first inspired realistic, then prehistoric, adventure and finally science-fiction novel. Evolution was scientifically illustrated by Haeckel, Kupka, Brehm and Gosse. It boosted in France prehistoric anthropology ; ancestors and missing links were accurately represented among archaeological findings. It enabled Degas and Cormon to deal with body fluidity, and Duranty identified it in human artefacts since the most ancient antiquity. Odilon Redon, followed by Jean Carriès, shifted, with false ingenuity, the animalia observed by Darwin into an imaginary bestiary. Germany assimilated darwinism with Goethe and romanticism, and focused on myths anthropology ; Klinger illustrated human and animal struggle for life. Soon, the realistic vein in paintings and sculpture vanished; disenchantment settled in Europe, expressed by symbolism in painting and in Art Nouveau. Evolution (which does not necessarily lead to progress and certainly never to perfection) merges into then. In evolution, Böcklin, Moreau, as well as Viennese Secession, contemplate kindred beings and non-teleological vital energy. John Ruskin’s taste, ideal of beauty and moral sense, explode in front of evolutionnary « physiological aesthetics » according to Grant Allen. As to the architects, evolution was a pre-requisite, which accompanied functionalism. Debate on evolution as a ‘new cultural fact’ versus ‘a counter-culture’ was present along the whole second half of XIXth century. Science had, since long, accepted it

Orientador : Roberto de Andrade Martins
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Biologia
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Doutorado
Genetica e Evolução
Doutor em Ciências Biológicas

Le présent travail se donne pour objectif d’éclairer les liens entre l’œuvre narrative de Raymond QUENEAU et les récits anglo-saxons qu’il a lus et recensés de 1917 à 1938. Dans un premier temps, un classement raisonné à partir des listes de lectures queniennes nous a permis de délimiter une assemblée de dix auteurs, précurseurs ou emblèmes de la modernité en littérature, dont les écrits entrent en résonance précoce et prolongée avec les textes queniens (Edgar Allan POE, Lewis CARROLL, Joseph CONRAD, Henry JAMES, James JOYCE, William FAULKNER, Gertrude STEIN, Ernest HEMINGWAY, Henry MILLER, Erskine CALDWELL). L’établissement de ce socle empirique nous a permis, dans un second temps, de dépasser les filiations déjà amplement discutées par la critique et, grâce à une confrontation minutieuse des écritures, d’identifier des corrélations plus souterraines, parfois méconnues. C’est dans ce cadre que nous avons cherché à répondre à nos questions : comment QUENEAU inscrit-il sa singularité littéraire dans le terreau d’une poétique moderne qui déstabilise radicalement les composantes de la fiction classique en soupçonnant la viabilité d’une représentation signifiante ? Ou encore : comment QUENEAU, entouré de ses pairs anglo-saxons favoris, figure-t-il littérairement l’ontologie de l’inquiétude face à l’abolition possible du sens du monde et des êtres ?
This study aims at clarifying the connections between Raymond QUENEAU’s prose works and the narratives from the English-speaking world which he read and listed from 1917 to 1938. On the basis of a rational perusal of QUENEAU’s reading lists, we first delineated a group of ten writers who announce or epitomize literary modernity and whose writings reveal a concurrence, both precocious and lasting, with the French writer’s own texts (Edgar Allan POE, Lewis CARROLL, Joseph CONRAD, Henry JAMES, James JOYCE, William FAULKNER, Gertrude STEIN, Ernest HEMINGWAY, Henry MILLER, Erskine CALDWELL). This empirical foundation having been firmly established, we were then able to go beyond the links which have been widely discussed in current criticism and to identify less detectable and sometimes underrated relations. Within that framework we investigated several issues : how does QUENEAU express his literary originality against the background of modern poetics where the basic features of classical fiction are thoroughly undermined because of the doubt cast upon the validity of meaningful representation? Once seen in the company of his favourite English-speaking authors, how does Queneau use the art of writing to outline an ontology of anxiety when facing the possible annihilation of both mundane reality and beings?

The worlds of Dickens's novels and of Darwin's science reveal striking similarity in spite of their involvement in different areas. The similarity comes from the fact that they shared the ethos of Victorian society: laissez-faire capitalism. In The Origin of Species, which was published on 1859, Charles Darwin theorizes that nature has evolved through the rules of natural selection, survival of the fittest, and the struggle for existence. Although his conclusion comes from the scientific evidence that was acquired from his five-year voyage, it is clear that Dawinian nature is reflected in cruel Victorian capitalism. Three novels of Charles Dickens which were published around 1859, Bleak House, Hard Times, and Our Mutual Friend, share Darwinian aspects in their fictional worlds. In Bleak House, the central image, the Court of Chancery as the background of the novel, resembles Darwinian nature which is anti-Platonic in essence. The characters in Hard Times are divided into two groups: the winners and the losers in the arena of survival. The winners survive in Coketown, and the losers disappear from the city. The rules controlling the fates of Coketown people are the same as the rules of Darwinian nature. Our Mutual Friend can be interpreted as a matter of money. In the novel, everything is connected with money, and the relationship among people is predation to get money. Money is the central metaphor of the novel and around the money, the characters kill and are killed like the nature of Darwin in which animals kill each other. When a dominant ideology of a particular period permeates ingredients of the society, nobody can escape the controlling power of the ideology. Darwin and Dickens, although they worked in different areas, give evidence that their works are products of the ethos of Victorian England.

This dissertation reveals that the American reception of evolution often hinged on the theory's implications for gender and that Darwinian ideas significantly shaped feminist thought in the U.S. While the impact of evolution on American culture has been widely studied, few scholars have done so using gender as a category of analysis. Similarly, evolutionary theory is largely absent from histories of American feminist thought. Yet, Darwin's ideas, specifically those in The Descent of Man, and Selection in Relation to Sex (1871), had profound ramifications for gender and sex. Nineteenth century scientists and laypeople alike eagerly applied Darwin's theories to the "woman question," generally to the detriment of women. At the same time, key female activists embraced evolution as an appealing alternative to biblical gender strictures (namely the story of Adam and Eve) and enthusiastically incorporated it into their speeches and writings. My work describes how women including Antoinette Brown Blackwell, Elizabeth Cady Stanton, and Charlotte Perkins Gilman utilized Darwinian principles to challenge traditional justifications for female subordination and bolster their arguments for women's rights. Furthermore, my research demonstrates that gender roles, particularly those pertaining to courtship, marriage, and reproduction, were reformulated in accordance with Darwin's theory of sexual selection, altering popular ideas about motherhood and paving the way for eugenics and birth control. My interdisciplinary project draws on scientific and mainstream publications, the feminist press, prescriptive literature, fiction, popular culture, and archival materials, and it explores both intellectual developments and their impact on people's daily lives. I argue that evolution shifted the terms of debate from women's souls to women's bodies, encouraged feminists to claim "equivalence" rather than "equality," inspired opponents and proponents of women's rights to ground their arguments in science (most frequently biology and zoology), destigmatized sex as a topic of scientific inquiry, and galvanized support for greater female autonomy in reproductive decisions. Looking at gender, religion, and evolutionary theory in concert not only helps us more fully comprehend the construction of gender and the development of American feminism, especially its troubled relationships with religion and science, it also enriches our understanding of the American reception of Darwin.
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