‘Fine specimens of the race’ : Pourquoi se porte-t-on si bien dans Nouvelles de Nulle Part ?

La santé est une caractéristique obligée de l’utopie. Dans News from Nowhere, William Morris lui donne une importance particulière. En même temps qu’elle propose d’intéressantes comparaisons avec des textes qui inspirèrent Morris, la question de la santé permet de mettre en valeur quelques grands discours (darwinisme social, idéologie de la dégénérescence, sociologie naissante, hygiénisme) par rapport auxquels il prit position. Le couple ‘health’/ ‘wealth’ apparaîtra comme un élément structurant de la pensée politique de Morris.Good health is a necessary feature of utopias. In News from Nowhere, this theme takes on a particular importance. While drawing comparisons with some of William Morris’s sources, this article shows that his description of healthy bodies constitutes a response to some contemporary discourses (social Darwinism, the ideology of degeneration, public hygiene and ‘The Condition of England’) and that the association between health and wealth is central to his political thought

“[B]eyond my landscape powers”: Elizabeth Thompson Butler and the Politics of Landscape Painting

Ayant choisi très tôt de faire carrière dans la voie masculine de la peinture militaire, Elizabeth Thompson Butler (1846-1933) était à la fin du XIXe siècle la plus grande artiste britannique du genre, ce qui lui valut d’être presque élue membre de la Royal Academy en 1879. Ses toiles, qui firent l’admiration de Ruskin et de la Reine Victoria, sont organisées autour de personnages et leur monture engagés dans l’action. Leur premier plan soigneusement détaillé crée ce qu’elle appelait un « intérêt humain », mais l’arrière-plan est généralement absent ou obstrué. Dans ses écrits autobiographiques, Elizabeth Thompson exprima pourtant son admiration envers les paysages observés pendant ses séjours en Italie, lors de ses voyages avec son père et au cours des expéditions militaires où elle accompagna son mari, et les décrivit avec une minutie et un art qui confirment qu’elle était aussi une excellente « peintre de la plume ». Son ouvrage From Sketchbook and Diary (1909), récit de ses voyages en Irlande, en Égypte et en Afrique du Sud, adressé à sa sœur, la poétesse Alice Meynell, et illustré de ses propres aquarelles, révèle combien était grande son appréciation du paysage, mais exprime aussi son incapacité à atteindre dans ses toiles la qualité de l’original, qu’elle place au-delà de ses « capacités de paysagiste ». Dans From Sketchbook and Diary et dans son autobiographie (1922), cet aveu d’impuissance est sous-tendu par des considérations techniques mais aussi par des motifs politiques. Cet essai examine le paradoxe suivant : la fascination d’Elizabeth Thompson pour les paysages contraste avec leur absence relative dans son œuvre peint, qu’elle justifie par des motifs techniques. Par une mise en regard d’écrits autobiographiques et de représentations picturales dans des pays colonisés (Irlande, Afrique du Sud), on fera apparaître que la peintre était extrêmement sensible aux enjeux politiques et culturels entourant les paysages.After joining the “tremendous ruck” of battle artists very early in her career, Elizabeth Thompson Butler (1846-1933) became a major British military painter and was almost elected a member of the Royal Academy. Her paintings, which were admired by Queen Victoria and John Ruskin, place their focus mainly on human figures, horses and action. Most of them have a careful foreground with what she calls “human interest” but no background. However, in her autobiographical writings, Elizabeth Thompson expressed great admiration for the landscapes she saw during her Italian youth, in the course of her travel with her father and her foreign expeditions as an officer’s wife, and she renders them in brief carefully-worded descriptions which confirm that she was also a fine “word-painter”. In From Sketchbook and Diary (1909), an account of her stays in Ireland, Egypt and South-Africa, dedicated and addressed to her sister, Alice Meynell, the poetess, and illustrated with her own watercolours, she conveys a sense of her keen appreciation of landscape and of her own inability to raise her art to the effects produced by the original, which lies “beyond [her] landscape powers”. Behind this hyperbolic expression of her personal inability, there are technical and political reasons for the claim. Starting from Thompson’s careful description of “picturesque” and “pictorial” scenery in her autobiographical writings, this essay will examine Thompson’s fascination for actual landscapes with a view to showing that her limited painterly engagement with landscape, which she justifies in terms of technical difficulties, also stems from a very high vision of what landscape represents and a keen awareness of its politics. My paper will focus in particular on her perception of colonized countries (especially Ireland and South Africa) in From Sketchbook and Diary (1909) with occasional references to her Autobiography (1922)

Introduction

In a 29 January 1889 letter to Walter Hamilton, editor in the mid-1880s of Parodies of the Works of English and American Authors, Oscar Wilde declared that “parody, which is the Muse with her tongue in her cheek, has always amused me; but it requires a light touch, and a fanciful treatment and, oddly enough, a love of the poet whom it caricatures” (390). Despite Wilde’s use of the convention of describing a Muse as female, there were in fact very few women represented in Hamilton’s multi-volu..

Breastfeeding in indigenous children from two cities in the West Brazilian Amazon

Objective: To analyze breastfeeding practice among indigenous children aged between zero and two years and the factors associated with ablactation. Methods: Cross-sectional study conducted with 94 indigenous children and 91 indigenous women. Data were collected in households by applying an instrument specifically developed for the study. Logistic regression was used for the analysis. Results: A total of 60.6% of the children were breastfeeding. Exclusive breastfeeding was present in 35% of the children aged under six months. The only association of early ablactation with the variables was the ethnic group, in which the chance of early ablactation among the Poyanawa, Nawa, and Nukini ethnic groups was 3.7 times higher than the Katukinas. Conclusion: The prevalence indices of breastfeeding is below the recommendations of the WHO. Only the variable ethnic group was found to be associated with early ablactation. These data highlight the need to implement programs to promote breastfeeding among indigenous people.Objetivo: Analisar o aleitamento materno de crianças indígenas de zero a dois anos e os fatores associados ao desmame. Métodos: Estudo transversal realizado com 94 crianças e 91 mulheres indígenas. Os dados foram coletados nos domicílios, com aplicação de um instrumento construído especificamente para o estudo. Para a análise foi utilizada a regressão logística. Resultados: Estavam em aleitamento materno 60,6% das crianças. Em menores de seis meses o AME esteve presente em 35% das crianças. A única associação do desmame precoce com as variáveis foi a etnia, em que a chance de desmame precoce entre as etnias Poyanawa, Nawa e Nukini, foi 3,7 vezes maior em relação a etnia Katukina. Conclusão: As prevalências de AM encontram-se aquém das recomendações da OMS. Somente a variável etnia mostrou-se associada ao desmame precoce. Esses dados mostram a necessidade de implementações de programas de incentivo ao AM entre os indígenas.Univ Fed Acre, Cruzeiro Do Sul, AC, BrazilUniv Fed Sao Paulo, Escola Paulista Enfermagem, Sao Paulo, SP, BrazilUniv Fed Sao Paulo, Escola Paulista Enfermagem, Sao Paulo, SP, BrazilWeb of Scienc

Learning from Nature: Feminism, Allegory and Ostriches in Olive Schreiner’s The Story of an African Farm (1883)

This essay explores the interconnections between the discourses on animals, the Empire and women, three domains in which the confidence of the late-Victorian male was being tested at the end of the nineteenth century. It focuses on the South African novelist and essayist Olive Schreiner, whose allegorical turn of mind and intimate knowledge of the Veld predisposed her to look towards animals as conveyors of argumentative meaning. It contextualizes her first novel, The Story of an African Farm (1883), within the ostrich boom and the feather trade of the 1880s and 1890s. It examines how the ostrich participates in an aesthetic of relations, which ranges from Schreiner’s allegorical practice to the reader’s method of interpreting the novel

Emily Eells, dir., Wilde in Earnest

In Wilde in Earnest, Emily Eells has gathered some excellent pieces of scholarship written specifically about Oscar Wilde’s last comedy, The Importance of Being Earnest (1895). The contributors include famous Wilde scholars from all over the world. The beauty of the book’s title is truer to its content than the rather austere cover design is, and admirers of Oscar Wilde, for whom style is a vital thing, should not let themselves be affected by it. Emily Eells’s introduction takes up William A..

Jane Jordan and Andrew King, dir. Ouida and Victorian Popular Culture

Although largely forgotten by the general public today, Ouida (Marie Louise de la Ramée, 1839–1908) was immensely popular in her time and was read by a broad spectrum of readers. Her fame extended to France and, in the early twentieth century, she was the only English female author on the French National Curriculum for the English exam set for children aged 14, ranking first before Wordsworth, Scott and Keats. The essays in Jane Jordan and Andrew King’s collection explain such immense popular..

Emily Eells, dir., Wilde in Earnest

In Wilde in Earnest, Emily Eells has gathered some excellent pieces of scholarship written specifically about Oscar Wilde’s last comedy, The Importance of Being Earnest (1895). The contributors include famous Wilde scholars from all over the world. The beauty of the book’s title is truer to its content than the rather austere cover design is, and admirers of Oscar Wilde, for whom style is a vital thing, should not let themselves be affected by it. Emily Eells’s introduction takes up William A..

Bram Stoker, Dracula

La nouvelle édition de Dracula chez OUP est présentée par Roger Luckhurst, qui a également fait le travail d’édition de The Strange Case of Dr Jekyll and Mr Hyde (2006) et du remarquable recueil Late Victorian Gothic Tales (2005) chez le même éditeur. Il s’agit de la troisième édition de Dracula dans la collection Oxford World’s Classics, et elle comprend un changement majeur : le texte est repaginé. S’il était possible dans le cadre d’un cours de recommander indifféremment les éditions d’A. ..