Scenes of Perception and Revelation: Gender and Truth in Antidreyfusard Caricature.
Since Emile Zola's "J'accuse," the Dreyfus affair has often been conceptualized as a struggle between truth and raison d'état. In this interpretation, the antidreyfusards voluntarily cede any claim to the concept of truth in favor of arguments based in the exigencies of national security. This artic...
| Published in: | French Historical Studies Vol. 35; no. 2; pp. 381 - 418 |
|---|---|
| Main Author: | |
| Format: | Article |
| Published: |
Duke University Press
Spring2012
|
| Subjects: | |
| Online Access: | View this record in EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=74740468&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 74740468 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00161071 FHS jtl: French Historical Studies issn: 00161071 maglogo: N pubinfo: dt: Spring2012 vid: 35 iid: 2 pid: 154 pub: Duke University Press artinfo: ui: 74740468 10.1215/00161071-1498508 ppf: 381 ppct: 37 formats: fmt: @attributes: type: P size: 4.8MB tig: atl: Scenes of Perception and Revelation: Gender and Truth in Antidreyfusard Caricature. aug: au: Everton, Elizabeth affil: University of California, Los Angeles su: D'Ache, Caran Truthfulness & falsehood in art Dreyfus Affair, France, 1894-1906 Zola, Émile, 1840-1902 Jews in art Symbolism in art Caricature Marianne (French emblem) in art Antisemitism French Third Republic Nineteenth century France sug: subj: France D'Ache, Caran Truthfulness & falsehood in art Dreyfus Affair, France, 1894-1906 Zola, Émile, 1840-1902 Jews in art Symbolism in art Caricature Marianne (French emblem) in art Antisemitism French Third Republic Nineteenth century ab: Since Emile Zola's "J'accuse," the Dreyfus affair has often been conceptualized as a struggle between truth and raison d'état. In this interpretation, the antidreyfusards voluntarily cede any claim to the concept of truth in favor of arguments based in the exigencies of national security. This article suggests, however, that antidreyfusard rhetoric and imagery also employed a concept of truth: a subjective truth that depended on personal credibility as established through opposition to imagined enemies of France. The caricaturist Caran d'Ache represented this relational truth in scenes of antidreyfusard women identifying and rejecting dreyfusard or Jewish men. These scenes allowed the artist to emphasize the personal and conditional nature of this sort of truth by showing ambiguous sexualized or aggressive women acquiring credibility through their hostile interactions with dreyfusard or Jewish adversaries, thereby permitting the representation of a truth based on human interaction and relationships. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of French Historical Studies is the property of Duke University Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: French Historical Studies holder: Duke University Press dt: @attributes: year: 2012 holdings: @attributes: islocal: N |
|---|