"A Racehorse from a Carthorse": Eugene Sue's Redefinition of the Thoroughbred

This article explores the complicated authorial relationship between Poe and his French contemporary, Eugene Sue. Both authors were reading the work of the other in its original language, with each influencing the other's work. Details of a number of Poe's works are compared to Sue's novels.

Recirculating the assertion of magazine historian Frank Luther Mott, subsequent generations of scholars maintained thatGodey's Lady's Magazineeschewed content treating the social, political, and economic issues of the day. This article challenges that nearly universal reading ofGodey'sby arguing for the importance of a close reading of the “match plates” commissioned by Godey for his magazine. Appearing between 1840 and 1860, these plates, many engraved from pendant paintings created expressly for Godey, draw on the popularity of stage melodrama, dramatic tableau, andtableaux vivantsto enact a performative morality addressing major social, economic, and political issues. Early match plates contrast virtue and vice, capitalizing on the enormous popularity of William Hogarth's engraving seriesIndustry and Idleness. Match plates appear also in the popular fashion plates of the magazine – echoing the city mystery novels, plays, and prints first popularized by Eugene Sue – inChristmas for the Rich/Christmas for the PoorandDress the Maker/Dress the Wearer. By 1860, even the magazine's “useful” contents, such as the pattern work prized by Godey'sreaders, echo the popularity of match plates: henceFruit for Working/Flowers for Working. Closer attention toGodey'sengravings calls for a reassessment of Mott's assertion.

Eugene Sue, ‘``Stop Thief!" The Proletariat and Slummery (An Incident of the Revolution of 1848, told by Eugene Sue)' (1911)

The subject matter of the research is Zygmunt Krasinski and his father`s opinions concerning thenovels of the famous French writer - "Eugene Sue". In 1833 Krasinski expressed his own opinion ona so-called "roman maritine", whereas, in 1845, his father, also in a very emotional way, presentedhis views on "The Wandering Jew". The author of the article observes the analogy between these twojudgments and the judgments of other experts in the field of the XIX century literature.

In his powerful romance, "Les Mysteres de Paris," Eugene Sue, who, by the way, was a physician and the son of a physician, paints a vivid picture of Parisian low life, locating most of his scenes in the crowded tenements and narrow alleys which once occupied the ground now covered by the immense buildings of the Hotel Dieu. When these buildings were constructed, only a few years ago, the remains of the historic Hotel Dieu, as well as many another ancient landmark, were swept out of existence. The Ile de la Cite, with the noble old cathedral of Notre Dame, the gruesome Morgue, so strangely fascinating to Dickens, the Hotel Dieu, so often pictured in history, poetry and romance, the Palais de Justice, the oldest monument in the city, and the matchless Sainte Chapelle, the gem of medieval architecture, constitutes only a small section of modern Paris, but it is

The tales 'Kitty Bell' and 'Giulio and Eleanor' appeared as interpolations in the serial 'Mary Lawson by M. Eugene Sue', published in The London Journal , a penny weekly, during 1850/51. Handwriting and other clues identify G. W. M. Reynolds as the compiler of this novel from three manuscript sources, and as the pseudonymous correspondent 'K.T.' whose letter to Charlotte, claiming 'Kitty Bell' as a 'paraphrase' of Jane Eyre, has prompted the theory that 'Kitty Bell' was a plagiarism of the novel. The name Kitty Bell and associated topics appear among the works by Alfred de Vigny and Eugène Sue that contributed to Charlotte's literary formation. In that context, this article develops the view, first advanced by Mrs Ellis H. Chadwick, that Charlotte wrote 'Kitty Bell' as a first attempt at the subject of Jane Eyre. 'Giulio and Eleanor' emerges as her matching sketch for The Professor.

The essay examines changing perspectives on the city in England and France, during a time of urban expansion, with reference to four seminal works of literature. Life in London (1821) was a serial by Pierce Egan Sr., with coloured etchings by George and Robert Cruikshank. It was the first work to portray London topography, its peoples and their occupations, as an organic whole, a city in which every part had its own fascination. Using the narrative device of a lively man about town introducing a countryman to city life, it was much imitated, often dramatized, and it set the stage for the Victorian urban novel. First published in France, the Memoirs (1828–29) of Eugène Francois Vidocq was popular on both sides of the channel. With its view of city streets as a labyrinth of crime, it fostered both the detective story and the ‘Mysteries’ genre of urban fiction, which is examined here with reference to works by Eugene Sue and G. W. M. Reynolds.

Reviewed by: For the People by the People? Eugène Sue’s Les Mystères de Paris: A Hypothesis in the Sociology of Literature Carolyn Betensky Prendergast, Christopher. For the People by the People? Eugène Sue’s Les Mystères de Paris: A Hypothesis in the Sociology of Literature. Oxford: Legenda (European Humanities Research Centre, University of Oxford), 2003. Pp. 142. ISBN1-90075589-0 For a work often cited but seldom actually read nowadays, Eugène Sue's Les Mystères de Paris continues to hold a peculiar place in the history of popular culture. Initially published in serial form in Le Journal des Débats between June 1842 and October 1843, the novel quickly generated a mass craving among its readers in France and around the world to know the latest adventures of Rodolphe, the prince of Gérolstein, the virginal prostitute Fleur-de-Marie, the evil Maître d'Ecole, the "good" and "bad" working-class families Morel and Martial, and a host of other variously virtuous or vicious characters. The novel was unquestionably a huge financial success, with bound editions and cheaper livraisons coming out on the heels of the feuilleton and even concurrently with it. It's hard to argue that Les Mystères de Paris was anything but a blockbuster. But who were its readers? Were they mainly those affluent enough to subscribe to the Journal des Débats or to be able to afford it in subsequent editions? Or was the novel read, as it was widely claimed until relatively recently, by "toute la France" – the "peuple" and the bourgeoisie alike? And if it's true that Les Mystères de Paris found a heavy readership among the poor and working classes, to what extent did these readers, many of whom were reputed to have corresponded with Sue, influence his thinking about poverty, labor, and systemic social violence? Could Sue's working-class readers be said to have collaborated with him, to some degree, on his representation of poor and working-class characters? Might we rightly consider Les Mystères de Paris, then, as a collective work, a pioneering event in the creation of a modern popular culture? Working from a theoretical perspective broadly informed by historical research on [End Page 203] literacy, readership, and print media, Christopher Prendergast's provocative little book sets out to answer these and other questions pertaining to the phenomenon that was and is Les Mystères de Paris. The hypothesis up for verification is that of Louis Chevalier, who maintains in his groundbreaking Classes laborieuses et classes dangereuses (1984) that the letters Sue received from his working-class correspondants made a profound impact on him and the novel, an impact that can be measured by examining the correlation between the correspondence and turns of the plot. What Prendergast calls "the Chevalier hypothesis" is actually a collective work in its own right, as numerous observers, critics, and biographers, from Sue's contemporaries to such recent theorists as Umberto Eco, have accepted and perpetuated the notion that Les Mystères de Paris was truly a work for the people, by the people. Riding on this assertion are not only arcane questions of literary and historical interest but also important sociological claims concerning the nature of cultural agency, and specifically literary agency (Eco, for instance, goes so far as to attribute the Revolution of 1848 to the influence of Sue's novel). Prendergast demolishes the specific claims of Chevalier's hypothesis with energy and gusto. Beginning with a witty critique of the novel itself, he queries Sue's explicit and implicit ideological allegiances within its pages and finds there's little to support the notion of Sue as the voice of "the people." He turns next to examine the archive of Sue's correspondence, only to confirm that the letters present themselves overwhelmingly as the work of middle-class letter-writers (as Rudolph Schenda and Brynja Svane had maintained previously), and moreover, that the letters don't correlate in the least with the plot's timing. The most interesting of Prendergast's chapters is the penultimate one, devoted to the novel's reception in the working-class press. Because...

The article is about the influence of the “roman-feuilleton” on the novel “The Idiot” by F. M. Dostoyevsky. The article features a number of selected heroes (Nastasiya Filippovna and prince Myshkin) and situations which have analogues with the novel “Les mysteres de Paris” by Eugene Sue and the genre of “romanfeuilleton” (for example, repeated scandals, which are very important for the story, coincidences, parentlessness of the main heroes, love triangles, numerous dramatic scenes and storylines). Also, the author of the article analyzes the genesis of the feuilleton motifs and the varieties that were left by Dostoyevsky as plans and drafts only.

Formulation of the problem. In the globalized time-space of the 21st century, the musical heritage left by M.V. Lysenko motivates to comprehend at a new level the phenomenon of the creative universalism of the artist, the multiple manifestations of his musical-social, educational, ethnographic and composing activities. Given the importance of the choral singing for nurturing the national consciousness of young musicians, the role of M. Lysenko’s opera heritage for children and adolescents should be noted. The choice of the theme was actualized by the iconic premiere of M. Lysenko’s children’s opera called “Winter and Spring” (2017) at the Great Hall of Kharkiv National University of Arts named after I.P. Kotlyarevsky,performed by young performers, which coincided with honouring the memory of the great Kobzar (the 175th anniversary since his birthday). In particular, the orchestration was performed by Yelizar Pashchenko, the stage director – Sofia Melnikova; the conductor –the author of the article. Thus, M. Lysenko’s children’s opera is still relevant for young artists in terms of their professional and national self-growth. The purpose of the article is to systematize the manifestations of artistic universalism in the activities of M.V. Lysenko in the aspect of phenomenology of the creativity of the composer on the example of the genre of children’s opera. The object of the study is the Ukrainian music tradition; the subject – music-educational activity of M. Lysenko in the aspect of its actualization in the contemporary cultural and artistic space. The analysis of recent publications on the topic. The reflection of M.V. Lysenko’s creative heritage in its aspects was performed in the studies by the classics of Ukrainian studies (K. Kvitka (1986), M. Rylsky (1927), O. Pchilka (1913a, 1913b), L. Arhimovych, M. Gordiychuk (1992)), and by the modern scholars (L. Corniy (2011), S. Grytsa (2007)). One of the fundamental editions is the book-album called “Mykola Lysenko’s World. National identity, music and politics of Ukraine of the 19th– the beginning of the 20thcenturies»(compiled by T. Bulat and T. Filenko (2009)). However, there is no phenomenological approach to the master’s creative work in these sources. The presentation of the main material. M. Lysenko was a personality gifted with many talents, at that time he was presenting the figure of a universal personality – on the one hand, an intellectual, and on the other – an educator. He read in the original language the works by Russian, Polish, German, French writers (Dumas, Eugene Sue), independently studied the works by R. Schuman and R. Wagner, Y.S. Bach, performed virtuosic compositions by F. Liszt. The manifestations of the artistic universalism of M.V. Lysenko as a criterion of the composer’s activity in the light of the problem of self-identification of Ukrainian culture at the stage of its formation have been systematized. The composer’s outlook and aspects of his creative life have been characterized. Lysenko’s music-educational activities began the process of democratization of music education in Kyiv. So, in 1904 he opened the School of Drama and Music. He focused on the programs of Moscow and St. Petersburg Conservatories. Therefore, on the stage of the educational institution the authors of the modern version of the opera “Winter and Spring” take the ideas of the founder of the national musical culture. Their purpose was to preserve the holistic concept of the development of the musical form of the opera. The ancient folk intonations, the expressive and difficult in the technical performancesub-voices, the varied and original use of the fret, reflected in the melody of children’skolyadka (carols) and vesnyanka (spring songs), helped the young performers to achieve some level of the performing skills. It should be noted that the final choir (vesnyanka) “And it’s spring already, and it’s already good”, as well as the choral scenes of carolling and spring celebrations are in low demand in the modern choral performance and need to be popularized. For example, the choral scene that begins with the kolyadka called “Herod Is Damned” can be performed as a compulsory piece at children’s choral competitions in Ukraine. The opera is quite technically difficult to perform. Children’s mass scenes “cement” the opera’s musical material. The choir of the younger age children performed the first choral song “Go, Go, Let’s Meet”, built on the invocative intonation of the big tertiary, there are jumps on octave and the fifth; by means of harmonization, the composer gives a colourful sounding to the choir’s kolyadka and shchedrivka (New Year Ukrainian song). Conclusions. In the choral scene of the children’s opera called “Winter and Spring”, the composer applied such techniques as: the combination of shchedrivka and kolyadka in the choir “New Joy Began”; the techniques of folk polyphony: unison chants (vesnyanka “Cuckoo in the Meadow”), the tertiary doubles and octave thickenings (the ancient kolyadka “Herod Is Damned”); the original means of vocal-choral writing (the final choir “And it’s spring already, and it’s already good”). Thus, M. Lysenko’s creativity is filled, on the one hand, with the love to Ukrainian folklore, and on the other, with the perception of the European spiritual values of the music world, where Ukraine should take its rightful place. This is the phenomenon of self-identification of the professional activity of the great composer and figure of musical culture, which is inherited by the modern musicians of Kharkiv

@Fernando Fern'an-G'omez is one of the most important figure of Spanish cinema, so that it has somewhat overshadowed the writer's facet. Therefore, this thesis takes into account one part of his written works, that is to say six novels and four plays. The aim of this work is to examine their relationships with the marginal literature and with the French popular novel in particular. Indeed, the author always evokes his taste for this genre and the role it has played in his education. From then on, to find its traces and borrowings in his work was a compulsory step. In order to know on which level this influence was the most likely,it was necessary to establish the popular feature of the considered work and likely, it was necessary to establish the populare feature of the considered work and this through three criteria : its origin, its form and its contents. Are Fernando Fern'an-G'omez's writings popular because the writer himself comes from the ordinary people ? Are they so because of their realism and readability ? Or finally are they so because the author mainly evokes -by using certain tricks of the popular novel- the Spanish people, these vanquished people who have suffered from harshness of the civil war and from the francoism which are two recurrent historical aspects of his written works. It is on this last level that the popular feature of the works appears the most clearly, the author having himself declared that his worries for the humble people came from his reading when he was a child of the book Les Miserables by V. Hugo. Strongly considered as the writer of the ordinary people ; Fernando Fern'an-G'omez deserved to be qualified as a popular writer as Eugene Sue was in his time

"The Mysteries of Paris" by Eugene Sue was an exceptionally popular newspaper serial, which continued to hold the breath of French people between 1842 and 1843. The public immediately took to its main protagonist, Rudolf von Gerolstein, a wealthy prince wandering the darkest and gloomiest districts of Paris, helping the poor and punishing the cruel.

The Portuguese Subscription Library in Rio de Janeiro published two catalogues of novels between 1858 and 1868, which attest to the circulation of fiction between Europe and Brazil and the formation of a transnational literary taste. In these catalogues, at a moment in time when the prevailing literary taste appears to be centred on the French feuilleton and its principal representatives, Eugene Sue and Alexandre Dumas, the Gothic novels by Ann Radcliffe stand out. Paixao’s chapter focuses on two issues: first, how the novels and their translations arrived in the Portuguese Subscription Library; and, second, what significance the co-existence in the library’s catalogues of novels that were produced in very different times has for understanding contemporary readers’ preferences.

Une des premières incarnations du flâneur, comme l’a montré astucieusement Walter Benjamin dans les Passages et ailleurs, nous la retrouvons dans la figure du détective urbain comme a été conçu dans les écrits d’Edgar Allan Poe et Eugène Sue. Notre réflexion ici se base sur cet indentification et nous considérerons brièvement aussi les multiples incarnations du flâneur dans la signification de la flânerie transnationale dans le contexte culturel et politique contemporain. À partir de la série télé néo-noir The Bridge (Bron/Boren ) comme instance contemporaine du « détective urbain transnational », nous considérons trois types de trans-nationalisme : a) comment le noir constitue un genre transnational, une migration à travers les frontières ; b) comment le format/produit médiatique peut être engagé, désengagé, et réengagé dans un nouveau et différent contexte transnational comme part de l’industrie culturelle globale ; c) comme le détective noir oscille entre deux villes dans les pays voisins comme part de leur investigation. Nous terminerons avec une réflexion sur comment le pont – le vrai symbole du transnationalisme – forme un site marginal et liminal, un « non-lieu » et un seul ou un « espace-qui-est-entre » (le Zwischenraum de Kracauer) et ainsi génère le transnational flâneur comme détective pas autant comme maison mais comme hanter , a lieu d’un habituel retour et d’une mélancolie inéluctable.

This article analyses the use of the Gothic mode in Juan Martínez Villergas’s Los misterios de Madrid (1844–1845). Villergas’s novel belongs to the Spanish urban mystery genre, popular serial novels inspired by Eugène Sue’s Les Mystères de Paris. The misterio novels explored contemporary political and social issues through melodramatic storylines. Villergas uses his misterio to retell the story of the First Carlist War and the moderado–progresista conflict as a Gothic tale, with lecherous aristocrats and corrupt priests conspiring to undo the liberal government. The article explores how Villergas uses the Gothic to create a foundational narrative for progressive liberalism. However, the Gothic is the mode of ambiguity and contradiction, and Villergas’s use of the mode problematizes the new national narrative and reveals the complexities of the transition from the antiguo régimen to the modern age.ResumenEl presente artículo analiza el uso del modo gótico en Los misterios de Madrid (1844– 1845) de Juan Martínez Villergas. La novela de Villergas pertenece al género novelístico de los ‘misterios urbanos’, el cual se inspira en Les Mystères de Paris de Eugène Sue. Los misterios retratan asuntos sociales y políticos del momento a través de tramas melodramáticas. Villergas utiliza su misterio para recontar la historia de la Primera Guerra Carlista y el conflicto moderado–progresista como un relato gótico, en el cual aristócratas lujuriosos y curas corruptos conspiran para derrumbar el gobierno liberal. El artículo explora cómo Villergas emplea el gótico para crear una narrativa fundacional para el liberalismo progresista de la época. Sin embargo, el gótico es el modo de la ambigüedad y la contradicción, y su uso problematiza la nueva narrativa nacional y revela las complejidades de la transición del antiguo régimen a la modernidad.