Stéphanie Boulard
Biographic Data
| ID | 1101007 |
|---|---|
| NAME | Stéphanie Boulard |
| GIVEN NAMES | Stéphanie |
| FAMILY NAME | Boulard |
| SIGNATURE | BOULARD S |
| AFFILIATIONS | Georgia Institute of Technology |
| VERIFIED | No |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 11 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2002 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
The Object as Idea in Nineteenth Century Society, Art, and Literature
This introduction inquires about objects’ physical and ideological nature in nineteenth-century society, art, and literature. It discusses critical theories and concepts related to objects and aims to reflect on the role and symbolism of particular objects during the period. The main goals of this special issue are to reflect on objects as signifiers in the nineteenth century; to study their aesthetic, political, social, historical, or philosophi…
Pouvoir onirique et matérialité
Stéphanie Boulard et Marta Caraion interrogent la notion d'objet dans les œuvres littéraires du XIXe siècle à partir du livre de Marta Caraion Comment la littérature pense les objets (2020). Leur dialogue explore la place de l'objet dans la fiction romanesque, sa charge utilitaire, sa détermination fonctionnelle, son rôle de ‘résonateur' du réel ou des émotions. Sont évoquées en particulier les œuvres de Flaubert, Hugo, Proust, Stendhal et Villie…
The Branding of Victor Hugo
This paper examines the phenomenon of ‘Hugolatry' and how, in the French popular imagination and through numerous objects bearing his name, Hugo increasingly came to be identified with the nineteenth century as a whole. Exploring Hugo's strategic dissemination of his name, image and representation as an exile in staunch opposition to the Second French Empire, I argue that his careful ‘image management' is largely responsible for crafting the lege…
Outrepasser Hugo
This article focuses on Arnulf Rainer's Overpaintings of Victor Hugo's drawings and explores the complex interplay of the act of overpainting with the question of identity and transgression. It examines how Rainer's layered brushstrokes over Hugo's drawings, as well as his additions—splashes of color, lines, and letters—, create a passage or dialogue with Hugo's visions, blurring the boundaries between reverence and transgression, and between pas…
L’Invention de Vincennes en trois épisodes
Le Foudroiement perpétuel
Emotion, or what makes one scream, is at the very heart of Cixous’ writing. It is also at the heart of Abdessemed’s artistic practice. His work Don’t Trust Me, which links visual aesthetics and sensation and shows animals slaughtered by a sledgehammer blow to the head, has created controversy to the point that different exhibitions have been canceled. Both artists’ works foreground the cry and what happens when the body is à l’œuvre, when the bod…
To Write or To Paint the Monstrous? —The Strange Case of Claude Louis-Combet
This essay proposes both ekphrasis and critical reflection on the art of writing and painting in Dado and Claude Louis-Combet, as well as on their singular symbiotic relationship. Rather th
Pascal Quignard, un écrivain politique
Additional informationNotes on contributorsStéphanie BoulardStéphanie Boulard is Associate Professor of French at The Georgia Institute of Technology. She is the author of Rouge Hugo (P U du Septentrion, 2014). She directed a special issue of La Revue des Sciences humaines (Ego Hugo, P U du Septentrion, 2011) and edited a book on the contemporary writer Claude Louis-Combet: Visions, visitations, passions: en compagnie de Claude Louis-Combet (Corl…
Trace(s), Fragment(s), Remain(s)Trace(s), Fragment(s), Reste(s)Pascal Quignard
Fragmina remorum [...] et fluitantia transtra—VirgilC’est de la pratique des fragments qu’il faut repartir pour tenter de saisir la nature et l’enjeu du fragment—Philippe Lacoue-Labartheand Jean-Luc
Jean Genet
De l'Ombilic aux limbes
From Umbilicus to Limbo2: the Shadow of the Fairy The mirrors in Claude Louis-Combet's works figure the double reflections in which communication is lost, but also the way in which the voyeuristic eye seeks the mirror-representation of female sexuality - the masculine eye as speculum. But the speculum engenders monsters or imagines what it sees as engendering monsters - re-encountering the mirror as figure for the maternal waters out of which spr…
Le Foudroiement perpétuel
Emotion, or what makes one scream, is at the very heart of Cixous’ writing. It is also at the heart of Abdessemed’s artistic practice. His work Don’t Trust Me, which links visual aesthetics and sensation and shows animals slaughtered by a sledgehammer blow to the head, has created controversy to the point that different exhibitions have been canceled. Both artists’ works foreground the cry and what happens when the body is à l’œuvre, when the bod…
De l'Ombilic aux limbes
From Umbilicus to Limbo2: the Shadow of the Fairy The mirrors in Claude Louis-Combet's works figure the double reflections in which communication is lost, but also the way in which the voyeuristic eye seeks the mirror-representation of female sexuality - the masculine eye as speculum. But the speculum engenders monsters or imagines what it sees as engendering monsters - re-encountering the mirror as figure for the maternal waters out of which spr…
Jean Genet
Pascal Quignard, un écrivain politique
Additional informationNotes on contributorsStéphanie BoulardStéphanie Boulard is Associate Professor of French at The Georgia Institute of Technology. She is the author of Rouge Hugo (P U du Septentrion, 2014). She directed a special issue of La Revue des Sciences humaines (Ego Hugo, P U du Septentrion, 2011) and edited a book on the contemporary writer Claude Louis-Combet: Visions, visitations, passions: en compagnie de Claude Louis-Combet (Corl…
Trace(s), Fragment(s), Remain(s)Trace(s), Fragment(s), Reste(s)Pascal Quignard
Fragmina remorum [...] et fluitantia transtra—VirgilC’est de la pratique des fragments qu’il faut repartir pour tenter de saisir la nature et l’enjeu du fragment—Philippe Lacoue-Labartheand Jean-Luc
Le Foudroiement perpétuel
Emotion, or what makes one scream, is at the very heart of Cixous’ writing. It is also at the heart of Abdessemed’s artistic practice. His work Don’t Trust Me, which links visual aesthetics and sensation and shows animals slaughtered by a sledgehammer blow to the head, has created controversy to the point that different exhibitions have been canceled. Both artists’ works foreground the cry and what happens when the body is à l’œuvre, when the bod…
To Write or To Paint the Monstrous? —The Strange Case of Claude Louis-Combet
This essay proposes both ekphrasis and critical reflection on the art of writing and painting in Dado and Claude Louis-Combet, as well as on their singular symbiotic relationship. Rather th
L’Invention de Vincennes en trois épisodes
The Object as Idea in Nineteenth Century Society, Art, and Literature
This introduction inquires about objects’ physical and ideological nature in nineteenth-century society, art, and literature. It discusses critical theories and concepts related to objects and aims to reflect on the role and symbolism of particular objects during the period. The main goals of this special issue are to reflect on objects as signifiers in the nineteenth century; to study their aesthetic, political, social, historical, or philosophi…
Pouvoir onirique et matérialité
Stéphanie Boulard et Marta Caraion interrogent la notion d'objet dans les œuvres littéraires du XIXe siècle à partir du livre de Marta Caraion Comment la littérature pense les objets (2020). Leur dialogue explore la place de l'objet dans la fiction romanesque, sa charge utilitaire, sa détermination fonctionnelle, son rôle de ‘résonateur' du réel ou des émotions. Sont évoquées en particulier les œuvres de Flaubert, Hugo, Proust, Stendhal et Villie…
The Branding of Victor Hugo
This paper examines the phenomenon of ‘Hugolatry' and how, in the French popular imagination and through numerous objects bearing his name, Hugo increasingly came to be identified with the nineteenth century as a whole. Exploring Hugo's strategic dissemination of his name, image and representation as an exile in staunch opposition to the Second French Empire, I argue that his careful ‘image management' is largely responsible for crafting the lege…
Outrepasser Hugo
This article focuses on Arnulf Rainer's Overpaintings of Victor Hugo's drawings and explores the complex interplay of the act of overpainting with the question of identity and transgression. It examines how Rainer's layered brushstrokes over Hugo's drawings, as well as his additions—splashes of color, lines, and letters—, create a passage or dialogue with Hugo's visions, blurring the boundaries between reverence and transgression, and between pas…
Art (11 works) · Philosophy (6 works) · French Literature and Critical Theory (5 works) · French Literature and Criticism (5 works) · Art history (4 works) · Humanities (4 works) · Philosophy (4 works) · Historical and Literary Analyses (3 works) · Historical and Literary Studies (3 works) · Linguistics (2 works)