Kitsch Enters the Novel
Flaubert's Satirical Ekphrasis
Bibliographic Data
| ID | 4849356 |
|---|---|
| Authors | Jennifer Yee (0000-0001-5191-5655, corresponding author) |
| Year | 2024 |
| Volume | 55 |
| Issue | 2 |
| Pages | 317-337 |
| Publication date | 2024-03-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | New Literary History (JOURNAL) |
| Journal identifiers | ISSN: 0028-6087 • E-ISSN: 1080-661X |
| Publisher | Project MUSE (PUBLISHER • US) |
| DOI | 10.1353/nlh.2024.a938863 |
| OpenAlex | W4403156638 |
| Language | EN |
Gustave Flaubert is famous for his collection of "idées reçues," or over-used ideas expressed in hackneyed language. Less widely recognized is his interest in "images reçues," or images from popular culture, at a time when the word "kitsch" is entering usage elsewhere. Flaubert effectively exposes popular imagery as kitsch, framing the description of representational material objects (Keepsakes, prints, a wedding cake) within his prose just as he frames or cites linguistic clichés. This is satirical ekphrasis: the verbal description of visual representation with ironic intent. And yet Flaubert relishes the carnivalesque, absurd juxtapositions of the imagery that he describes
Art · Art history · Kitsch · Literature · French Literature and Criticism · Narrative Theory and Analysis · Philosophy · Visual Culture and Art Theory
| Highly cited | No |
|---|