2008년 11월 24일 월요일
flapper
http://en.wikipedia.org/wiki/Flapper
Flapper
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see Flapper (disambiguation).
Actress Louise Brooks, 1927
Actress Louise Brooks, 1927
The term flapper in the 1920s referred to a "new breed" of young women who wore short skirts, bobbed their hair, listened to the new Jazz music, and flaunted their disdain for what was then considered acceptable behavior. The flappers were seen as brash for wearing excessive makeup, drinking, treating sex in a casual manner, smoking, driving automobiles, and otherwise flouting conventional social and sexual norms.
Contents
[hide]
* 1 Origins
o 1.1 United States
o 1.2 United Kingdom
* 2 Behavior
* 3 Slang
* 4 Appearance
o 4.1 Cosmetics
o 4.2 Hair and accessories
o 4.3 Apparel
* 5 End of the flapper era
* 6 See also
* 7 Notes
* 8 External links
o 8.1 tags:
[edit] Origins
Actress Alice Joyce, 1926
Actress Alice Joyce, 1926
Flappers had their origins in the period of liberalism, social and political turbulence, and increased transatlantic cultural exchange that followed the end of the First World War, as well as the export of American jazz culture to Europe.
[edit] United States
The first appearance of the word and image in the United States came from the popular 1920 Frances Marion movie, The Flapper, starring Olive Thomas.[1] Thomas had starred in a similar role in 1917 though it was not until The Flapper that the term was used. Her final movies were done in the flapper image.[2] Other actresses would soon build their careers on the same image making them quite popular including Clara Bow, Louise Brooks, and Joan Crawford.[1]
In the United States, popular contempt for Prohibition was a factor. With legal saloons and cabarets closed, back alley speakeasies became prolific and popular. This discrepancy between the law-abiding, religion-based temperance movement and the actual ubiquitous consumption of alcohol led to widespread disdain for authority. Flapper independence may have its origins in the Gibson girls of the 1890s. Although that pre-war look does not resemble the flapper identity, their independence and feminism may have led to the flapper wise-cracking tenacity 30 years later.
Writers and artists in the United States such as F. Scott Fitzgerald, John Held Jr., and Anita Loos popularized the flapper look and lifestyle through their works, and flappers came to be seen as attractive, reckless and independent. Among those who criticized the flapper craze was writer-critic Dorothy Parker. She penned "Flappers: A Hate Song" to poke fun at the fad.
A related but alternative usage in the late 1920s was a press catch word which referred to adult women voters and how they might vote differently than men their age. While the term flapper had multiple usages, flappers as a social group were well defined from other 1920s fads.
[edit] United Kingdom
The term flapper first appears in an early Sports Illustrated magazine (not the same magazine in print today) in a two-page spread where the flapper spread her legs. It may be in reference to a young bird flapping its wings while learning to fly, or it may derive from an earlier use in northern England of flapper to mean "teenage girl" (whose hair is not yet put up), or "prostitute".[3]
While many in the United States assumed at the time that the term flapper derived from a fashion of women wearing galoshes unbuckled so that they could show people their bodies as they walked, the term was already documented as in use in the United Kingdom as early as 1912. From the 1910s into the 1920s, flapper was a term for any impetuous teenage girl, often including women under 30. Only in the 1920s did the term take on the meaning of the flapper generation style and attitudes, while people continued to use the word to mean immature.
[edit] Behavior
Flappers went to jazz clubs at night where they danced provocatively, smoked cigarettes through long holders, sniffed cocaine (which was legal at the time) and dated. They rode bicycles and drove cars. They drank alcohol openly, a defiant act in the American period of Prohibition. Petting became more common than in the Victorian era. Petting Parties, where petting was the main attraction, became popular.
Flappers also began taking work outside the home and challenging a 'woman's place' in society. Voting and women's rights were also practiced.
With time dance styles considered shocking, such as the Charleston, the Shimmy, the Bunny Hug and the Black Bottom were developed.
[edit] Slang
Actress Norma Talmadge, a prototypical flapper
Actress Norma Talmadge, a prototypical flapper
Flappers had their own slang, with terms like "snugglepup" (a man who frequents petting parties) and "barney-mugging" (sex). Their dialect reflected their promiscuity and drinking habits; "I have to go see a man about a dog" often meant going to buy whiskey, and a "handcuff" or "manacle" was an engagement or wedding ring. Also reflective of their preoccupations, they had many ways to say "fantastic", such as "That's so Jake" or "That's the bee's knees," or a more popular one, "the cat's pajamas."
Many terms still in use in modern American English slang originated as flapper slang, such as "big cheese", meaning an important person; "to bump off", meaning to murder; and "baloney", meaning nonsense. Other terms have become definitive of the Prohibition era, such as "speakeasy", meaning an illegal place to get liquor and "hooch”, describing illegal liquor.
[edit] Appearance
In addition to their irreverent behavior flappers were known for their style, which largely emerged as a result of the musical style of jazz and the popularization of dancing that accompanied it. Called garçonne in French ("boy" with a feminine suffix), flapper style made them look young and boyish. Short hair, flattened breasts, and small waists accentuated the look.
Despite all the scandal flappers generated, their look became fashionable in a toned-down form among even respectable older women. Most significantly, the flappers removed the corset from female fashion, raised skirt and gown hemlines and popularized short hair for women. Among the actresses most closely identified with the style were Olive Thomas, Dorothy Mackaill, Alice White, Bebe Daniels, Billie Dove, Helen Kane, Joan Crawford, Leatrice Joy, Norma Shearer, Laura La Plante, Norma Talmadge, Clara Bow, Louise Brooks, and Colleen Moore.
[edit] Cosmetics
Main article: Cosmetics in the 1920s
The flapper look required 'heavy makeup' in comparison to what had been acceptable. Flappers tended to wear 'kiss proof' lipstick. With the invention of the metal lipstick container as well as compact mirrors bee stung lips came into vogue. Dark eyes, especially Kohl-rimmed, were the style. Blush came into vogue now that it was no longer a messy application process.
Originally, pale skin was considered most attractive. However, tanned skin became increasingly popular after Coco Chanel donned a tan after spending too much time in the sun on holiday - it suggested a life of leisure, without the onerous need to work. Woman wanted to look fit, sporty, and, above all, healthy.
[edit] Hair and accessories
Boyish cuts were in vogue especially the Bob cut, Eton crop, and Shingle bob. Hats were still required wear and popular styles included the Newsboy cap and Cloche hat.
Jewelry usually consisted of art deco pieces, especially many layers of beaded necklaces. Pins, rings, and brooches came into style. Horn-rimmed glasses were also popular.
Flappers did away with corsets and pantaloons in favor of "step-in" panties. Without the old restrictive corsets, flappers wore simple bust bodices to make their chest hold still when dancing. They also wore new, softer and suppler corsets that reached to their hips, smoothing the whole frame giving women a straight up and down appearance, as opposed to the old corsets which slenderized the waist and accented the hips and bust. Without the added curves of a corset they promoted their boyish look, and soon early popular bras were sold to flatten and reduce the appearance of the bust.
[edit] Apparel
Main article: 1920s in fashion
Flapper dresses were straight and loose, leaving the arms bare and dropping the waistline to the hips. Silk or rayon stockings were held up by garters. Skirts rose to just below the knee by 1927, allowing flashes of knee to be seen when a girl danced or walked into a breeze, although the way they danced made any long loose skirt flap up to show their knees. Flappers powdered or put rouge on their knees to show them off when dancing.[citation needed] Popular dress styles included the Robe de style. High heels also came into vogue at the time, reaching 2 inches high.
[edit] End of the flapper era
Despite its popularity, the flapper lifestyle and look could not survive the Wall Street Crash and the following Great Depression. The high-spirited attitude and hedonism simply could not find a place amid the economic hardships of the 1930s. More specifically, this decade brought out a conservative reaction and a religious revival which set out to eradicate the liberal lifestyles and fashions of the 1920s. In many ways, however, the self-reliant flapper had allowed the modern woman to make herself an integral and lasting part of the Western World.
[edit] See also
* New Woman
* Cosmetics of the 1920s
* Modern girl
[edit] Notes
1. ^ a b Memories of Olive. assumption.edu.
2. ^ Long, Bruce (editor). Taylorology: A Continuing Exploration of the Life and Death of William Desmond Taylor. Arizona State University.
3. ^ Online Etymology Dictionary. Douglas Harper, Historian. 26 Apr. 2007.
[edit] External links
* Flappers on SilentLadies.com
* The Jazz Age — Flapper Culture (discusses mainly Louise Brooks)
* Slang of the 1920s
* Flappers and fashion
* About.com history
* RolledStockings.com
Flapper
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see Flapper (disambiguation).
Actress Louise Brooks, 1927
Actress Louise Brooks, 1927
The term flapper in the 1920s referred to a "new breed" of young women who wore short skirts, bobbed their hair, listened to the new Jazz music, and flaunted their disdain for what was then considered acceptable behavior. The flappers were seen as brash for wearing excessive makeup, drinking, treating sex in a casual manner, smoking, driving automobiles, and otherwise flouting conventional social and sexual norms.
Contents
[hide]
* 1 Origins
o 1.1 United States
o 1.2 United Kingdom
* 2 Behavior
* 3 Slang
* 4 Appearance
o 4.1 Cosmetics
o 4.2 Hair and accessories
o 4.3 Apparel
* 5 End of the flapper era
* 6 See also
* 7 Notes
* 8 External links
o 8.1 tags:
[edit] Origins
Actress Alice Joyce, 1926
Actress Alice Joyce, 1926
Flappers had their origins in the period of liberalism, social and political turbulence, and increased transatlantic cultural exchange that followed the end of the First World War, as well as the export of American jazz culture to Europe.
[edit] United States
The first appearance of the word and image in the United States came from the popular 1920 Frances Marion movie, The Flapper, starring Olive Thomas.[1] Thomas had starred in a similar role in 1917 though it was not until The Flapper that the term was used. Her final movies were done in the flapper image.[2] Other actresses would soon build their careers on the same image making them quite popular including Clara Bow, Louise Brooks, and Joan Crawford.[1]
In the United States, popular contempt for Prohibition was a factor. With legal saloons and cabarets closed, back alley speakeasies became prolific and popular. This discrepancy between the law-abiding, religion-based temperance movement and the actual ubiquitous consumption of alcohol led to widespread disdain for authority. Flapper independence may have its origins in the Gibson girls of the 1890s. Although that pre-war look does not resemble the flapper identity, their independence and feminism may have led to the flapper wise-cracking tenacity 30 years later.
Writers and artists in the United States such as F. Scott Fitzgerald, John Held Jr., and Anita Loos popularized the flapper look and lifestyle through their works, and flappers came to be seen as attractive, reckless and independent. Among those who criticized the flapper craze was writer-critic Dorothy Parker. She penned "Flappers: A Hate Song" to poke fun at the fad.
A related but alternative usage in the late 1920s was a press catch word which referred to adult women voters and how they might vote differently than men their age. While the term flapper had multiple usages, flappers as a social group were well defined from other 1920s fads.
[edit] United Kingdom
The term flapper first appears in an early Sports Illustrated magazine (not the same magazine in print today) in a two-page spread where the flapper spread her legs. It may be in reference to a young bird flapping its wings while learning to fly, or it may derive from an earlier use in northern England of flapper to mean "teenage girl" (whose hair is not yet put up), or "prostitute".[3]
While many in the United States assumed at the time that the term flapper derived from a fashion of women wearing galoshes unbuckled so that they could show people their bodies as they walked, the term was already documented as in use in the United Kingdom as early as 1912. From the 1910s into the 1920s, flapper was a term for any impetuous teenage girl, often including women under 30. Only in the 1920s did the term take on the meaning of the flapper generation style and attitudes, while people continued to use the word to mean immature.
[edit] Behavior
Flappers went to jazz clubs at night where they danced provocatively, smoked cigarettes through long holders, sniffed cocaine (which was legal at the time) and dated. They rode bicycles and drove cars. They drank alcohol openly, a defiant act in the American period of Prohibition. Petting became more common than in the Victorian era. Petting Parties, where petting was the main attraction, became popular.
Flappers also began taking work outside the home and challenging a 'woman's place' in society. Voting and women's rights were also practiced.
With time dance styles considered shocking, such as the Charleston, the Shimmy, the Bunny Hug and the Black Bottom were developed.
[edit] Slang
Actress Norma Talmadge, a prototypical flapper
Actress Norma Talmadge, a prototypical flapper
Flappers had their own slang, with terms like "snugglepup" (a man who frequents petting parties) and "barney-mugging" (sex). Their dialect reflected their promiscuity and drinking habits; "I have to go see a man about a dog" often meant going to buy whiskey, and a "handcuff" or "manacle" was an engagement or wedding ring. Also reflective of their preoccupations, they had many ways to say "fantastic", such as "That's so Jake" or "That's the bee's knees," or a more popular one, "the cat's pajamas."
Many terms still in use in modern American English slang originated as flapper slang, such as "big cheese", meaning an important person; "to bump off", meaning to murder; and "baloney", meaning nonsense. Other terms have become definitive of the Prohibition era, such as "speakeasy", meaning an illegal place to get liquor and "hooch”, describing illegal liquor.
[edit] Appearance
In addition to their irreverent behavior flappers were known for their style, which largely emerged as a result of the musical style of jazz and the popularization of dancing that accompanied it. Called garçonne in French ("boy" with a feminine suffix), flapper style made them look young and boyish. Short hair, flattened breasts, and small waists accentuated the look.
Despite all the scandal flappers generated, their look became fashionable in a toned-down form among even respectable older women. Most significantly, the flappers removed the corset from female fashion, raised skirt and gown hemlines and popularized short hair for women. Among the actresses most closely identified with the style were Olive Thomas, Dorothy Mackaill, Alice White, Bebe Daniels, Billie Dove, Helen Kane, Joan Crawford, Leatrice Joy, Norma Shearer, Laura La Plante, Norma Talmadge, Clara Bow, Louise Brooks, and Colleen Moore.
[edit] Cosmetics
Main article: Cosmetics in the 1920s
The flapper look required 'heavy makeup' in comparison to what had been acceptable. Flappers tended to wear 'kiss proof' lipstick. With the invention of the metal lipstick container as well as compact mirrors bee stung lips came into vogue. Dark eyes, especially Kohl-rimmed, were the style. Blush came into vogue now that it was no longer a messy application process.
Originally, pale skin was considered most attractive. However, tanned skin became increasingly popular after Coco Chanel donned a tan after spending too much time in the sun on holiday - it suggested a life of leisure, without the onerous need to work. Woman wanted to look fit, sporty, and, above all, healthy.
[edit] Hair and accessories
Boyish cuts were in vogue especially the Bob cut, Eton crop, and Shingle bob. Hats were still required wear and popular styles included the Newsboy cap and Cloche hat.
Jewelry usually consisted of art deco pieces, especially many layers of beaded necklaces. Pins, rings, and brooches came into style. Horn-rimmed glasses were also popular.
Flappers did away with corsets and pantaloons in favor of "step-in" panties. Without the old restrictive corsets, flappers wore simple bust bodices to make their chest hold still when dancing. They also wore new, softer and suppler corsets that reached to their hips, smoothing the whole frame giving women a straight up and down appearance, as opposed to the old corsets which slenderized the waist and accented the hips and bust. Without the added curves of a corset they promoted their boyish look, and soon early popular bras were sold to flatten and reduce the appearance of the bust.
[edit] Apparel
Main article: 1920s in fashion
Flapper dresses were straight and loose, leaving the arms bare and dropping the waistline to the hips. Silk or rayon stockings were held up by garters. Skirts rose to just below the knee by 1927, allowing flashes of knee to be seen when a girl danced or walked into a breeze, although the way they danced made any long loose skirt flap up to show their knees. Flappers powdered or put rouge on their knees to show them off when dancing.[citation needed] Popular dress styles included the Robe de style. High heels also came into vogue at the time, reaching 2 inches high.
[edit] End of the flapper era
Despite its popularity, the flapper lifestyle and look could not survive the Wall Street Crash and the following Great Depression. The high-spirited attitude and hedonism simply could not find a place amid the economic hardships of the 1930s. More specifically, this decade brought out a conservative reaction and a religious revival which set out to eradicate the liberal lifestyles and fashions of the 1920s. In many ways, however, the self-reliant flapper had allowed the modern woman to make herself an integral and lasting part of the Western World.
[edit] See also
* New Woman
* Cosmetics of the 1920s
* Modern girl
[edit] Notes
1. ^ a b Memories of Olive. assumption.edu.
2. ^ Long, Bruce (editor). Taylorology: A Continuing Exploration of the Life and Death of William Desmond Taylor. Arizona State University.
3. ^ Online Etymology Dictionary. Douglas Harper, Historian. 26 Apr. 2007.
[edit] External links
* Flappers on SilentLadies.com
* The Jazz Age — Flapper Culture (discusses mainly Louise Brooks)
* Slang of the 1920s
* Flappers and fashion
* About.com history
* RolledStockings.com
2008년 11월 19일 수요일
_
요사이 나의 또래 아이들은
거대한 취업의 홍수속에 빠져들었다.
모두들 다시 바쁜 삶으로 돌아가기 위한 잠시의 휴식을 취하고 있다.
이게 바로 만스물셋, 또는 만 스물넷들의 운명이다.
졸업은 다시 어디엔가 소속되기까지의 불안한 공백을 만들어준 것이다.
나에 대해 생각하자.
공부를 하고싶다.
정말 재미있게.
남자를 만나
생기있어지고싶기도 하다.
풉.
거대한 취업의 홍수속에 빠져들었다.
모두들 다시 바쁜 삶으로 돌아가기 위한 잠시의 휴식을 취하고 있다.
이게 바로 만스물셋, 또는 만 스물넷들의 운명이다.
졸업은 다시 어디엔가 소속되기까지의 불안한 공백을 만들어준 것이다.
나에 대해 생각하자.
공부를 하고싶다.
정말 재미있게.
남자를 만나
생기있어지고싶기도 하다.
풉.
2008년 11월 10일 월요일
sidonie G colette
French novelist, belonging, in time, to the generation of such authors as Marcel Proust, Paul Valéry, André Gide, and Paul Claudel. Colette's career spanned from her early 20s to her mid-70s. Her main themes were joys and pains of love, and female sexuality in the male-dominated world. All her works are more or less autobiographical but Colette intentionally blurred the boundaries between fiction and fact. She wrote over 50 novels and scores of short stories.
"By means of an image we are often able to hold on to our lost belongings. But it is the desperateness of losing which picks the flowers of memory, binds the bouquet." (Mes Apprentissages, 1936)
Sidonie-Cabrielle Colette was born in the Burgundian village of Saint-Sauveur-en Puisaye. She was the daughter of a retired army captain, Jules-Joseph Colette. He had lost a leg in the Italian campaign and worked as a taxcollector with local political aspirations. Colette's mother, Adele Eugenie Sidonie Landoy, known as 'Sidonie' or 'Sido', was an unconventional character, a down-to-earth personality, devoted to her pets, books, and garden. Colette spent a happy childhood in rural surrounding, the scene of her many novels. At the age of 20 Colette married the writer and music critic Henri Gauthier-Villars, ('Monsieur Willy'); he was 15 years her senior. Colette's biographers' have labelled her first husband as a literary charlatan and degenerate.
Encouraged to start a career as a writer Colette published in short period four CLAUDINE novels (1900-03) under her husband's pen name Willy. According to a famous story, he locked Colette in her room until she had written enough pages. The series of four novels depicted improper adventures of a teenage girl. The series was a huge success and inspired all kinds of side products - a musical stage play, Claudine uniform, Claudine soap, cigars, and perfume. However, Colette's own cosmetics shop went bankrupt. Tired of her husbands unfaithfulness, Colette broke free of him in 1905. After divorce in 1906 Colette became a music-hall performer at such places as La Chatte Amoureuse and L'Oiseau de Nuit. On stage she bared one breast. A talk of the town, Colette once mimed copulation in a sketch, which a riot at the Moulin Rouge. Colette's protector and manager, a woman known as 'Missy', was the niece of Napoleon III, the Marquise de Belboeuf. Missy committed suicide in 1944 - ruined and desperate. Among Colette's other friends and probably lovers were Natalie Clifford Barney, an American lesbian woman, and the Italian writer Gabriele d'Annunzzio.
In 1912 Colette married Henri de Jouvenel des Ursins, the editor of the newspaper Le Matin, for which she wrote theatre chronicles and short stories. Their daughter, Colette de Jouvenel, later told that she was neglected by her parents - her mother never wanted a child. Colette's relationship with her young stepson, Bertrand de Jouvenel, was a source of gossips. In the novel CHÉRI (1920) she returned to the affair but depicted it from a point of view of a sexually unexperienced young man.
In 1910 Colette published LA VAGABONDE, a story about an actress who rejects a man she loves in order to live in an independent way. During World War I Colette converted her husband's St. Malo estate into a hospital for the wounded. After the war she was made a Chevalier of the Legion of Honour (1920).
The 1920s brought Colette enormous fame. She entered the world of modern poetry and paintings, which centered around Jean Cocteau, later her neighbor in Palais Royale. By 1927 Colette was frequently acclaimed as France's greatest woman writer. Especially Colette's insights into the behavior of women in love gained a sympathetic response from the reading public.
"'The great hat principle is that when you meet a woman on the street and her hat allows you to see whether she's a brunette, a blonde, or a redhead, the woman in question is not wearing a chic hat. There! ... Notice I'm not saying anything, I'll let you make up your own mind. Well?'" (from 'The Saleswoman' in Collected Stories)
Two central themes can be identified in Colette's mature works: the nature and the mother-daughter bond. LA MAISON DE CLAUDINE (1922) mythologized her childhood, LA NAISSANCE DU JOUR (1928) and SIDO (1929) celebrated Colette's carefree rural childhood, and the strength of her mother, whom the author rarely saw but wrote her many letters. The letters were destroyed by her brother after Sidonie died. In novels such as LA VAGABONDE (1911), LE BLÉ EN HERBE (1923), LA SECONDE (1929) and LA CHATTE Colette explored the struggle between independent identity and passionate love. Most of Colette's heroes and heroines, cocottes, bisexuals and gigolos, came from the margins of society. Chéri, which is one of her most famous book, tells the story of the end of a six year affair between an aging retired courtesan, Léa, and a pampered young man, Chéri. Turning conventions upside-down it is Chéri who wears silk pyjamas and Léa's pearls, he is the object of gaze. And in the end Léa demonstrates all the survival skills which Colette associated with femininity. The story continued in The Last of Chéri (1951), which contrasts Léa's strength and Chéri's fragility, leading to his suicide.
In the 1940s Colette portrayed her later years in L'ÉTOILE VESPER (1946) and LE FANAL BLEU (1949),which constantly questioned the relationship between autobiography and fiction. GIGI (1945) was published when the author was 72; the novel was made into a film in 1948. Vincente Minnelli directed a musicalized version of the story in 1958.
In the 1930s Colette was made a member of the Belgian Royal Academy. She was the first woman to be admitted to the prestigious Goncourt Academy. In 1953 she became a grand officer of the Legion of Honour. She won also many awards for her work. During the last 20 years of her life Colette suffered from a crippling form of arthritis, which had been set off by the fracture of a fibula in 1931. Her marriage with Henry de Jouvenal ended in 1924. From 1935 she was married to Maurice Goudaket, whose pearl business had been ruined during the Depression. Colette supported him because as a Jew he did not find work and had to hide when the Germans occupied France. Colette died on August 3, 1954 in Paris, where her fame was no less legandary than that of the writer Gertrude Stein(1874-1946) or the singer Edith Piaf (1915-1963). Colette was accorded a state funeral despite the refusal of Catholic rites on the grounds that she had been divorced. Her funeral was attended by thousands of mourners.
For further reading: Madame Colette by M. Crosland (1953); Prés de Colette (Close to Colette) by Maurice Goudeket (1955); Colette by E. Marks (1960); The Delights of Growing Old by Maurice Goudeket (1966); Colette - The Difficulty of Loving by M. Crosland (1973); Colette by R.D. Cotrell (1974); Colette by Y. Mitchell (1975); Colette Free and Fettered by M. Sarde (1980); Colette, ed. by E.M. Eisinger and M.W.McCarthy (1981); Colette by J.H. Stewart (1983); Colette by J. Richardson (1984); Colette by N. Ward Jouve (1987); Colette: A Life by H. Lottman (1990); Creating Colette: From Ingenue to Libertine 1873-1913 by Claude Francis, Fernande Gontier ( 1998); Secrets of the Flesh: A Life of Colette by Judith Thurman (1999); Creating Colette: From Baroness to Woman of Letters, 1912-1954 by Claude Francis, Fernande Gontier (1999); Colette by Claude Pichois and Alain Brunet (1999); Colette by Julia Kristeva (2002) - OTHER WRITERS CLOSELY ASSOCIATED WITH PARIS: Victor Hugo (The Hunchback of Notre-Dame), Gaston Leroux (The Phantom of the Opera), Alexandre Dumas (père), Honoré de Balzac, Eugéne Sue, Charles Baudelaire, Guillaume Apollinaire, Émile Zola, Ernest Hemingway, Jean-Paul Sartre, etc.
Selected works:
CLAUDINE À L'ÉCOLE, 1900 - Claudine at School (trans. by J. Flanner / H. Mirande)
CLAUDINE À PARIS, 1901- Claudine in Paris
CLAUDINE EN MÉNAGE, 1902 - Claudine Married
CLAUDINE S'EN VA, 1903 - The Innocent Wife (trans. by F. Blossom)
SEPT DIALOGUES DE BÊTES, 1904 - Creatures Great and Small (trans. by Enid McLeod)
MINNE, 1904
LES ÉGAREMENTS DE MINNE, 1905
LA RETRAITE SENTIMENTALE, 1907 - The Retreat from Love (trans. by M. Crosland)
LES VRILLES DE VIGNE, 1908 - The Tendrils of the Vine
L'INGÉNUE LIBERTINE, 1909 - The Gentle Libertine (trans. by R.C. Benet)
LA VAGABONDE, 1910 - The Vagabond (trans. by J. Flanner / Enid McLeod)
L'ENTRAVE, 1913 - The Shackle
L'ENVERS DU MUSIC-HALL, 1913 - Music-Hall Sidelights - film 1935, dir. by Max Ophuls
LA PAIX CHEZ LES BÊTES, 1916 - Cats, Dogs, and I
LES HEURES LONGUES, 1917
LES ENFANTS DANS LES RUINES, 1917
DANS LA FOULE, 1918
MITSOU, 1919 - (trans. by J. Terry)
CHÉRI, 1920 - (trans. by Roger Senhouse) - suom.
CELLE QUI EN REVINET, 1921
LE VOYAGE ÉGOÏSTE, 1922
LA MAISON DE CLAUDINE, 1922 - My Mother's House (trans. by E. McLeod and U.V. Troubridge) - Claudinen koti
RÊVERIE DU NOUVEL AN, 1923
LE BLÉ EN HERBE,1923 - The Ripening Seed - Vilja oraalla - film 1956, dir. by Claude Autant-Lara
AVENTURES QUOTIDIENNES, 1924
LA FEMME CACHÉE, 1924
LE ENFANT ET LES SORTILÈGES, 1925 - The Boy and the Magic (trans. by C. Fry)
LA FIN DE CHÉRI,1926 - The Last of Chérie (trans. by E. McLeod / Roger Senhouse) - Cherin loppu
LA NAISSANCE DU JOUR, 1928 - A Lesson in Love 8(trans. by R.C. Benet)
LA SECONDE, 1929 - The Other One (trans. by R. Senhouse and E. Tait)
DOUZE DIALOGUES DE BÊTES, 1930 - Creatures Great and Small
SIDO, 1930 - (trans. by E. McLeod)
RENÉE LA VAGABONDE, 1931
CES PLAISIRS (first ed.) / LE PUR ET L'IMPUR, 1932 - The Pure and the Impure
LA CHATTE,1933 - The Cat
DUO, 1934 - (trans.)
SPLENDEUR DES PAPILLONS, 1936
MES APPRENTISSAGES, 1936 - My Apprenticeships (trans. by H. Beauclerk)
BELLA-VISTA, 1937
LE TOUTOUNIER, 1939
CHAMBRE D'HÔTEL, 1941 - Chance Acquaintances (trans. by P.L. Fermor)
LE PUR ET L'IMPUR, 1941 - The Pure and the Impure (trans. by E. Dally)
JOURNAL À REBOURS, 1941 - Looking Backwards (trans. by D. Le Vay)
MES CAHIERS, 1941
JULIE DE CARNEILHAN, 1941 - (trans. by P.L. Fermor)
DE MA FENÊTRE, 1942
LE KÉPI, 1943
PARIS DE MA FENÊTRE, 1944
GIGI, 1944 - (trans. by R. Senhouse) - film versions: 1948 dir. by Jacqueline Audry, starring Daniele Delorme, Gaby Morlay, Yvonne de Bray; musical version in 1958 dir. by Vincente Minnelli, starring Leslia Caron, Louis Jourdan, Maurice Chevalier - note: Leslie Caron's vocals were dubbed by Betty Wand
LA TENDRON, 1944
LA DAME DU PHOTOGRAPHE, 1944
CHATS, 1945
L'ÉTOILE VESPER, 1946 - The Evening Star (trans. by D. Le Vay)
BELLES SAISONS, 1947
POUR UN HERBIER, 1948 - For a Flower Album (trans. by R. Senhouse)
TRAIT POUR TRAIT, 1949
JOURNAL INTERMITTENT, 1949
LA FLEUR L'ÂGE, 1949
LE FANAL BLEU, 1949 - The Blue Lantern (trans. by R. Senhouse)
EN PAYS CONNU, 1950
CHÉRI, 1952 (play)
Six Novels, 1957
The Collected Stories of Colette, 1983 (ed. by Robert G. Phelps)
Collected Stories, 1983 (ed. by R. Phelps)
Flowers and Fruit, 1986 (edited by Robert Phelps)
"By means of an image we are often able to hold on to our lost belongings. But it is the desperateness of losing which picks the flowers of memory, binds the bouquet." (Mes Apprentissages, 1936)
Sidonie-Cabrielle Colette was born in the Burgundian village of Saint-Sauveur-en Puisaye. She was the daughter of a retired army captain, Jules-Joseph Colette. He had lost a leg in the Italian campaign and worked as a taxcollector with local political aspirations. Colette's mother, Adele Eugenie Sidonie Landoy, known as 'Sidonie' or 'Sido', was an unconventional character, a down-to-earth personality, devoted to her pets, books, and garden. Colette spent a happy childhood in rural surrounding, the scene of her many novels. At the age of 20 Colette married the writer and music critic Henri Gauthier-Villars, ('Monsieur Willy'); he was 15 years her senior. Colette's biographers' have labelled her first husband as a literary charlatan and degenerate.
Encouraged to start a career as a writer Colette published in short period four CLAUDINE novels (1900-03) under her husband's pen name Willy. According to a famous story, he locked Colette in her room until she had written enough pages. The series of four novels depicted improper adventures of a teenage girl. The series was a huge success and inspired all kinds of side products - a musical stage play, Claudine uniform, Claudine soap, cigars, and perfume. However, Colette's own cosmetics shop went bankrupt. Tired of her husbands unfaithfulness, Colette broke free of him in 1905. After divorce in 1906 Colette became a music-hall performer at such places as La Chatte Amoureuse and L'Oiseau de Nuit. On stage she bared one breast. A talk of the town, Colette once mimed copulation in a sketch, which a riot at the Moulin Rouge. Colette's protector and manager, a woman known as 'Missy', was the niece of Napoleon III, the Marquise de Belboeuf. Missy committed suicide in 1944 - ruined and desperate. Among Colette's other friends and probably lovers were Natalie Clifford Barney, an American lesbian woman, and the Italian writer Gabriele d'Annunzzio.
In 1912 Colette married Henri de Jouvenel des Ursins, the editor of the newspaper Le Matin, for which she wrote theatre chronicles and short stories. Their daughter, Colette de Jouvenel, later told that she was neglected by her parents - her mother never wanted a child. Colette's relationship with her young stepson, Bertrand de Jouvenel, was a source of gossips. In the novel CHÉRI (1920) she returned to the affair but depicted it from a point of view of a sexually unexperienced young man.
In 1910 Colette published LA VAGABONDE, a story about an actress who rejects a man she loves in order to live in an independent way. During World War I Colette converted her husband's St. Malo estate into a hospital for the wounded. After the war she was made a Chevalier of the Legion of Honour (1920).
The 1920s brought Colette enormous fame. She entered the world of modern poetry and paintings, which centered around Jean Cocteau, later her neighbor in Palais Royale. By 1927 Colette was frequently acclaimed as France's greatest woman writer. Especially Colette's insights into the behavior of women in love gained a sympathetic response from the reading public.
"'The great hat principle is that when you meet a woman on the street and her hat allows you to see whether she's a brunette, a blonde, or a redhead, the woman in question is not wearing a chic hat. There! ... Notice I'm not saying anything, I'll let you make up your own mind. Well?'" (from 'The Saleswoman' in Collected Stories)
Two central themes can be identified in Colette's mature works: the nature and the mother-daughter bond. LA MAISON DE CLAUDINE (1922) mythologized her childhood, LA NAISSANCE DU JOUR (1928) and SIDO (1929) celebrated Colette's carefree rural childhood, and the strength of her mother, whom the author rarely saw but wrote her many letters. The letters were destroyed by her brother after Sidonie died. In novels such as LA VAGABONDE (1911), LE BLÉ EN HERBE (1923), LA SECONDE (1929) and LA CHATTE Colette explored the struggle between independent identity and passionate love. Most of Colette's heroes and heroines, cocottes, bisexuals and gigolos, came from the margins of society. Chéri, which is one of her most famous book, tells the story of the end of a six year affair between an aging retired courtesan, Léa, and a pampered young man, Chéri. Turning conventions upside-down it is Chéri who wears silk pyjamas and Léa's pearls, he is the object of gaze. And in the end Léa demonstrates all the survival skills which Colette associated with femininity. The story continued in The Last of Chéri (1951), which contrasts Léa's strength and Chéri's fragility, leading to his suicide.
In the 1940s Colette portrayed her later years in L'ÉTOILE VESPER (1946) and LE FANAL BLEU (1949),which constantly questioned the relationship between autobiography and fiction. GIGI (1945) was published when the author was 72; the novel was made into a film in 1948. Vincente Minnelli directed a musicalized version of the story in 1958.
In the 1930s Colette was made a member of the Belgian Royal Academy. She was the first woman to be admitted to the prestigious Goncourt Academy. In 1953 she became a grand officer of the Legion of Honour. She won also many awards for her work. During the last 20 years of her life Colette suffered from a crippling form of arthritis, which had been set off by the fracture of a fibula in 1931. Her marriage with Henry de Jouvenal ended in 1924. From 1935 she was married to Maurice Goudaket, whose pearl business had been ruined during the Depression. Colette supported him because as a Jew he did not find work and had to hide when the Germans occupied France. Colette died on August 3, 1954 in Paris, where her fame was no less legandary than that of the writer Gertrude Stein(1874-1946) or the singer Edith Piaf (1915-1963). Colette was accorded a state funeral despite the refusal of Catholic rites on the grounds that she had been divorced. Her funeral was attended by thousands of mourners.
For further reading: Madame Colette by M. Crosland (1953); Prés de Colette (Close to Colette) by Maurice Goudeket (1955); Colette by E. Marks (1960); The Delights of Growing Old by Maurice Goudeket (1966); Colette - The Difficulty of Loving by M. Crosland (1973); Colette by R.D. Cotrell (1974); Colette by Y. Mitchell (1975); Colette Free and Fettered by M. Sarde (1980); Colette, ed. by E.M. Eisinger and M.W.McCarthy (1981); Colette by J.H. Stewart (1983); Colette by J. Richardson (1984); Colette by N. Ward Jouve (1987); Colette: A Life by H. Lottman (1990); Creating Colette: From Ingenue to Libertine 1873-1913 by Claude Francis, Fernande Gontier ( 1998); Secrets of the Flesh: A Life of Colette by Judith Thurman (1999); Creating Colette: From Baroness to Woman of Letters, 1912-1954 by Claude Francis, Fernande Gontier (1999); Colette by Claude Pichois and Alain Brunet (1999); Colette by Julia Kristeva (2002) - OTHER WRITERS CLOSELY ASSOCIATED WITH PARIS: Victor Hugo (The Hunchback of Notre-Dame), Gaston Leroux (The Phantom of the Opera), Alexandre Dumas (père), Honoré de Balzac, Eugéne Sue, Charles Baudelaire, Guillaume Apollinaire, Émile Zola, Ernest Hemingway, Jean-Paul Sartre, etc.
Selected works:
CLAUDINE À L'ÉCOLE, 1900 - Claudine at School (trans. by J. Flanner / H. Mirande)
CLAUDINE À PARIS, 1901- Claudine in Paris
CLAUDINE EN MÉNAGE, 1902 - Claudine Married
CLAUDINE S'EN VA, 1903 - The Innocent Wife (trans. by F. Blossom)
SEPT DIALOGUES DE BÊTES, 1904 - Creatures Great and Small (trans. by Enid McLeod)
MINNE, 1904
LES ÉGAREMENTS DE MINNE, 1905
LA RETRAITE SENTIMENTALE, 1907 - The Retreat from Love (trans. by M. Crosland)
LES VRILLES DE VIGNE, 1908 - The Tendrils of the Vine
L'INGÉNUE LIBERTINE, 1909 - The Gentle Libertine (trans. by R.C. Benet)
LA VAGABONDE, 1910 - The Vagabond (trans. by J. Flanner / Enid McLeod)
L'ENTRAVE, 1913 - The Shackle
L'ENVERS DU MUSIC-HALL, 1913 - Music-Hall Sidelights - film 1935, dir. by Max Ophuls
LA PAIX CHEZ LES BÊTES, 1916 - Cats, Dogs, and I
LES HEURES LONGUES, 1917
LES ENFANTS DANS LES RUINES, 1917
DANS LA FOULE, 1918
MITSOU, 1919 - (trans. by J. Terry)
CHÉRI, 1920 - (trans. by Roger Senhouse) - suom.
CELLE QUI EN REVINET, 1921
LE VOYAGE ÉGOÏSTE, 1922
LA MAISON DE CLAUDINE, 1922 - My Mother's House (trans. by E. McLeod and U.V. Troubridge) - Claudinen koti
RÊVERIE DU NOUVEL AN, 1923
LE BLÉ EN HERBE,1923 - The Ripening Seed - Vilja oraalla - film 1956, dir. by Claude Autant-Lara
AVENTURES QUOTIDIENNES, 1924
LA FEMME CACHÉE, 1924
LE ENFANT ET LES SORTILÈGES, 1925 - The Boy and the Magic (trans. by C. Fry)
LA FIN DE CHÉRI,1926 - The Last of Chérie (trans. by E. McLeod / Roger Senhouse) - Cherin loppu
LA NAISSANCE DU JOUR, 1928 - A Lesson in Love 8(trans. by R.C. Benet)
LA SECONDE, 1929 - The Other One (trans. by R. Senhouse and E. Tait)
DOUZE DIALOGUES DE BÊTES, 1930 - Creatures Great and Small
SIDO, 1930 - (trans. by E. McLeod)
RENÉE LA VAGABONDE, 1931
CES PLAISIRS (first ed.) / LE PUR ET L'IMPUR, 1932 - The Pure and the Impure
LA CHATTE,1933 - The Cat
DUO, 1934 - (trans.)
SPLENDEUR DES PAPILLONS, 1936
MES APPRENTISSAGES, 1936 - My Apprenticeships (trans. by H. Beauclerk)
BELLA-VISTA, 1937
LE TOUTOUNIER, 1939
CHAMBRE D'HÔTEL, 1941 - Chance Acquaintances (trans. by P.L. Fermor)
LE PUR ET L'IMPUR, 1941 - The Pure and the Impure (trans. by E. Dally)
JOURNAL À REBOURS, 1941 - Looking Backwards (trans. by D. Le Vay)
MES CAHIERS, 1941
JULIE DE CARNEILHAN, 1941 - (trans. by P.L. Fermor)
DE MA FENÊTRE, 1942
LE KÉPI, 1943
PARIS DE MA FENÊTRE, 1944
GIGI, 1944 - (trans. by R. Senhouse) - film versions: 1948 dir. by Jacqueline Audry, starring Daniele Delorme, Gaby Morlay, Yvonne de Bray; musical version in 1958 dir. by Vincente Minnelli, starring Leslia Caron, Louis Jourdan, Maurice Chevalier - note: Leslie Caron's vocals were dubbed by Betty Wand
LA TENDRON, 1944
LA DAME DU PHOTOGRAPHE, 1944
CHATS, 1945
L'ÉTOILE VESPER, 1946 - The Evening Star (trans. by D. Le Vay)
BELLES SAISONS, 1947
POUR UN HERBIER, 1948 - For a Flower Album (trans. by R. Senhouse)
TRAIT POUR TRAIT, 1949
JOURNAL INTERMITTENT, 1949
LA FLEUR L'ÂGE, 1949
LE FANAL BLEU, 1949 - The Blue Lantern (trans. by R. Senhouse)
EN PAYS CONNU, 1950
CHÉRI, 1952 (play)
Six Novels, 1957
The Collected Stories of Colette, 1983 (ed. by Robert G. Phelps)
Collected Stories, 1983 (ed. by R. Phelps)
Flowers and Fruit, 1986 (edited by Robert Phelps)
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