Scènes de la vie privée et publique des animaux  

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Train wreck at Montparnasse (October 22, 1895) by Studio Lévy and Sons.
Train wreck at Montparnasse (October 22, 1895) by Studio Lévy and Sons.
Scènes de la vie privée et publique des animaux (full text)[1]

Scènes de la vie privée et publique des animaux (Public and Private Life of Animals) est un recueil d'articles, nouvelles, contes satiriques paru en livraison de 1840 à 1842, puis en livre illustré en deux volumes de 1841 à 1842 avec le sous-titre Études de mœurs. Édité par Pierre-Jules Hetzel avec la collaboration d'écrivains célèbres, notamment J.P Stahl (pseudonyme de Pierre-Jules Hetzel), Balzac, Charles Nodier, George Sand, Émile de La Bédollière, Jules Janin, Paul de Musset. Chaque texte est illustré de vignettes de Grandville.

L'ouvrage connu un tel succès qu'en 1845 paraissait déjà la cinquième édition.


English translation

Translated by J. Thomson as Public and Private Life of Animals, this book was published in London by Sampson Low, Marston, Searle, and Rivington in 1877.

Comment by John Berger from About Looking

“At first sight, Grandville’s animals [in Scènes de la vie privée et publique des animaux], dressed up and performing as men and women, appear to belong to the old tradition, whereby a person is portrayed as an animal so as to reveal more clearly an aspect of his or her character. The device was like putting on a mask, but its function was to unmask. The animal represents the apogee of the character trait in question; the lion, absolute courage; the hare, lechery. The animal once lived near the origin of the quality. It was through the animal that the quality first became recognizable. And so the animal lends it his name.
But as one goes on looking at Grandville's engravings, one becomes aware that the shock which they convey derives, in fact, from the opposite movement to that which one first assumed. These animals are not being "borrowed" to explain people, nothing is being unmasked; on the contrary. These animals have become prisoners of a human/social situation into which they have been press-ganged. The vulture as landlord is more dreadfully rapacious than he is as a bird. The crocodiles at dinner are greedier at the table than they are in the river. Here animals are not being used as reminders of origin, or as moral metaphors, they are being used en masse to “people” situations.” (John Berger About Looking 18-19)

Composition des volumes

Tome I
Tome II
  • Encore une révolution (P.J. Stahl)
  • Histoire d'un merle blanc (Alfred de Musset)
  • Le Mari de la reine (Gustave Droz)
  • Les Amours de deux bêtes (Balzac)
  • Les Peines de cœur d'une chatte française (P.J. Stahl)
  • Causes célèbres (Émile de La Bédollière)
  • L'Ours (L. Baude)
  • Le Septième Ciel (P.J. Stahl)
  • Lettre d'une hirondelle à une serine (Mme Ménessier Nodier, fille de Charles)
  • Les Animaux médecins (Pierre Bernard)
  • Tablettes de la girafe (Charles Nodier)
  • Propos aigres d'un corbeau (Gustave Droz)
  • Souvenirs d'une vieille corneille (P.J. Stahl)
  • Dernier chapitre (Stahl)

See also

Unless indicated otherwise, the text in this article is either based on Wikipedia article "Scènes de la vie privée et publique des animaux" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on original research by Jahsonic and friends. See Art and Popular Culture's copyright notice.

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