Events by Evanghelia Stead
Evanghelia Stead, 2024
“If I am not grotesque, I am nothing.”
This insightful study illuminates previously unexplored a... more “If I am not grotesque, I am nothing.”
This insightful study illuminates previously unexplored aspects of Aubrey Beardsley’s relationship to the grotesque and his use of media, particularly his manipulation of the periodical press. For the first time and with keen intelligence, Evanghelia Stead fully reveals the aesthetic importance of Beardsley’s Bon-Mots vignettes, as well as the relationship between Darwinism, his innovative foetus motif, and Decadence itself.
Beautifully illustrated throughout, the book calls on histories of culture and aesthetics to show how the artist reworked traditional imagery and manipulated it beyond recognition—revealing for instance the influence of cathedral grotesques on Beardsley’s own grotesque performances. Stead also demonstrates his major impact on Italian, French, American and German creative minds through the periodical press.
Rich in original thought and detailed, comparative analysis, this book is an invigorating and enlightening read for scholars of Aubrey Beardsley, as well as for anyone interested in nineteenth-century visual culture, art history, art criticism, print culture, illustration, grotesque iconography, and cultural history.
by Anna Tabaki, Angeliki Spiropoulou, Evanghelia Stead, George N Vlahakis, Alexandra Lianeri, Avra Xepapadakou, Stessi Athini, Αλέξανδρος Κατσιγιάννης, Maria Sehopoulou, Alexia Altouva, Georgia Gotsi, Zoi Mavridou, Χάρης Ξανθουδάκης, Marinella Sofia Gkinko, and Nikos Falagkas Με την Επιστημονική αυτή Συνάντηση ολοκληρώνει τις ερευνητικές του δραστηριότητες το πρόγραμμα «Θ... more Με την Επιστημονική αυτή Συνάντηση ολοκληρώνει τις ερευνητικές του δραστηριότητες το πρόγραμμα «Θαλής» - «Χρυσαλλλίς» / «Πολιτισμικές διαμεσολαβήσεις και διαμόρφωση του ‘εθνικού χαρακτήρα’ στον περιοδικό τύπο του 19ου αιώνα».
Papers by Evanghelia Stead
HAL (Le Centre pour la Communication Scientifique Directe), 2007
BRILL eBooks, Jul 12, 2023
Treuttel and Wurtz, N° 17, Rue de Bourbon.) Three openings in vol. 3 (120-30) focus on parts from... more Treuttel and Wurtz, N° 17, Rue de Bourbon.) Three openings in vol. 3 (120-30) focus on parts from six Retzsch plates, cut out and inserted in Dibdin's text as woodcuts by John Byfield. Reportedly acquired in Cotta's Stuttgart bookshop and collaged in August 1818, they nevertheless show revisions akin to Moses's 1820 Boosey edition. Beinecke: X350 +821 (1-4) (Gift of John W. Sterling)
HAL (Le Centre pour la Communication Scientifique Directe), 2002
HAL (Le Centre pour la Communication Scientifique Directe), Jun 1, 2006
HAL (Le Centre pour la Communication Scientifique Directe), 2007
HAL (Le Centre pour la Communication Scientifique Directe), 2007
HAL (Le Centre pour la Communication Scientifique Directe), 2019
PUPS, Presses de l'Université Paris-Sorbonne, 2008
Revue d'Histoire littéraire de la France, 2020
Revue d'Histoire littéraire de la France 1 -2020, 120e année -n° 1 « Petites revues », grande pre... more Revue d'Histoire littéraire de la France 1 -2020, 120e année -n° 1 « Petites revues », grande presse et édition à la fin du XIX siècle Type de publication: Revue Directeur d'ouvrage: Génetiot (Alain) Résumé: Fondée en 1894, la RHLF propose, à raison de quatre numéros par an et d'un numéro bibliographique hors-série, un panorama de la recherche actuelle sur la littérature d'expression française.
Why read in reverse? Searching for the first signs of European landscape before its canonical ori... more Why read in reverse? Searching for the first signs of European landscape before its canonical origins (Petrarch, The Ascent of Mont Ventoux, 1336), this article follows the tracks of Second Odyssey poets (1843-1964, from Tennyson to Borges), who invite us to read Canto XXVI of the Inferno in connection with Homer’s Odyssey, a speculative reading, since Dante did not know Homer first hand. Reading from Homer towards Dante allows us to show similarities between the Odyssey, that can hardly be anything but a seascape, and Inferno, XXVI, a perilous navigation and shipwreck, under a toppling sky and the eye of the Night. Ulysses’ voyage from Troy to Gibraltar and the sunset thus meets a (contested) etymology for Europe and supports the notion of “land on which the sun sets”. Reading from Dante to Homer makes stars (Ursa Major) stand out as a sure guide to navigation and indicates the changing line of the horizon four centuries before the word itself. Now, for Dante, the seven icy stars o...
The article examines the mark left by Moritz Retzsch’s 26 outline etchings after Goethe’s Faust (... more The article examines the mark left by Moritz Retzsch’s 26 outline etchings after Goethe’s Faust (1816) distinguishing between extensive and intensive iconography in their circulation. In extensive iconography, copied or imitated images build a collective imagination, devaluing the original, albeit contributing to its aura — a view that challenges W. Benjamin’s influential essay. In intensive iconography, inventive artists rework Retzsch’s images, granting a particular scene genuine reinterpretation. How then should we value multiples, copies and genuine reworkings in modern print culture?
Résumé: Hyaku sen shô/Recueil de cent éventails de Claudel (1927), expérience singulière, inspiré... more Résumé: Hyaku sen shô/Recueil de cent éventails de Claudel (1927), expérience singulière, inspirée de l'art poétique et des matériaux japonais, peut pourtant être rattaché à des pratiques occidentales, communes à plusieurs poètes, dont Mallarmé. L'article détaille les trois étapes de sa réalisation, et montre le rôle des écritures, orientale et occidentale, aboutissant à Cent phrases pour éventails (Gallimard, 1942). Il fournit le lien entre la « philosophie du livre » chez Claudel et sa « physiologie ».
Quaerendo, 2020
The article (developing a paper presented at 2010 SHARP international conference) investigates th... more The article (developing a paper presented at 2010 SHARP international conference) investigates the ways grand Faust editions from the 1850s and 1870s make sense as equivocal cultural objects migrating within and beyond Germany. Scholars have focused on these imposing tomes to herald the play as expression of a nation-centred claim, with Faust as heroic myth. This interpretation relied on costly plates and external characteristics for principal evidence. This article instead draws attention to circulation, transformations and fuller readings of these items, combining first-hand research in many collections. On the one hand, it looks into the editorial versions as adjustable to different audiences and cultures, using editorial data, reception evidence, and image analysis. On the other, it shows how fuller readings of a tome, based on material, symbolic and archival evidence, tell two different stories. This study of a text’s print apparel and circulation, at odds with its significance...
Periodicals In-Between/Les Périodiques comme médiateurs, 2019
Ce numéro spécial émane du 7e colloque annuel de la European Society for Periodical Research (ESP... more Ce numéro spécial émane du 7e colloque annuel de la European Society for Periodical Research (ESPRit), qui portait sur ‘Les Périodiques comme médiateurs: les périodiques dans l’écosystème de la culture imprimée et visuelle’. L’événement, dont l’organisation à Paris m’a été confiée, s’est tenu à la Bibliothèque nationale de France, à l’Inalco et à l’université Paris-Sorbonne en juin 2018. Cette manifestation bilingue, qui a réuni des chercheurs jeunes et confirmés, a analysé les rôles complexes des périodiques dans un riche éventail de contextes et milieux culturels et scientifiques, sous plusieurs angles: histoire de la littérature, histoire de l’art, presse et médias, études visuelles, littérature comparée, études théâtrales, cultures scientifiques, études de traduction et de réception. Une large palette de publications en série a été examinée: revues, magazines, gazettes, cahiers, suppléments, annales, anthologies, collections, quotidiens, voire une émission radiophonique. Ce numé...
Middle Eastern Literatures, 2016
The hunchback's tale is regarded as the narrative masterpiece of the oldest part of the Arabian N... more The hunchback's tale is regarded as the narrative masterpiece of the oldest part of the Arabian Nights. This article does not, however, deal with its most effective parts, but with the inefficient tale (narrated by the Christian merchant) chosen by Théophile Gautier in his "Thousand and Second Night." Gautier deliberately builds on this supposedly clumsy narrative the tale of his chronicler, a fictitious portrait of Gautier himself, yielding to Scheherazade, who implores him for a story in Paris. Masquerading as a bungling storyteller, he masters literary creation in lively dialogue with the original, just as the desperate Scheherazade proves a fine critic of the Nights' fortune in translation. Gautier's irony and meta-literary allusions reveal the modern conditions of storytelling in a changing world of printed matter, particularly newspapers and journals, and jest with the marvelous and the fantastic. Furthermore, the article calls attention to the part the inefficient tales may play in the Nights themselves, suggesting a parallel between the hunchback and the barber on one hand, Scheherazade and Gautier on the other.
Instable, hybride, capricieuse, la revue litteraire et artistique l’est par son contenu, sa forme... more Instable, hybride, capricieuse, la revue litteraire et artistique l’est par son contenu, sa forme et sa periodicite. Entre 1880 et 1920, elle constitue un champ de recherches novateur du point de vue graphique, typographique, poetique et plastique. Pourtant, l’etude de ce champ souffre d’un cloisonnement qui denature son objet : monologue des disciplines, decoupage rigide de la chronologie, separation arbitraire entre grande presse et petites revues d’avant-garde, impermeabilite des espaces linguistiques et culturels. Afin de restituer a la revue toute sa complexite, cet ouvrage adopte un angle inedit : l’image, et non seulement le texte. Les modalites d’insertion de l’image, les effets sur le texte et la materialite, les modes de reproduction, les liens entre rue, spectacle, galeries, edition et imprimes sont ici privilegies avec l’appui d’un riche dossier iconographique. Pour elaborer une methode adequate, cet ouvrage propose une rencontre entre l’universite et le musee. Il promeut le dialogue entre litteraires, comparatistes, historiens de l’art, mediologues et conservateurs. Il s’ouvre au domaine europeen en accueillant des articles sur des revues francaises, allemandes, suisses, anglaises, espagnoles et catalanes, hongroises, italiennes, polonaises et russes. Par la fourchette chronologique choisie (1880-1920), le volume reunit une fin et un debut de siecle, periodes traditionnellement separees qui voient pourtant l’eclosion d'une veritable Europe des revues.
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Events by Evanghelia Stead
This insightful study illuminates previously unexplored aspects of Aubrey Beardsley’s relationship to the grotesque and his use of media, particularly his manipulation of the periodical press. For the first time and with keen intelligence, Evanghelia Stead fully reveals the aesthetic importance of Beardsley’s Bon-Mots vignettes, as well as the relationship between Darwinism, his innovative foetus motif, and Decadence itself.
Beautifully illustrated throughout, the book calls on histories of culture and aesthetics to show how the artist reworked traditional imagery and manipulated it beyond recognition—revealing for instance the influence of cathedral grotesques on Beardsley’s own grotesque performances. Stead also demonstrates his major impact on Italian, French, American and German creative minds through the periodical press.
Rich in original thought and detailed, comparative analysis, this book is an invigorating and enlightening read for scholars of Aubrey Beardsley, as well as for anyone interested in nineteenth-century visual culture, art history, art criticism, print culture, illustration, grotesque iconography, and cultural history.
Papers by Evanghelia Stead
This insightful study illuminates previously unexplored aspects of Aubrey Beardsley’s relationship to the grotesque and his use of media, particularly his manipulation of the periodical press. For the first time and with keen intelligence, Evanghelia Stead fully reveals the aesthetic importance of Beardsley’s Bon-Mots vignettes, as well as the relationship between Darwinism, his innovative foetus motif, and Decadence itself.
Beautifully illustrated throughout, the book calls on histories of culture and aesthetics to show how the artist reworked traditional imagery and manipulated it beyond recognition—revealing for instance the influence of cathedral grotesques on Beardsley’s own grotesque performances. Stead also demonstrates his major impact on Italian, French, American and German creative minds through the periodical press.
Rich in original thought and detailed, comparative analysis, this book is an invigorating and enlightening read for scholars of Aubrey Beardsley, as well as for anyone interested in nineteenth-century visual culture, art history, art criticism, print culture, illustration, grotesque iconography, and cultural history.