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• W207682799 abstract "CHARLES Perrault penned his treatise on the theory of aesthetics, La peintureu at roughly the same time that he wrote his conte, La Barbebleue. It can come as no coincidence that the two texts are concerned with the issues not only of representation, but also those having to do with the exercise of power, especially since Perrault's relationship with his chief patron, the autocratic Louis XIV, and the minister Colbert was so fraught at the time. It is, therefore, possible to pair the two texts together, using the theoretical tract on representation to illuminate how objects function in the story. Textual materialist criticism, of the sort practiced by Patricia Fumerton on Elizabethan miniatures or Peter Stallybrass on early modern vestimentary habits or Lisa Jardine on Erasmus's politics of self-publicizing, can help in defining the artifactual population of the universe in which the characters of La Barbe-bleue take on existence and, to some extent, also reflect Perrault's own. This school of criticism takes each object in a narrative as a nodal mark, a punctuation point or a pause on the pathway toward the construction of sense. Every object must be accounted for. The textual material project, then, is in many ways consistent with the nature and purposes of curiosity cabinets. These Wunderkammerer, a popular pastime with the nobility following the first great collector king, Francois Ier, in the sixteenth century, were disparate assemblages of objects, collected apparently without unifying theme or focus, but nonetheless set in relationship by virtue of being housed in the same display case. The phenomenon of collector's cabinets in France was intended to represent various aspects of the world; once compiled, their arrangement was meant to create meaning in a proto-encyclopedic way. Similarly, in Perrault's treatise on the aesthetics of painting, painters are seen as conferring order on chaos; he recalls how de l'Esprit eternel la sagesse infinie/A peine eut du chaos la discorde bannie,/Et le vaste pourpre de l'Empire des Cieux ... (La peinture, 84-5). The technique of taking pieces of the world to represent the whole is mimetically reproduced in La Barbe-bleue by the collection of naked corpses which lie at the heart of Barbe-bleue's house, in the room which he expressly forbids his new young bride to enter. Collecting is a form of power, as is the assignment of a master narrative to the disparate components of a collection. It is important to note that the character of Barbe-bleue himself has been reified to a synecdochal focal point, that of his blue beard, by his neighbors who, repelled and threatened by him, express his strangeness in this way. However, Barbe-bleue's own strategy for dealing with this diminishment (and attempt to gain power over him, at least visually) is quite opposite: rather than operate through synecdoche, he labors by amplificatio: his collector's cabinet, the cellar room, offers several varieties of the same phenomenon--many dead brides--as though eventually to gain power over all women. Characterized by lack--the lack of physical beauty--and negation--the negative response of women to him --, he perpetually grasps and accumulates objects of desire and beautiful bodies to compensate. The proliferation of material wealth that characterizes him is similar in technique and intent, and described in gorgeous, synaesthetic fashion: Il etait une fois un homme qui avait de belles maisons a la Ville et a la Campagne, de la vaisselle d'or et d'argent, des meubles en broderie, et des carrosses tout dores, mais par malheur cet homme avait la Barbe bleue: cela le rendait si laid et si terrible, qu'il n'etait ni femme ni fille qui ne s'enfuit de devant lui (Perrault, 81). Perrault had a heightened awareness of the significance of collections on several levels, most acutely as concerned the bourgeoisie, for it was during this time-period, the seventeenth century, that the bourgeoisie was beginning, by virtue of its wealth and prominence, to wrest power away from the nobility and to display its own material prosperity. …" @default.
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• W207682799 date "2004-09-22" @default.
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• W207682799 title "Bluebeard's Curiosity Cabinet: The Secret Heart of Textual Materialism" @default.
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