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• W336311364 abstract "Je vais aller en Espagne, c'est-a-dire en Afrique. --Stendhal Comment ferez-vous pour parler de l'Espagne quand vous y serez alle? --Heine to Gautier There's more to Carmen than meets Bizet. Explications of Merimee's bestknown novella often concentrate, like opera, on title character, but these readings hardly do justice to novella's complex cultural displacements and intersections.(1) A pseudo-love story, Carmen is better viewed as an unequal confluence of cultures in which pivotal figure is not Gypsy Carmen but French narrator visiting Spain. More closely examining his role (and that of his framed narrator, Jose) helps reveal cultural imperatives operating within this text, in particular its covert colonialist stance. Central to this examination will be concepts of cultural displacement, especially travel to an exoticized Spain, and regulation, especially as manifest in maxims, monographs, and moralizing used to order this network of competing cultural systems. Susan Stewart's Crimes of Writing provides a useful entry into psychocultural aspects of travel. Central to her discussion is concept of She suggests two types of resting places: the inn and or the forest, holy site, shrine, and temple--that is, centers of mixing and dialogue and consequently or places of seclusion and silence where one confronts an interior made of censors (176). This schema contrasts mixture, exposure, and danger of crossroads to isolation, self-consciousness, and law (external censors) of shrine. Mixture is dangerous because exposure to other values might lead to change or loss of identity. Order, by contrast, seeks to protect self through stasis, silence, and solitude. This schema helps clarify psychological landscape within which narrator of Carmen moves. I read Carmen as a flirtation with danger encountered during travel--and travel to encounter danger: exposure to seeming lawlessness followed by reestablishment of order, temptation put in its place. Merimee's narrative moves from dialogue to monologue, from public to private, from abroad to home, from inn or crossroads to library. Thus it tends toward second of Stewart's models, seclusion, but with a vital difference: frame narrator displays no inner consciousness and imprint of external censors is occulted. This essay seeks to set in relief neglected censorious influences of narrator's culture. The first three sections of Carmen take place in Spain of 1830 (the year of Merimee's first visit to that country). Here Spain is preeminently a crossroads where foreigners meet: Jose, in exile from Basque country, frame narrator visiting from France, and Carmen, a Gypsy from nowhere and from everywhere.(2) The Frenchman is pivotal member of this trio precisely because narrative is his--because, necessarily, at some level, it reveals or embodies his desires. A complex figure, he is dilettante and scholar, outsider and authority, observer and participant, and all of these roles are inflected with an attraction to exotic erotic--an attraction aiming for physical intimacy but settling for discursive dominance. Carmen demonstrates that travel neither imposes dialogue nor eliminates allegiance to home and status quo. Likewise attraction to Gypsies, associated with open road and with disruption of bourgeois Western values, need not disturb a visitor's native ideology. The impress of Carmen narrator's home culture is evident from outset. His destination, Spain, constitutes most obvious index of these values and attitudes. For French travellers in 1830s, Spain embodied a rich cluster of associations which blended Africa and Asia. Victor Hugo had proclaimed, in his preface to Les Orientales (1827), that tout le continent penche a l'Orient (1:581). …" @default.
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• W336311364 date "1996-05-01" @default.
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• W336311364 title "Travel, Transgression, and Possession in Merimee's 'Carmen.'" @default.
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