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International audience ; Covering the period from the 1850s until the eve of World War I, this book examines the second half of the nineteenth century with its intertwining of political stability and turmoil, economic prosperity and poverty, social traditions and upheavals , cultural classicism and avant-gardism. out of these contrasts, although tempered by mobile, nuanced interfaces, emerged the striking scenery of prostitution depicted in its plurality, ambivalence and emotional power. Paintings, sculptures, photographs, films, furniture and objects led to so many encounters with the protagonists of a shady world that intrigues, attracts, turns off, repulses, questions without ever becoming tiresome. This theory of eva-nescent powers, whereby sex is exchanged for money, bundles together prostitute(s) and client(s), as well as pimps and madams, councillors and police officers, actors and actresses, in the shadow and the bright light of a contested prostitutional order. Regulation, contestation by placing women and girl prostitutes under the supervision of the police des moeurs (vice squad), by forcing them to submit to medical checkups (1802), then by legalising the existence of brothels or maisons de tolérance (1804), the Consulate opted for a novel method of overseeing female prostitution outlined during the Revolutionary period. Regulationism met venal sexuality halfway by taking it in hand rather than banning it or trying to eradicate it. With this regulatory social mission to carry out, it was then regarded as a 'necessary evil' in the light of sexual demands consubstan-tial with virility. This doxa, reflecting ingrained beliefs with respect to differentiated sexual identities, persisted throughout the nineteenth century, and beyond. At the start of the Third Republic, Maxime Du Camp returned to the same type of topos in explaining prostitution in terms of 'the brutality of men's passions, the organic and moral weakness of women' . These prejudices, mixed with pragmatism, incited the authorities to present ...

International audience ; Covering the period from the 1850s until the eve of World War I, this book examines the second half of the nineteenth century with its intertwining of political stability and turmoil, economic prosperity and poverty, social traditions and upheavals , cultural classicism and avant-gardism. out of these contrasts, although tempered by mobile, nuanced interfaces, emerged the striking scenery of prostitution depicted in its plurality, ambivalence and emotional power. Paintings, sculptures, photographs, films, furniture and objects led to so many encounters with the protagonists of a shady world that intrigues, attracts, turns off, repulses, questions without ever becoming tiresome. This theory of eva-nescent powers, whereby sex is exchanged for money, bundles together prostitute(s) and client(s), as well as pimps and madams, councillors and police officers, actors and actresses, in the shadow and the bright light of a contested prostitutional order. Regulation, contestation by placing women and girl prostitutes under the supervision of the police des moeurs (vice squad), by forcing them to submit to medical checkups (1802), then by legalising the existence of brothels or maisons de tolérance (1804), the Consulate opted for a novel method of overseeing female prostitution outlined during the Revolutionary period. Regulationism met venal sexuality halfway by taking it in hand rather than banning it or trying to eradicate it. With this regulatory social mission to carry out, it was then regarded as a 'necessary evil' in the light of sexual demands consubstan-tial with virility. This doxa, reflecting ingrained beliefs with respect to differentiated sexual identities, persisted throughout the nineteenth century, and beyond. At the start of the Third Republic, Maxime Du Camp returned to the same type of topos in explaining prostitution in terms of 'the brutality of men's passions, the organic and moral weakness of women' . These prejudices, mixed with pragmatism, incited the authorities to present ...

No século XIX, a sociedade apoia-se principalmente na família, que também é a esfera por excelência das mulheres. As mães devem educar as filhas até o casamento, transmitindo-lhes os valores vinculados ao modelo de esposa-mãe. Dentro deste quadro, o casamento vem a ser um transtorno na economia familiar e o marido uma ameaça à relativa autonomia das relações mãe-filha. Percebe-se, ao longo do século, umaanimosidade crescente entre genros, que querem gozar de seu poder marital, e sogras, a quem os costumes sociais reconhecem o privilégio da autoridade sobre as filhas. O enfrentamento dessas duas lógicas de gênero perdura por ocasião da chegada do primeiro filho que participa igualmente de uma complexa e, por vezes, dolorosa recomposição daordem familiar e social.

International audience ; Au carrefour de l'histoire sociale et culturelle et du genre (gender), cet article propose une réflexion sur une pratique privée qui déborde, au cours d'une vive polémique entretenue par la presse nationale, dans l'espace public. En 1880, Ernest Molier fonde un cirque privé exceptionnel, les deux représentations annuelles de ce cirque l'impose pourtant comme un must de la saison parisienne jusqu'à la mort de Molier en 1933. La chronique mondaine puis les rubriques politiques s'emparent bientôt de l'évènement pour s'émouvoir de ce que les deux représentations s'adressent alternativement aux femmes du monde puis du demi-monde. Mais c'est surtout la participation active des héritiers de grandes familles aristocrates au spectacle qui est âprement discutée, certains journaux la stigmatisant comme un signe de décadence morale et politique à une époque où les débats sur la dégénérescence de la race battent leur plein.

International audience ; Au carrefour de l'histoire sociale et culturelle et du genre (gender), cet article propose une réflexion sur une pratique privée qui déborde, au cours d'une vive polémique entretenue par la presse nationale, dans l'espace public. En 1880, Ernest Molier fonde un cirque privé exceptionnel, les deux représentations annuelles de ce cirque l'impose pourtant comme un must de la saison parisienne jusqu'à la mort de Molier en 1933. La chronique mondaine puis les rubriques politiques s'emparent bientôt de l'évènement pour s'émouvoir de ce que les deux représentations s'adressent alternativement aux femmes du monde puis du demi-monde. Mais c'est surtout la participation active des héritiers de grandes familles aristocrates au spectacle qui est âprement discutée, certains journaux la stigmatisant comme un signe de décadence morale et politique à une époque où les débats sur la dégénérescence de la race battent leur plein.

O texto trata da presença crescente de romancistas mulheres no final do século XIX e início do século XX, o que transformou a paisagem literária da belle époque na França. Essa transformação foi notada com surpresa e contrariedade por alguns homens de letras que reagiam com comentários desqualificadores das obras dessas mulheres, muitas vezes fazendo afirmações estereotipadas sobre a inexistência nelas do dom de criar. Além de apontar a visibilidade que tais mulheres romancistas ganharam, a autora compara a maneira como apresentavam os personagens femininos e a relação entre os sexos com a forma como os romancistas homens construíam, na época, as suas narrativas. Na belle époque, o crescimento do número de leitoras, promovido pela ampliação da alfabetização feminina e de novas oportunidades de educação e aliado à atuação das feministas, parece ter proporcionado ambiente propício para que inúmeras mulheres abandonassem antigos pseudônimos masculinos e passassem a adotar pseudônimos femininos ou, até mesmo, a assinar seu próprio nome nos romances que escreviam.

International audience ; In XIXth century France, young women of the elite are brought up according to strictly Catholic principles : thus are emphasized, for example, the influence of the mother and that of the Church as well as the values of innocence and virginity in an educational environment where girls are scrupulously kept apart from the male sex. With the advent of the "monarchie censitaire", however, voices arise who criticized an educational model which leads to the formation of stupid "white geese". These are opposed to the Protestant "misses" – the young, emancipated British and American women – who are brought up according to the precepts of "self government" and used to interacting with the other sex – especially through the practise of "flirting". At the "Belle Epoque", the comparison between both models becomes a fashionable theme in literature and imposes itself as a crucial social question. ; Les jeunes filles des élites sont, dans la France du XIXe siècle, élevées selon des principes strictement catholiques : ainsi sont par exemple privilégiées la tutelle de la mère et de l'Eglise, de même que les valeurs de l'innocence et de la virginité dans une éducation qui les sépare scrupuleusement du sexe masculin. Dès la monarchie censitaire, cependant, des voix s'élèvent pour critiquer un modèle éducatif qui aboutit à la formation d'ineptes « oies blanches », que l'on oppose aux « misses » protestantes, jeunes Anglaises et Américaines émancipées, élevées dans les préceptes du « self government » et rompues – en particulier à travers le « flirt » - aux relations avec l'autre sexe. A la Belle Epoque, la comparaison entre les deux modèles éducatifs devient un thème à la mode dans la littérature et s'impose comme une question sociale cruciale.

International audience ; In XIXth century France, young women of the elite are brought up according to strictly Catholic principles : thus are emphasized, for example, the influence of the mother and that of the Church as well as the values of innocence and virginity in an educational environment where girls are scrupulously kept apart from the male sex. With the advent of the "monarchie censitaire", however, voices arise who criticized an educational model which leads to the formation of stupid "white geese". These are opposed to the Protestant "misses" – the young, emancipated British and American women – who are brought up according to the precepts of "self government" and used to interacting with the other sex – especially through the practise of "flirting". At the "Belle Epoque", the comparison between both models becomes a fashionable theme in literature and imposes itself as a crucial social question. ; Les jeunes filles des élites sont, dans la France du XIXe siècle, élevées selon des principes strictement catholiques : ainsi sont par exemple privilégiées la tutelle de la mère et de l'Eglise, de même que les valeurs de l'innocence et de la virginité dans une éducation qui les sépare scrupuleusement du sexe masculin. Dès la monarchie censitaire, cependant, des voix s'élèvent pour critiquer un modèle éducatif qui aboutit à la formation d'ineptes « oies blanches », que l'on oppose aux « misses » protestantes, jeunes Anglaises et Américaines émancipées, élevées dans les préceptes du « self government » et rompues – en particulier à travers le « flirt » - aux relations avec l'autre sexe. A la Belle Epoque, la comparaison entre les deux modèles éducatifs devient un thème à la mode dans la littérature et s'impose comme une question sociale cruciale.