Style/Ecriture. On the classical ethos, women’s sculptural practice and pre‐First‐World‐War feminism
Identifieur interne : 001837 ( Istex/Corpus ); précédent : 001836; suivant : 001838Style/Ecriture. On the classical ethos, women’s sculptural practice and pre‐First‐World‐War feminism
Auteurs : Claudine MitchellSource :
- Art History [ 0141-6790 ] ; 2002-02.
Abstract
Appropriating the dichotomy Roland Barthes introduced between style and écriture to sculptural studies, my article reassesses the position of women sculptors in post‐Rodin modernity. In contrast to received analyses, I use the archives to offer an account of sculptural practice and the classical ethos in terms of pre‐First World War feminism. My article addresses an issue in methodology and the need to re‐examine the relation between aesthetics and politics. I analyse the ethos of the craftsmanship of style as it sustained the practice of French sculptor Jane Poupelet and informed the writing of her female audience. Comparing Poupelet’s sculptural technique to modes of writing deployed in the same period by Gide and Proust, I argue that what deeply concerned Poupelet and her female audience falls under Barthes’s concept of écriture. This involved an act of historical solidarity: the choice of the ethos through which the social function and destination of artistic practice became manifest.
Url:
DOI: 10.1111/1467-8365.00300
Links to Exploration step
ISTEX:72E6D35B6E92EE0E82C642ED242B8161A845D6D8Le document en format XML
<record><TEI wicri:istexFullTextTei="biblStruct"><teiHeader><fileDesc><titleStmt><title xml:lang="en">Style/Ecriture. On the classical ethos, women’s sculptural practice and pre‐First‐World‐War feminism</title><author><name sortKey="Mitchell, Claudine" sort="Mitchell, Claudine" uniqKey="Mitchell C" first="Claudine" last="Mitchell">Claudine Mitchell</name><affiliation><mods:affiliation>University of Leeds</mods:affiliation></affiliation></author></titleStmt><publicationStmt><idno type="wicri:source">ISTEX</idno><idno type="RBID">ISTEX:72E6D35B6E92EE0E82C642ED242B8161A845D6D8</idno><date when="2002" year="2002">2002</date><idno type="doi">10.1111/1467-8365.00300</idno><idno type="url">https://api.istex.fr/document/72E6D35B6E92EE0E82C642ED242B8161A845D6D8/fulltext/pdf</idno><idno type="wicri:Area/Istex/Corpus">001837</idno></publicationStmt><sourceDesc><biblStruct><analytic><title level="a" type="main" xml:lang="en">Style/Ecriture. On the classical ethos, women’s sculptural practice and pre‐First‐World‐War feminism</title><author><name sortKey="Mitchell, Claudine" sort="Mitchell, Claudine" uniqKey="Mitchell C" first="Claudine" last="Mitchell">Claudine Mitchell</name><affiliation><mods:affiliation>University of Leeds</mods:affiliation></affiliation></author></analytic><monogr></monogr><series><title level="j">Art History</title><idno type="ISSN">0141-6790</idno><idno type="eISSN">1467-8365</idno><imprint><publisher>Blackwell Publishers Ltd</publisher><pubPlace>Oxford, UK and Boston, USA</pubPlace><date type="published" when="2002-02">2002-02</date><biblScope unit="volume">25</biblScope><biblScope unit="issue">1</biblScope><biblScope unit="page" from="1">1</biblScope><biblScope unit="page" to="22">22</biblScope></imprint><idno type="ISSN">0141-6790</idno></series><idno type="istex">72E6D35B6E92EE0E82C642ED242B8161A845D6D8</idno><idno type="DOI">10.1111/1467-8365.00300</idno><idno type="ArticleID">AHIS300</idno></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">0141-6790</idno></seriesStmt></fileDesc><profileDesc><textClass></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader><front><div type="abstract" xml:lang="en">Appropriating the dichotomy Roland Barthes introduced between style and écriture to sculptural studies, my article reassesses the position of women sculptors in post‐Rodin modernity. In contrast to received analyses, I use the archives to offer an account of sculptural practice and the classical ethos in terms of pre‐First World War feminism. My article addresses an issue in methodology and the need to re‐examine the relation between aesthetics and politics. I analyse the ethos of the craftsmanship of style as it sustained the practice of French sculptor Jane Poupelet and informed the writing of her female audience. Comparing Poupelet’s sculptural technique to modes of writing deployed in the same period by Gide and Proust, I argue that what deeply concerned Poupelet and her female audience falls under Barthes’s concept of écriture. This involved an act of historical solidarity: the choice of the ethos through which the social function and destination of artistic practice became manifest.</div></front></TEI><istex><corpusName>wiley</corpusName><author><json:item><name>Claudine Mitchell</name><affiliations><json:string>University of Leeds</json:string></affiliations></json:item></author><articleId><json:string>AHIS300</json:string></articleId><language><json:string>eng</json:string></language><originalGenre><json:string>article</json:string></originalGenre><abstract>Appropriating the dichotomy Roland Barthes introduced between style and écriture to sculptural studies, my article reassesses the position of women sculptors in post‐Rodin modernity. In contrast to received analyses, I use the archives to offer an account of sculptural practice and the classical ethos in terms of pre‐First World War feminism. My article addresses an issue in methodology and the need to re‐examine the relation between aesthetics and politics. I analyse the ethos of the craftsmanship of style as it sustained the practice of French sculptor Jane Poupelet and informed the writing of her female audience. Comparing Poupelet’s sculptural technique to modes of writing deployed in the same period by Gide and Proust, I argue that what deeply concerned Poupelet and her female audience falls under Barthes’s concept of écriture. This involved an act of historical solidarity: the choice of the ethos through which the social function and destination of artistic practice became manifest.</abstract><qualityIndicators><score>6.848</score><pdfVersion>1.3</pdfVersion><pdfPageSize>482 x 694 pts</pdfPageSize><refBibsNative>false</refBibsNative><keywordCount>0</keywordCount><abstractCharCount>1003</abstractCharCount><pdfWordCount>9528</pdfWordCount><pdfCharCount>54940</pdfCharCount><pdfPageCount>22</pdfPageCount><abstractWordCount>154</abstractWordCount></qualityIndicators><title>Style/Ecriture. On the classical ethos, women’s sculptural practice and pre‐First‐World‐War feminism</title><genre><json:string>article</json:string></genre><host><volume>25</volume><publisherId><json:string>AHIS</json:string></publisherId><pages><total>22</total><last>22</last><first>1</first></pages><issn><json:string>0141-6790</json:string></issn><issue>1</issue><genre><json:string>journal</json:string></genre><language><json:string>unknown</json:string></language><eissn><json:string>1467-8365</json:string></eissn><title>Art History</title><doi><json:string>10.1111/(ISSN)1467-8365</json:string></doi></host><publicationDate>2002</publicationDate><copyrightDate>2002</copyrightDate><doi><json:string>10.1111/1467-8365.00300</json:string></doi><id>72E6D35B6E92EE0E82C642ED242B8161A845D6D8</id><score>0.094146445</score><fulltext><json:item><original>true</original><mimetype>application/pdf</mimetype><extension>pdf</extension><uri>https://api.istex.fr/document/72E6D35B6E92EE0E82C642ED242B8161A845D6D8/fulltext/pdf</uri></json:item><json:item><original>false</original><mimetype>application/zip</mimetype><extension>zip</extension><uri>https://api.istex.fr/document/72E6D35B6E92EE0E82C642ED242B8161A845D6D8/fulltext/zip</uri></json:item><istex:fulltextTEI uri="https://api.istex.fr/document/72E6D35B6E92EE0E82C642ED242B8161A845D6D8/fulltext/tei"><teiHeader><fileDesc><titleStmt><title level="a" type="main" xml:lang="en">Style/Ecriture. On the classical ethos, women’s sculptural practice and pre‐First‐World‐War feminism</title><respStmt><resp>Références bibliographiques récupérées via GROBID</resp><name resp="ISTEX-API">ISTEX-API (INIST-CNRS)</name></respStmt></titleStmt><publicationStmt><authority>ISTEX</authority><publisher>Blackwell Publishers Ltd</publisher><pubPlace>Oxford, UK and Boston, USA</pubPlace><availability><p>WILEY</p></availability><date>2002</date></publicationStmt><sourceDesc><biblStruct type="inbook"><analytic><title level="a" type="main" xml:lang="en">Style/Ecriture. On the classical ethos, women’s sculptural practice and pre‐First‐World‐War feminism</title><author xml:id="author-1"><persName><forename type="first">Claudine</forename><surname>Mitchell</surname></persName><affiliation>University of Leeds</affiliation></author></analytic><monogr><title level="j">Art History</title><idno type="pISSN">0141-6790</idno><idno type="eISSN">1467-8365</idno><idno type="DOI">10.1111/(ISSN)1467-8365</idno><imprint><publisher>Blackwell Publishers Ltd</publisher><pubPlace>Oxford, UK and Boston, USA</pubPlace><date type="published" when="2002-02"></date><biblScope unit="volume">25</biblScope><biblScope unit="issue">1</biblScope><biblScope unit="page" from="1">1</biblScope><biblScope unit="page" to="22">22</biblScope></imprint></monogr><idno type="istex">72E6D35B6E92EE0E82C642ED242B8161A845D6D8</idno><idno type="DOI">10.1111/1467-8365.00300</idno><idno type="ArticleID">AHIS300</idno></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>2002</date></creation><langUsage><language ident="en">en</language></langUsage><abstract xml:lang="en"><p>Appropriating the dichotomy Roland Barthes introduced between style and écriture to sculptural studies, my article reassesses the position of women sculptors in post‐Rodin modernity. In contrast to received analyses, I use the archives to offer an account of sculptural practice and the classical ethos in terms of pre‐First World War feminism. My article addresses an issue in methodology and the need to re‐examine the relation between aesthetics and politics. I analyse the ethos of the craftsmanship of style as it sustained the practice of French sculptor Jane Poupelet and informed the writing of her female audience. Comparing Poupelet’s sculptural technique to modes of writing deployed in the same period by Gide and Proust, I argue that what deeply concerned Poupelet and her female audience falls under Barthes’s concept of écriture. This involved an act of historical solidarity: the choice of the ethos through which the social function and destination of artistic practice became manifest.</p></abstract></profileDesc><revisionDesc><change when="2002-02">Published</change><change xml:id="refBibs-istex" who="#ISTEX-API" when="2016-11-3">References added</change></revisionDesc></teiHeader></istex:fulltextTEI><json:item><original>false</original><mimetype>text/plain</mimetype><extension>txt</extension><uri>https://api.istex.fr/document/72E6D35B6E92EE0E82C642ED242B8161A845D6D8/fulltext/txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="Wiley component found"><istex:xmlDeclaration>version="1.0" encoding="UTF-8" standalone="yes"</istex:xmlDeclaration><istex:document><component version="2.0" type="serialArticle" xml:lang="en"><header><publicationMeta level="product"><publisherInfo><publisherName>Blackwell Publishers Ltd</publisherName><publisherLoc>Oxford, UK and Boston, USA</publisherLoc></publisherInfo><doi origin="wiley" registered="yes">10.1111/(ISSN)1467-8365</doi><issn type="print">0141-6790</issn><issn type="electronic">1467-8365</issn><idGroup><id type="product" value="AHIS"></id><id type="publisherDivision" value="ST"></id></idGroup><titleGroup><title type="main" sort="ART HISTORY">Art History</title></titleGroup></publicationMeta><publicationMeta level="part" position="02001"><doi origin="wiley">10.1111/ahis.2002.25.issue-1</doi><numberingGroup><numbering type="journalVolume" number="25">25</numbering><numbering type="journalIssue" number="1">1</numbering></numberingGroup><coverDate startDate="2002-02">February 2002</coverDate></publicationMeta><publicationMeta level="unit" type="article" position="0000100" status="forIssue"><doi origin="wiley">10.1111/1467-8365.00300</doi><idGroup><id type="unit" value="AHIS300"></id></idGroup><countGroup><count type="pageTotal" number="22"></count></countGroup><titleGroup><title type="tocHeading1">Original Article</title></titleGroup><eventGroup><event type="firstOnline" date="2003-12-22"></event><event type="publishedOnlineFinalForm" date="2003-12-22"></event><event type="xmlConverted" agent="Converter:BPG_TO_WML3G version:2.3.2 mode:FullText source:Header result:Header" date="2010-03-08"></event><event type="xmlConverted" agent="Converter:WILEY_ML3G_TO_WILEY_ML3GV2 version:3.8.8" date="2014-01-01"></event><event type="xmlConverted" agent="Converter:WML3G_To_WML3G version:4.1.7 mode:FullText,remove_FC" date="2014-10-15"></event></eventGroup><numberingGroup><numbering type="pageFirst" number="1">1</numbering><numbering type="pageLast" number="22">22</numbering></numberingGroup><linkGroup><link type="toTypesetVersion" href="file:AHIS.AHIS300.pdf"></link></linkGroup></publicationMeta><contentMeta><countGroup><count type="figureTotal" number="0"></count><count type="tableTotal" number="0"></count><count type="referenceTotal" number="0"></count><count type="linksPubMed" number="0"></count><count type="linksCrossRef" number="0"></count></countGroup><titleGroup><title type="main">Style/Ecriture. On the classical ethos, women’s sculptural practice and pre‐First‐World‐War feminism</title></titleGroup><creators><creator creatorRole="author" xml:id="cr1" affiliationRef="#a1"><personName><givenNames>Claudine</givenNames><familyName>Mitchell</familyName></personName></creator></creators><affiliationGroup><affiliation xml:id="a1"><unparsedAffiliation>University of Leeds</unparsedAffiliation></affiliation></affiliationGroup><abstractGroup><abstract type="main" xml:lang="en"><p>Appropriating the dichotomy Roland Barthes introduced between style and écriture to sculptural studies, my article reassesses the position of women sculptors in post‐Rodin modernity. In contrast to received analyses, I use the archives to offer an account of sculptural practice and the classical ethos in terms of pre‐First World War feminism. My article addresses an issue in methodology and the need to re‐examine the relation between aesthetics and politics. I analyse the ethos of the craftsmanship of style as it sustained the practice of French sculptor Jane Poupelet and informed the writing of her female audience. Comparing Poupelet’s sculptural technique to modes of writing deployed in the same period by Gide and Proust, I argue that what deeply concerned Poupelet and her female audience falls under Barthes’s concept of <i>écriture.</i> This involved an act of historical solidarity: the choice of the ethos through which the social function and destination of artistic practice became manifest.</p></abstract></abstractGroup></contentMeta></header></component></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Style/Ecriture. On the classical ethos, women’s sculptural practice and pre‐First‐World‐War feminism</title></titleInfo><titleInfo type="alternative" contentType="CDATA" lang="en"><title>Style/Ecriture. On the classical ethos, women’s sculptural practice and pre‐First‐World‐War feminism</title></titleInfo><name type="personal"><namePart type="given">Claudine</namePart><namePart type="family">Mitchell</namePart><affiliation>University of Leeds</affiliation><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="article" displayLabel="article"></genre><originInfo><publisher>Blackwell Publishers Ltd</publisher><place><placeTerm type="text">Oxford, UK and Boston, USA</placeTerm></place><dateIssued encoding="w3cdtf">2002-02</dateIssued><copyrightDate encoding="w3cdtf">2002</copyrightDate></originInfo><language><languageTerm type="code" authority="rfc3066">en</languageTerm><languageTerm type="code" authority="iso639-2b">eng</languageTerm></language><physicalDescription><internetMediaType>text/html</internetMediaType></physicalDescription><abstract lang="en">Appropriating the dichotomy Roland Barthes introduced between style and écriture to sculptural studies, my article reassesses the position of women sculptors in post‐Rodin modernity. In contrast to received analyses, I use the archives to offer an account of sculptural practice and the classical ethos in terms of pre‐First World War feminism. My article addresses an issue in methodology and the need to re‐examine the relation between aesthetics and politics. I analyse the ethos of the craftsmanship of style as it sustained the practice of French sculptor Jane Poupelet and informed the writing of her female audience. Comparing Poupelet’s sculptural technique to modes of writing deployed in the same period by Gide and Proust, I argue that what deeply concerned Poupelet and her female audience falls under Barthes’s concept of écriture. This involved an act of historical solidarity: the choice of the ethos through which the social function and destination of artistic practice became manifest.</abstract><relatedItem type="host"><titleInfo><title>Art History</title></titleInfo><genre type="journal">journal</genre><identifier type="ISSN">0141-6790</identifier><identifier type="eISSN">1467-8365</identifier><identifier type="DOI">10.1111/(ISSN)1467-8365</identifier><identifier type="PublisherID">AHIS</identifier><part><date>2002</date><detail type="volume"><caption>vol.</caption><number>25</number></detail><detail type="issue"><caption>no.</caption><number>1</number></detail><extent unit="pages"><start>1</start><end>22</end><total>22</total></extent></part></relatedItem><identifier type="istex">72E6D35B6E92EE0E82C642ED242B8161A845D6D8</identifier><identifier type="DOI">10.1111/1467-8365.00300</identifier><identifier type="ArticleID">AHIS300</identifier><recordInfo><recordContentSource>WILEY</recordContentSource><recordOrigin>Blackwell Publishers Ltd</recordOrigin></recordInfo></mods></metadata><enrichments><json:item><type>multicat</type><uri>https://api.istex.fr/document/72E6D35B6E92EE0E82C642ED242B8161A845D6D8/enrichments/multicat</uri></json:item><json:item><type>refBibs</type><uri>https://api.istex.fr/document/72E6D35B6E92EE0E82C642ED242B8161A845D6D8/enrichments/refBibs</uri></json:item></enrichments><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
EXPLOR_STEP=$WICRI_ROOT/Wicri/France/explor/LeHavreV1/Data/Istex/Corpus
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 001837 | SxmlIndent | more
Ou
HfdSelect -h $EXPLOR_AREA/Data/Istex/Corpus/biblio.hfd -nk 001837 | SxmlIndent | more
Pour mettre un lien sur cette page dans le réseau Wicri
{{Explor lien
|wiki= Wicri/France
|area= LeHavreV1
|flux= Istex
|étape= Corpus
|type= RBID
|clé= ISTEX:72E6D35B6E92EE0E82C642ED242B8161A845D6D8
|texte= Style/Ecriture. On the classical ethos, women’s sculptural practice and pre‐First‐World‐War feminism
}}
| This area was generated with Dilib version V0.6.25. |  |