The Artist as Animal in Nineteenth-Century French Literature

1.Introduction 1.1 The Artist as Anarchist1.2 Historical Framework1.3 Theoretical Framework: The Modern Animal-The Nineteenth Century Meets Animal Studies?1.4 Chapter Summary
Part I: Behind Bars: Artists and Animals of the Second Empire
2.A Caged Animal: The Avant-garde Artist in Edmond and Jules de Goncourt's Manette Salomon 2.1Contemporary Views of the Visual, Literary Animal2.2The Simian Artist2.3The Jardin des Plantes: The Artistic Gateway2.4Barbizon: The Peasant Artist
3.Buffon Versus the Beast: Taming the Wild Artist in Émile Zola's Thérèse Raquin3.1The Bourgeois and the Bull3.2Painting with Mud3.3The Naturalist ProjectPart II: The Decadent Animals of the Third Republic4.The Decadent Deep Sea: Jules Laforgue's "At the Berlin Aquarium"4.1Literary Aquariums4.2Through the Eyes of Crustaceans4.3Visions of the Orient
5.Said the Spider to the Fly: The Triumph of the Minor in Octave Mirbeau's In the Sky5.1The Fly-Poet and the Spider-Artist: Writing and Painting as Animalistic Processes5.2Darwin and Decadence: The Splendor of Decay and Horror5.3Enter the Void : The Spontaneous Generation of Art
6.Féline-Fatale: The New Woman as Catwoman in Rachilde's L'Animale 6.1 Animale des Lettres6.2The Second Species: Felines, Femininity and the Avant-garde6.3Feline Frankenstein: Rachilde's Artificial Artist-Animals6.4From Balconies to Glass Ceilings: Working Women in Modernity6.5Cinematic Cats6.6Author Animal
7.Conclusion: Henri Rousseau and Synthetic Naïveté