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Postcolonial Realms of MemorySites and Symbols in Modern France$
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Etienne Achille, Charles Forsdick, and Lydie Moudileno

Print publication date: 2020

Print ISBN-13: 9781789620665

Published to Liverpool Scholarship Online: September 2020

DOI: 10.3828/liverpool/9781789620665.001.0001

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PRINTED FROM LIVERPOOL SCHOLARSHIP ONLINE (www.liverpool.universitypressscholarship.com). (c) Copyright Liverpool University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in LSO for personal use.date: 26 September 2021

Jeanne Duval

Jeanne Duval

Chapter:
(p.307) Jeanne Duval
Source:
Postcolonial Realms of Memory
Author(s):

Mireille Rosello

Publisher:
Liverpool University Press
DOI:10.3828/liverpool/9781789620665.003.0028

This particular attempt at imagining a site of memory made of words may appear irreverent at first, but it has been crafted as an homage to a formidable woman: Jeanne Duval. I have taken the liberty of fictionalizing a first-person narrator who will talk about ‘herself’, at the risk of usurping her voice and her identity. Jeanne (whose name was or was not Duval) was a woman of colour and she had a long-term turbulent relationship with the enfant terrible of French nineteenth-century poetry, Charles Baudelaire. As a result, historical accounts both magnify and marginalize her. Trying to do justice to a historical character who was so much more than a muse but may not have been happy to embrace the role of exemplary black foremother, this text puts together the numerous and often incompatible portraits of Jeanne Duval. She appears and disappears in biographies (Emmanuel Richon), novels (Fabienne Pasquet), short stories (Angela Carter), academic studies (Claude Pichois). She is both present and absent, celebrated and erased in the so-called ‘Black Venus cycle’ of Baudelaire’s Flower of Evil as well as in paintings by Edouard Manet (Baudelaire’s Mistress, Reclining) and Gustave Courbet (The Painter’s Studio). The objective was to question the process of memorialization that might silence or appropriate her instead of providing her with a safe space of memory. It remains to be seen to what extent Jeanne is here celebrated or betrayed.

Keywords:   Jeanne Duval, Flowers of Evil, Baudelaire, Muse, Black bodies, Nineteenth Century, Paris, ‘Black Venus Cycle’, Sex work

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