Morphing Moonlight: Gender, masks and carnival mayhem- The ...

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STATEMENT Student number: 2003087752 I, Allyson Dorothy Kreuiter, declare that the thesis submitted by me for the Doctor of Literature and Philsophy degree at the University of the Free State, is my own independent work and has not previously been submitted to any other university or faculty. I also declare that all sources that I have used or quoted have been indicated and acknowledged by means of complete references. I, hereby, cede copyright of the thesis in favour of the university. SIGNATURE DATE (Ms. A. Kreuiter) i
SUMMARY Pierrot’s snowy garments with their touch of black, the tragic, frozen mien of the mask above the baggy, over-large habit became a prevailing symbol of artistic expression during the fin de siècle. The silent white-masked figure became the disguise for the artist in assailing and exposing the hypocrisy, complacency and posturing that the artist saw as the masquerade of society. Beneath the clown’s guise the artist could imaginatively act out all the forbidden and darker secrets concealed beneath the inscribed societal conventions of humankind. Pierrot could murder, commit incest, get riotously drunk, rape, be a bigamist, commit suicide, be morbidly depressed, steal, be gluttonous, rage, hate, be excessively carnal or ascetic, a hermaphrodite or androgyne or entirely genderless in his transgression, flouting all and every taboo. Using the mask of the clown as a distancing technique, the artist was vicariously experiencing all that was contrary to the societal mores and laws against which he or she was in rebellion. In this the blending of gender became of paramount importance. The androgyne and the hermaphrodite were, like Pierrot, leading images in the arts of the fin de siècle. They blurred the reality of the division of gender and called into question all the attributes that were apportioned to what was male and what female. Pierrot was seen as partaking of this gender indecision because the sexuality that lay behind the loose white garments was entirely uncertain, as were the lurking carnal ii
Page 1: Morphing moonlight: Gender, masks a
Page 5 and 6: metamorphosis from one state to ano
Page 7 and 8: geslagtelikheid omdat die seksualit
Page 9 and 10: ACKNOWLEDGEMENTS I would like to ex
Page 11 and 12: CHAPTER FOUR: LUMINOUS LILIES AND M
Page 13 and 14: FIGURE 24 CALVARY .................
Page 15 and 16: INTRODUCTION The Pierrot of the nin
Page 17 and 18: of a narrative is also the reading
Page 19 and 20: political and historical context. K
Page 21 and 22: i Semiotic (Le sémiotique) Kristev
Page 23 and 24: iv Castration complex Having establ
Page 25 and 26: notion of the ‘I’. This establi
Page 27 and 28: Kristeva also regards resistance to
Page 29 and 30: overthrowing of the grammatical str
Page 31 and 32: Carnival and the original Commedia
Page 33 and 34: with animals, with objects’ (Bakh
Page 35 and 36: Kristeva’s work on the uses of po
Page 37 and 38: evision, painter, narrator, receive
Page 39 and 40: polyvalence - an adherence to diffe
Page 41 and 42: epresentation, the extent to which
Page 43 and 44: eadings. Ensorian representations o
Page 45 and 46: oundaries become fluid and seep int
Page 47 and 48: perfect representative of the decad
Page 49 and 50: Figure 1 Figure 1 Coition of a hemi
Page 51 and 52: Pierrot became a member of the Comm
Page 53 and 54:
Eight years later the Italian Comme
Page 55 and 56:
family were hired to work at the Th
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all the airs of a master and an apl
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fitted but ruched around the elbows
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of moonlight and darkness. The figu
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Figure 2 Figure 2 Italian comedians
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Figure 4 Figure 4 Pierrot (Gilles)
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CHAPTER TWO: PIERROT LUNAIRE AND TH
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Sois le bienvenu, rouge Automne. We
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words with which to evoke unusual i
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ensures that he flouts all moral la
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epugnance towards the act. Suicide
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Théâtre (1) 43 sets the scene for
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language transcends the laws of com
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The ‘I’ of the poem with his fr
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guise as femme fatale, the ultimate
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glory and pride, whereas Pierrot wi
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In the poem the bass sounds of the
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peacock. Vanity’s mirror also con
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‘manifester une émotion par le t
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shout. He hears her in a murmur, li
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Laughter has been built up througho
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whim. His desire covets women no ma
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the prohibition necessary to the ar
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a continual oscillating rhythm and
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Mais dans sa volupté physique But
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humanness is further emphasized by
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with the Mendicants who were an ord
Page 109 and 110:
and though most dictionaries will l
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ansom demanded, spitting words and
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mean torturer. In La sérénade de
Page 115 and 116:
elease into the poem. The discordan
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of the viol is replaced by that of
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and repulses in equal measure. It i
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‘Sacripante’ which was a proper
Page 123 and 124:
There is also an innuendo to the sc
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lie, untruthfulness and illusion’
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impulses which drive and try to dis
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‘mistress’ contained within the
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appearance. The duenna is an illust
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which is aimed at the duenna and bo
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terms. The stones appear to be feve
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illuminated with the fire-like eyes
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spiritual ravishment, 124 which at
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Avarice is the sin that creates thi
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xxi Insidious sloth A thread of red
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to attain this vaunted state necess
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O Madone des Hystéries! O Madonna
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I, torturer full of remorse, shall
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Madonna is firmly in the grips of s
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manages to prevent a complete implo
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fluidity is created between words a
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The sinking melancholic weariness a
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contrived to perturb the reader wit
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carried by the perfume. Sloth, a fo
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emptiness there is a vibration, a s
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Il désapprend son air fatal: He fo
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and gluttony that up-ends respectab
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ecome a ‘feast for fools’ as th
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Illusory food and lurking gluttony
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In his mad delusion, Pierrot believ
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The title of the poem ‘Ivresse de
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a love potion. Absinthe was a stran
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precedence over the rational logic
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A Colombine (10) 163 is a strangely
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need of his driving semiotic passio
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‘effeuiller’ has the destructiv
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Moon with consumption. Her desire h
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Pierrot is in a state of lust-fuell
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And, subtly of herself contemplativ
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ambiguous and lusty passion is dire
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satanic sound which slices through
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verb ‘traînaille’ to describe
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adds to his wriggling and swaying m
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tongue in its rabid agony. Blood, m
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dictionary 1934: 898). The verb thu
Page 205 and 206:
The verb used to describe this atta
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intemperance lurks ever in the shad
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has assumed the attributes of a kin
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comes from ‘lecere’ (to shine).
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or they are shaking with anticipato
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Les beaux vers sont de larges croix
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They seem to have been heading to a
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The cross was a Roman form of punis
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dismantling of the ruling order of
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through the restraint of the symbol
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acket as it tumbles out of the word
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of everyday reality. His figures se
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Figure 7 Figure 7 Hanging tree from
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Figure 9 Figure 9 Le miroir du diab
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Figure 11 Figure 11 The temptation
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Figure 13 Figure 13 The mirror of l
Page 237 and 238:
Figure 15 Figure 15 La femme et la
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Figure 17 Figure 17 Röttgen Pietà
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Figure 19 Figure 19 La buveuse d’
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Figure 21 Figure 21 Lady Lilith Dan
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Figure 23 Figure 23 Pantocrator 114
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Figure 25 Figure 25 Crucifixion Mat
Page 249 and 250:
Figure 27 Figure 27 Dead Christ in
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CHAPTER THREE: PHANTASMAGORIC LIGHT
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10 years before being dissolved in
Page 255 and 256:
to identify the figure as being Ens
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upon the wall in front of Ensor’s
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Ensor understood carnival and its l
Page 261 and 262:
In this etching the viewer sees fiv
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well as macabre amusement. It is th
Page 265 and 266:
lue. It is as though the figure has
Page 267 and 268:
Brighella. This character was an av
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mad mayhem of the carnival seen in
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promiscuity. Sometimes the fiesta b
Page 273 and 274:
from Bosch’s Ship of Fools. Stefa
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ough texturing lends a savage movem
Page 277 and 278:
who eventually became her husband m
Page 279 and 280:
This enigmatic and perplexing inter
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any true embodiment and the carniva
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impression of posing for a final po
Page 285 and 286:
epresentative of gross over-indulge
Page 287 and 288:
conspiratorially and with delight a
Page 289 and 290:
an escape from two scythe-bearing g
Page 291 and 292:
There is an overblown bestiality to
Page 293 and 294:
Ensor’s laughter is inseparable f
Page 295 and 296:
figure of Marianne, a constantly re
Page 297 and 298:
living. The pushing, shoving and ob
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taints the comedy of the masquerade
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frustrated ambitions’ (Haesaerts
Page 303 and 304:
Figure 29 Figure 29 The Pisser 1887
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Figure 31 Figure 31 Scandalised mas
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Figure 33 Figure 33 The Entry of Ch
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Figure 35 Figure 35 Astonishment of
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Figure 37 Figure 37 Death and masks
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Figure 39 Figure 39 Duel of the mas
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Figure 41 Figure 41 Masks confronti
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Figure 43 Figure 43 Pierrot with ma
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A glade in the Parc du Petit Triano
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tomb, trying to understand its mean
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the truth, but only hinted at it th
Page 325 and 326:
“He loves to-night who never love
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thoroughly. His behaviour is that o
Page 329 and 330:
The god that now prevails in the gl
Page 331 and 332:
perfect counterpart. This perfectio
Page 333 and 334:
To woo an immortal, Cold, cold the
Page 335 and 336:
Keats’s La Belle Dame Sans Merci
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stable symbolic boundaries, ensures
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The Moon Maiden accepts Pierrot’s
Page 341 and 342:
Pierrot’s projected desire in its
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Mais le seigneur à blanche basque,
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anaemic Moon-being seems to arise f
Page 347 and 348:
constraints imposed by reality (De
Page 349 and 350:
255-278 resemble a technique that w
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dissonance between his desirous cra
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La Lune, d’un pas familier, With
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Dowson’s Pierrot is also enslaved
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feminised. However, the word ‘ano
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For Dowson, Pierrot was a symbolic
Page 361 and 362:
Figure 44 Figure 44 Et in arcadia e
Page 363 and 364:
Figure 46 Figure 46 Sleeping hermap
Page 365 and 366:
CHAPTER FIVE: THE KING OF LACE AND
Page 367 and 368:
harsh ugliness which ooze hedonisti
Page 369 and 370:
There is no more valid persona to r
Page 371 and 372:
influences on Beardsley, who identi
Page 373 and 374:
This menacing and revealing erotici
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Il ne fait guère de doute qu’une
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either about to curtsey, or to piro
Page 379 and 380:
eligious irony of black and white;
Page 381 and 382:
ethereal wraith, he has no colour,
Page 383 and 384:
slips into indecision and the carni
Page 385 and 386:
features of the face, was besprinkl
Page 387 and 388:
wore stick-up collars and a black b
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dislocation of symbolic meaning and
Page 391 and 392:
hybridisation calls into question t
Page 393 and 394:
within the other in an endless para
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helmet and the smug repletion, alon
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this silence if Pierrot is dead? Or
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acrimonious outcry from the critics
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Beardsley knew that death from the
Page 403 and 404:
nature and the artificial, black an
Page 405 and 406:
Figure 49 Figure 49 Lucian’s true
Page 407 and 408:
Figure 51 Figure 51 Pierrot and cat
Page 409 and 410:
Figure 53 Figure 53 Headpiece for T
Page 411 and 412:
Figure 55 Figure 55 Border for the
Page 413 and 414:
Figure 57 Figure 57 Half title for
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CONCLUSION Pierrot’s ethereal, me
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Pierrot with his own ambiguity and
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figures of the androgyne and the he
Page 421 and 422:
elationship with the femme fatale e
Page 423 and 424:
attempted to undermine and overthro
Page 425 and 426:
Secondary Sources: Adams, J. 2000.
Page 427 and 428:
Block, J.(ed.) 1997. Belguim: The g
Page 429 and 430:
Christophe, L. 1960. Albert Giraud:
Page 431 and 432:
Durrell, L. 1952. A key to modern B
Page 433 and 434:
Gilson, B. (ed.) 2006. Le nu impert
Page 435 and 436:
Huxley, A. 1918. Ernest Dowson. In
Page 437 and 438:
Lechte, J. 1990. Art, love and mela
Page 439 and 440:
Nicoll, A. 1963. The world of Harle
Page 441 and 442:
Pursglove, G. 1993. Ernest Dowson's
Page 443 and 444:
Snodgrass, C. 1989. Beardsley's osc
Page 445 and 446:
Tricot, X. 1995. Ensoriana. Bruxell
Page 447 and 448:
Bal, M. (Winter 1990). The point of
Page 449 and 450:
Kromm, J.E. (Fall 1994). The femini
Page 451 and 452:
Wolgast, K. (1989). Die Commedia de
Page 453:
Central European University http://
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