ARCH 653B Fiction, Narration, Monstrosity: Imaginative Processes in Nineteeth-Century Architecture

Prerequisite: Arch 652A

4 Credits

Introduction

Profondeur de l'espace, allégorie de la profondeur du temps.
Charles Baudelaire, Paradis Artificiels, 1860

Following upon Theory I, which examined the structure of human consciousness as described by the philosophical tradition of phenomenology and hermeneutics, Theory II seeks to develop a critical hermeneutic method for architecture through the study of architectural thought and practice of the nineteenth century. By inserting history into theoretical reflection (or theoretical reflections into historical inquiry), the seminar wishes to generate a crossing of perspectives, creating a fruiful dynamic that avoids monological discourse. The nineteenth century is an ideal field of study for such conversational hermeneutic. Close to us, yet distinctly foreign in architectural terms, it presents with great acuity the phenomena of "distance in closeness": the founding movement for modern art, the nineteenth century is also that nefarious lapse into historicism that modernism deliberately sought to leave behind, Le Corbusier's grain silos standing defiantly against the carnaval of Garnier's opera. Even today when every past has been recuperated twice over, architects and historians typically feel uneasy about the nineteenth century, a period which appears oddly inauthentic, a shameful lapse in western creativity. The opacity and oddness of the era, however, is as intriguing as it is difficult to seize. Heidegger called it "the most obscure of all the centuries of the modern age up to now," probably because it saw the creation of some of the most brilliant insight into philosophical foundations ever written (Shelling's On Human Freedom (1807) or Hegel's Phenomenology of Spirit (1807)), but in a fashion always inextricably intertwined with rationalization. Much of Heidegger's work (like Nietzsche) was an attempt to release the truth glimpsed by the nineteenth century. Perhaps nineteenth-century architecture also holds in reserve special insights waiting for exegesis.

The seminar is thematized around two concurrent human creative practices: fiction--which speaks of our capacity to transcend reality in order to contemplate other possible worlds and narration--which permits a "sizing up of reality" by giving some definite shape to human history. While fictions allow us to release ourselves (temporarily) from reality, narrations seizes back that reality by emplotting it, contemplating it as if it was an apprehendable artifact. With a third creative category--monstrosity--I wish to introduce the notion of "misrepresentations" within the production of fictions, a production negating any logical affirmation about the world and the real. By underscoring the arbitrariness between representation and reality, monsters are types of fictions categorically opposed to narrations: whereas the latter seeks to give an intelligible portrait of our world that seeks consensual agreeement, the former presents a reality beyond affirmation and negation. As crisis in representation, monsters play with and destabilizes the viewing or reading subject.

Architecture is an activity well suited to be considered along these three categories. As giving shape to space and thus by embracing human activities within a specific, constructed horizon, architecture fictionalizes experience. By unifying and ordering space, it also narrativizes our lives: to inhabit space, as Ricoeur described it, is to be involved in rhytms of stopping and moving, of fixing and shifting. Architecture solidifies that choregraphy of use, or system of rituals that temporalizes human interaction. It congeals time, as it were. Finally, as a "massive" reordering of the world of space and material--competing with the facts of nature--architecture forms of second, monstrous nature that reveals special (demonic) forces--a sur-reality effect traditionally tied to sacred powers.

Each of the three categories (fiction, narration, monstrosity), find in turn particular applicability to nineteenth-century studies. According to Paz and Blanchot, Romanticism signals a whole new era in Western consciousness where the freedom of subjectivity is fully recognized and experimented with. It thus constitutes experience as a form of fictional living, symbolized by Nerval's description of "l'épanchement du songe dans la vie réelle." (Aurélia, 1855). The nineteenth-century is also the age of history, as theorized by Michel Foucault: the emergence, following the French Revolution, of a new historical consciousness, one fueled by a dramatic sense of "dispossession" that generates an immense desire to narrate the past; but only to discover, deep down, a historicity essentially bound to the self, as an inner journey. As the nineteenth-century brings to the surface the naked fact that man found himself devoid of a history, divorced from tradition, the era discovers transgression as the essential mode of modern living, a special creative freedom, fraught with irony, producing endless series of monsters, creations unnaturally produced and without progeny.

Elements of a General Bibliography

Some Relevant Literary References

• Mary Shelley, Frankenstein or The Modern Prometheus(1818), Harmondsworth, 1985
• Victor Hugo, Notre-Dame de Paris -- 1482, (1831-32), Paris, 1974.
• Gérard de Nerval, Aurelia (1855), Paris, 1958
• Gustave Flaubert, La tentation de Saint-Antoine (1874), Paris, 1983
• Émile Zola, La bête humaine (1890), Paris, 1985 (Translated as The Beast in Man, London, 1956)
• H. G. Wells, The Island of Dr. Moreau (1896), New York, 2002

General References on 19th-Century Architecture

• Henry-Russell Hitchcock, Architecture: Nineteenth- and Twentieth-Century, Harmonsworth, 1958.
• Barry Bergdoll, European Architecture 1750--1890, Oxford, 2002 (A good survey of late-eighteenth and nineteenth-century European architecture)

Some Key Texts on 19th-Century Architecture (and some on Art and Visuality)

• Sir Isaiah Berlin, The Roots of Romanticism, Princeton, 1999.
• Michael Fried, Menzel's Realism: Art and Embodiement in Nineteenth-Century Berlin, New Haven, 2002.
• Stephen Bann, Paul Delaroche: History Painted, London, New Haven, 1997.
• Jonathan Crary, The Techniques of the Observer: on Vision and Modernity in the Nineteenth Century, Cambridge, Mass., 1990.
• Raymond Williams, "Art and Society," Culture and Society, London, 1958.
• Neil Levine, Architectural Reasoning in the Age of Positivism: the Neo-Grec Idea of Henri Labrouste's Bibliothèque Sainte-Geneviève, Ph.D. Dissertation, Yale University, 1975.
• Neil Levine, "The Book and the Building," Beaux-Arts and Nineteenth-Century Architecture, Robin Middleton, ed., Cambridge, Mass., 1982.
• John Summerson, "Viollet-le-Duc and the Rational Point of View," Heavenly Mansions and other Essays on Architecture, New York, 1948.
• Ann Van Zanten, "The Palace and the Temple: Two Utopian Architectural Visions of the 1830s," Art History 2, 1979, p. 179-200.
• David Van Zanten, Designing Paris: the Architecture of Duban, Labrouste, Duc and Vaudoyer, Cambridge, Mass., 1987.
• David Van Zanten, The Architectural Polychromy of the 1830s, New York, 1977.
• Robin Middleton, "The Rationalist Interpretation of Classicism of Léonce Reynaud and Viollet-le-Duc," AAFiles 11, 1986.
• Barry Bergdoll, Léon Vaudoyer: Historicism in the Age of Industry, Cambridge, Mass., 1994.
• Martin Bressani, "Projet de Labrouste pour le tombeau de l'empereur Napoléon. Essai d'interprétation symbolique de l'architecture romantique," Revue de l'art, Paris, vol. 125, 1999, p. 54-63.
• Martin Bressani, "Le discours sur le mythe dans la pensée architecturale romantique en France," L'architecture, les sciences et la culture de l'histoire au XIXe siécle, Saint-Étienne, 2001, p. 165-174.
• Michael Hall, "What Do Victorian Churches Mean? Symbolism and Sacramentalism in Anglican Church Architecture, 1850-1870," Journal of the Society of Architectural Historians, vol. 59, no. 1, March 2000, p. 78-95.

Seminar Evaluation

Class participation: 30 %
Term Paper: 70 %

In order to bring the seminar to bear directly upon architecture and in order to test our various thematic discussions, each student must develop an interpretative study of a particular nineteenth-century architectural works. I propose to organize this year's various research topics around iron, a material newly industrialized in the nineteenth century that galvanized architectural thought and particularly well fitted to our thematic of fiction and monstrosity. The final paper is the main course requirement. The work must demonstrate scholarly research skills, interpretative imagination and intelligence, and a clear critical position in light of some of the theoretical readings carried in class. The final text should not exceed 16 pages (typed, double space) and must follow scholarly conventions.

Your work will be conducted in five formal stages carried through the term:

Week 2
Private meeting with instructor to confirm topic and initiate research. Schedule to be determined in class.

Week 7 (over two days):
First public presentations of topic and preliminary argument in class.

Week 8 (and study week):
Private meetings with instructor

Week 11, 12 & 13
Final readings of paper (4 students per week)

Final revisions and submission.
Precise date to be determined.

Preliminary Bibliography on Iron and 19th-Century Architecture:

Iron in 19th-century Architectural Theory and Practice:

• "Conversations avec le père. Michel Chevalier et Prosper Enfantin, le 12 août 1832," Le livre nouveau des saints-simoniens, Tusson, Charente, 1991, p. 173-191.
• Charles Duveyrier, "La ville nouvelle, ou le Paris des saint-simoniens," (1831), Le livre nouveau des saints-simoniens, Tusson, Charente, 1991, p. 222-236.
• Michel Chevalier, "Le Temple," (c.1831), Le livre nouveau des saints-simoniens, Tusson, Charente, 1991, p. 237-242.
• Article "Fer," Encyclopédie nouvelle, Paris, 1843, t. 5, p. 256-262.
• Charles Louis Auguste Eck, Traité de construction en poteries et fer, à l'usage des bâtiments civils, industriels,…Paris, 1836-41, 2 volumes.
• Querelle du fer: Eugéne Viollet-le-Duc contre Louis-Auguste Boileau (circa 1850s), Bernard Marrey, ed., Paris, 2002.
• Léonce Reynaud, Traité d'architecture, Paris, 1850-58, 2 volumes.
• Louis-Auguste Boileau, Nouvelles formes architecturales, Paris, 1853.
• Louis-Auguste Boileau, Le fer, principal élément constructif de la nouvelle architecture, Paris, 1871.
• Louis-Auguste Boileau, Principes et exemples d'architectures ferronnières. Les grandes constructions édilitaires en fer, Paris, 1881.
• Louis-Auguste Boileau, Histoire critique de l'invention en architecture, Paris, 1886.
• Louis-Auguste Boileau, Les préludes de l'architecture du XXe siècles: un demi-siècle d'études architecturales dans le sens du progrès, Paris, 1893.
• John Ruskin, "The Work of Iron, in Nature, Art, and Policy," (1858), Unto This Last and other Writings, Harmondsworth,1985, p. 115-139.
• John Ruskin, "The Opening of the Crystal Palace Considered in some of its relations to the Prospects of Art," The Works of John Ruskin, London, 1903-1912.
• Karl Boetticher, "Principles of the Hellenic and Germanic Ways of Building,"In What Style Should We Build? The German Debate on Architecture Style, Santa Monica, Ca, 1992.
• Eugène Emmanuel Viollet-le-Duc, Entretiens sur l’architecture, vol. 2, Paris, 1872 Iron in 19th-Century Literature and Criticism:
• Jules Claretie, Le train 17, Paris, 1877 (Available in electronic format on Gallica)
• Victor Hugo, Quatrevingt-treize (1873), Paris, 1993. (See particularly chapters IV & V, in book 2 of part 1)
• Émile Zola, Le Ventre de Paris (1873), Paris, 1964. (The Belly of Paris, Los Angeles, 1996)
• Édouard Champury, "Exposition universelle de 1889--Le crise de l'architecture et l'avénement du fer," L'art, Paris, vol. 15, no. 4, 1889, p. 49.
• Émile Zola, La bête humaine (1890), Paris, 19??. (The Beast in Man, London, 1956)
• Émile Zola, Travail (1901), Paris, (Translated as Labor--A Novel, London, 1901--Iron monuments figure specially in the last section of the novel)
• J. K. Huysmans, "Le Fer," Certains, Paris, 1889, p. 167-181.
• Raymond Duchamp-Villon, L'architecture et le fer: la tour Eiffel, Paris, 1994.

Secondary Literature

• Siegfried Giedion, Building in France, Building in Iron, Building in Ferro-Concrete (1928), Santa Monica, CA, 1995.
• Phillippe Hamon, Expositions: littérature et architecture au XIXe siècle, Paris, 1989. (Translated as Expositions: Literature and Architecture in XIXth Century France, Berkeley, 1992.
• Johan Friedrich Geist, Arcades. The History of a Building Type, Cambridge, Mass., 1983.
• Robin Middleton, "Des architectes qui imitent les ingénieurs. La questions des lintaux armés au XVIIIe siècle," L'idée constructive en architecture, Paris, 1987.
• Stefan Muthesius, "The Iron Problem in the 1850s," Art History 13, 1970, p. 58-63.
• Architecture et métal en France: 19e et 20e siècle, Frédéric Seitz, ed., (Papers from a seminar at the EHESS), Paris, 1994.
• The Role of Iron in the Historic Architecture of the First Half of the 19th Century, Colloquium papers (In German and English Summaries), Hannover, 1979.
• The Role of Iron in the Historic Architecture of the Second Half of the 19th Century, Colloquium papers (in German and English), Mainz, 1982.
• Sanghun Lee, Technology and Form: Iron Construction and Transformation of Architectural Ideals in 19th-Century France, Ph.D. Dissertation, MIT, 1996.
• Réjean Legault, "Les matériaux de l'architecture au XIXe siècle: Entre modèles historiques et concepts technico-scientifiques," L'architecture, les sciences et la culture de l'histoire au XIXe siécle, Saint-Étienne, 2001, p. 99-118.
• François Bon, Paysage Fer, Lagrasse, 2000. (??)
• Claude Quiguer, Femmes et machines de 1900. Lecture d'une obsession Modern Style, Paris, 1979.

Reference Material on Iron in Architecture

• Structural Iron, 1750-1850. Studies in the History of Civil Engineering, R. J. M. Sutherland, ed., Brookfield, 1997.
• Structural Iron and Steel, 1850-1900. Studies in the History of Civil Engineering, Robert Thorne ed., Albershot, 2000.
• John Hix, The Glass House, Cambridge, Mass., 1974.
• Frances H. Steiner, French Iron Architecture, Ann Arbor, 1984
• Bertrand Lemoine, L'architecture du fer: France: XIXe siècle, Paris, 1986.
• Bernard Marrey, Le fer à Paris--Architecture, Paris, 1989 (Exhibition catalogue).

Seminar Schedule and Readings:

Week 1
Introduction to Architecture beyond Classicism: Subjectivity, Negativity and Irony

• *Octavio Paz, The Children of the Mire, Cambridge, Mass., 1974, 1991.
• *Maurice Blanchot, "The Athenaeum," The Infinite Conversation (1969), Minneapolis, 1993, p. 351-359.
• Tzvetan Todorov, "La crise romantique," Theories du symbole, Paris, 1977, p. 179-260. (English translation: Theories of the Symbol, Oxford, 1982)
• Stephen Bann, Romanticism and the Rise of History, New York, 1995.

Week 2
The Romantic Field and Architecture

Some Founding Texts

• Louis-Étienne Boullée, Essai sur l'art (c. 1790s), Paris, 1953 (translated as Treatise on Architecture, edited by Helen Rosenau, London, 1953).
• *Goethe, "On German Architecture," (1772), Goethe. The Collected Works, Essays on Art and Literature, edited by John Gearey, Princeton, 1986.
• Schelling, "Concerning the Relation of the Plastics Arts to Nature," The True Voice of Feeling, London, 1953, p. 321-364.
• *Friedrich Schlegel, "Dialogue on Poetry," Dialogue on Poetry and Literary Aphorisms, edited by Ernst Behler, University park, 1968.
• Friedrich Schlegel, Philosophical Fragments, edited by Peter Firchow, Minneapolis, 1991.
• *Friedrich Schlegel, "Principles of Gothic Architecture," (c. 1800), Aesthetics and Miscelleanous Works, London, 1860.
• René de Chateaubriand, Le génie du christianisme (1802), Paris, 1966
• Edgar Quinet, La Grèce moderne avec ses rapports avec l'antiquité (1830), Paris, 1984. - See also Quinet's early essay on medieval castles in Edgar Quinet, La pensée d'Edgar Quinet, Paris, 1986.
• *Edgar Quinet, "De la nature et de l'histoire dans leurs rapports avec les traditions religieuses et épiques," (1830), publish under the title "De l'origine des dieux," Œuvres complètes, Paris, t. 1, 1857.
• Ballanche, Essai de palingénésie sociale (1827-1829), in Œuvres de M. Ballanche, Paris, 1833
• Percy Shelley, A Defense of Poetry, (1821), Romanticism, edited by John B. Halsted, New York, 1969, p. 81-96.

General Criticism

• Marcel Raymond, De Baudelaire au surréalisme, Paris, 1933 (translated as Baudelaire to Surrealism, London, 1970). A fundamental study on 19th-century literature.
• Albert Béguin, L'âme romantique et le rêve. Essai sur le romantisme allemand et la poésie française, Paris, 1960.
• Lacoue-Labarthe, Philippe et Nancy, Jean-Luc, L'absolu littéraire. Théorie de la littérature du romantisme allemand, Paris, 1978, (translated as The Literary Absolute, Albany, NY, 1988)
• Georges Poulet, "Romanticism," The Metamorphoses of the Circle (1961), Baltimore, 1966, p. 91-118.
• Hayden White, "Romanticism, Historicism, and Realism," The Uses of History, Detroit, 1968.

Art and Architecture

• Hugh Honour, Romanticism, New York, 1979.
• Henry-Russell Hitchcock, Architecture: Nineteenth- Twentieth Century, Harmondsworth, 1958.
• Peter Collins, "Part One: Romanticism," Changing Ideals in Modern Architecture -- 1750-1950, Montreal, 1965.
• *Neil Levine, "The Book and the Building," Beaux-Arts and Nineteenth-Century Architecture, Robin Middleton, ed., Cambridge, Mass., 1982.
• David Van Zanten, Designing Paris: the Architecture of Duban, Labrouste, Duc and Vaudoyer, Cambridge, Mass., 1987.
• Martin Bressani, "Projet de Labrouste pour le tombeau de l'empereur Napoléon. Essai d'interprétation symbolique de l'architecture romantique," Revue de l'art, Paris, vol. 125, 1999, p. 54-63.

Week 3
Fiction, Dream

• *Quatremère de Quincy, "Qu'il faut reconnaître dans chaque art quelque chose de fictif quant à la vérité, et quelque chose d'incomplet quant à la ressemblance" (and few following chapters) in De l'imitation, (1823), Bruxelles, 1980, p. 95-155.
• Émile Burnouf, "Le Parthénon," Revue des deux-mondes, vol. 20, December 1, 1847.
• Charles Lévêque, La science du beau; ses principes, ses applications et son histoire, Paris, 1861.
• Humbert de Superville, Essai sur les signes inconditionels dans l'art, (1827-30), Leyden, 1987 (with an English translation).
• *John Ruskin, "The Lamp of Life," The Seven Lamps of Architecture (1849), London.
• *Gottfried Semper, "Extracts from Style in the Technical and Tectonic Arts or Practical Aesthetics (1860)," in The Four Elements of Architecture and other Writings, Cambridge, Harry Mallgrave, ed. and translator, 1989, p. 215-219 and p. 254-258.
• *Louis Duc, "Lettres et notes," quoted in David van Zanten, Designing Paris, Cambridge, Mass., 1987, p. 199-200.
• *Robert Vischer, "On the optical Sense of Form: A Contribution to Aesthetics," (1873), Empathy, Form, and Space. Problems in German Aesthetics, 1873-1893, Santa Monica, CA., 1994, p. 89-124.

Literary References

• De Quincey, Confessions of an opium-Eater (1821), ??
• *Charles Nodier, "Piranèse," Œuvres complètes de Charles Nodier, Paris, ed. Renduel, XI, pp188-193.
• Alfred de Musset, "La mouche," (1853), Œuvres complètes en proses, Paris, 1938.
• Gérard de Nerval, Aurelia (1855), Paris, 1958.
• Charles Baudelaire, Paradis artificiels (1860), Paris, 1972.
• Charles Baudelaire, "Plan pour un petit poème en prose," Œuvres complètes, Paris.
• Théophile Gauthier, Mademoiselle Dafné--Eau-forte dans la manière de Piranèse (1866), Genève, 1984.
• Théophile Gauthier, "Le club des hachichins," in Charles Baudelaire, Les paradis artificiels, Paris, 1972.
• Théophile Gauthier, Les Jeune-France, (1833), Paris, 1974.
• Edgar Allan Poe, The Fall of the House of Usher and The Pit and the Pendulum.

Theory of Fiction

• Paul Ricoeur, "The Function of Fiction in Shaping Reality," Man and World, vol. 12, no. 2, 1979, p. 123-141.
• Monroe C. Beardsley, "The Metaphoric Twist," Philosophy and Phenomenological Research, vol. 22, no. 3, March 1962, p. 293-307.
• Kendall Walton, "Appreciating Fiction: Suspending Disbelief or Pretending Belief?," Dispositio, vol. 5, no. 13-14, 1980, p. 1-8.
• Thomas Pavel, Chapter 3, Fictional Worlds, New York, 1986.
• Umberto Eco, Lector in Fabula, Paris, 1979.
• Tzevan Todorov, Introduction à la littérature fantastique, Paris, 1970.
• Katherine Singer Kovacs, Le rêve et la vie, a Theatrical Experiment by Gustave Flaubert, Lexington, 1981.

Architecture

• * Martin Bressani, "The Motif of the Frontier in Labrouste: the Fantastic as a Trope for Romantic Architectural Imagination," Conference paper, Architecture and the MysteriousColloquium, CUNY, New York, 2000.

Week 4
Narration and the Shape of Time

• *Victor Hugo, "This Will Kill That," Notre-Dame de Paris (1832), Paris, 1966.
• *John Ruskin, The Stones of Venice, London, 1851-53, 3 volumes. (Consult the The Complete Works of John Ruskin, London, 1902). Read the chapter on Saint-Mark and the beginning of "The Nature of Gothic."
• *Eugène Viollet-le-Duc, "Article château," Dictionnaire raisonné de l'architecture française du Xie au XVIe siècle, Paris, 1858, t. 3, p. 82-103. (read the section on Château Gaillard).
• *George Edmund Street, "The True Principles of Architecture, and the Possibility of Developement," The Ecclesiologist 13, 1852, p. 247-262.
• Gottfried Semper, "The Four Elements of Architecture," The Four Elements of Architecture and Other Writings, Cambridge, 1989, p.101-126. (Only skim through the first four sections of the essay).

Some analytical studies of Narrative

• Roland Barthes, "Introduction to the Structural Analysis of Narrative," Image--Music--Text, reprinted in A Barthes Reader, Susan Sontag, ed., New York, 1982.
• Gérard Genette, Narrative Discourse: An Essay on Method, Ithaca, 1980.
• Seymour Chatman, Story and Discourse: Narrative Structure in Fiction and Film, Ithaca, 1978.
• Paul Ricoeur, "Part 1," Time and Narrative, volume 1, Chicago, 1984.
• Paul Ricoeur, "Life: A Story in Search of a Narrator," Facts and Values. Philosophical Reflections from Western and Non-Western Perspectives, 1986.
• Paul Ricoeur, "Architecture and Narrative," Identity and Difference. The triennale in the City. The Imageries of Difference, Milano (Triennale di Milano--XIX Espositione Internazionale), 1996, p. 64-72.

Narration and Nineteenth-Century Historicism

• *Yves Vadé, "Formes du temps: introduction aux chronotypes," L'Invention du XIXe siècle, Paris, 1999, p. 195-206.
• Hayden White, Metahistory: The Historical Imagination in Nineteenth-Century Europe, Baltimore, 1973.
• *Roland Barthes, "The Discourse of History," (1967), The Rustle of Language, Berkeley, 1989, p. 127-140.
• Stephen Bann, The Clothing of Clio: A Study in the Representation of History in 19th-Century Britain and France, New York, 1984.
• Stephen Bann, Romanticism and the Rise of History, New York, 1995.

Narration in 19th-Century Art and Architecture

• Stephen Bann, Paul Delaroche: History Painted, London and New Haven, 1997.
• Martin Bressani, "Le discours sur le mythe dans la pensée architecturale romantique en France," L'architecture, les sciences et la culture de l'histoire au XIXe siécle, Saint-Étienne, 2001, p. 165-174.
• Martin Bressani, "The Hybrid: Labrouste's Paestum," Chora 5, forthcoming.

Week 5
Monstrosity and the Necessity of Assemblage

• Vitruvius, The Ten Books on Architecture, book VII, chap. 5.
• *Victor Hugo, "Preface," Cromwell (1827), Paris, 1968.
• *John Ruskin, "Of the True Ideal: --Thirdly, Grotesque," Modern Painters, volume 3 (1856), London, 1873, p. 97-112.
• *John Ruskin, "Grotesque Renaissance," The Stones of Venice, volume 3 (1853), Boston and New York, p. 113-165.
• *Eugène Viollet-le-Duc, "Premier Entretien," (1858), Entretien sur l'architecture, volume 1, Paris, 1863. (Translated as Lectures on Architecture, London,1877, reprinted by Dover Press, 1987).
• Isidore Geoffroy Saint-Hilaire, Histoire générale et particulière des anomalies de l'organisation chez l'homme et les animaux ou traité de tératologie, Paris, 1832-37.
• Gustave Flaubert, La tentation de Saint-Antoine (1874), Paris, 1983. (See last section in particular).
• Sigmund Freud, "Family Romances," The Standard Edition…, volume 9, 1959.
• *Alain Corbin, "Le XIXe siècle ou la nécessité de l'assemblage," L'Invention du XIXe siècle, Paris, 1999, p. 153-160. (Section monstruosité)
• Margaret Homans, "Bearing Demons: Frankenstein's Circumvention of the Maternal," Mary Shelley's Frankenstein, Harold Bloom, ed., New York, 1987.
• Chris Baldick, In Frankenstein Shadow: Myth, Monstrosity, and Nineteenth-Century Writings, Oxford, 1987.
• Stephen Bann ed., Frankenstein. Creation and Monstrosity, London, 1994. (See, in particular Stephen Bann's introduction and the essay by Elisabeth Bronfen, "Rewriting the Family: Mary Shelley's Frankenstein in its Biographical Context," p. 16-38.
• Lucy Hartley, "'Griffinism, Grace and All': the Riddle of the Grotesque in John Ruskin's Modern Painters," Victorian Culture and the Idea of the Grotesque, edited by Colin Trodd, Paul Barlow and David Amigoni, Aldershot, 1999, p. 81-95.
• Martin Bressani, "The Hybrid: Labrouste's Paestum," Chora 5, forthcoming.
• Mark Dorrian, "Ruskin's Theory of the Grotesque," Chora 4, forthcoming.

Week 6
The Case of Henri Labrouste

• *Sigfried Giedion, "Iron," and "First Attempts," Building in France, Building in Iron, Building in Ferro-Concrete (1928), Santa Monica, Ca., 1995, p. 101-109.
• *Neil Levine, "The Book and the Building," Beaux-Arts and Nineteenth-Century Architecture, Robin Middleton, ed., Cambridge, Mass., 1982.
• *David Van Zanten, "Labrouste's Bibliohèque Nationale," Designing Paris, Cambridge, Mass., p. 225-246.

Week 7
First Student presentations (over two days, to be determined)

Week 8 No Meeting

Week 9
Individual Meetings to be Scheduled

Week 10
The Case of Viollet-le-Duc

Primary readings
To be annouced later.

• *Martin Bressani, "Notes on Viollet-le-Duc's Philosophy of History: Dialectics and Technology," Journal of the Society of Architectural Historians, vol. 48, 1989, p. 327-350.
• *Martin Bressani, 'The Life of Stones. Viollet-le-Duc's Physiology of Architecture," Any 14, 1996, p. 22-27.

Week 11, 12 & 13
Student Public Readings. Precise Dates to be Determined.

Martin Bressani