Jules Gabriel Janin

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Janin, Jules Gabriel

 

Born Feb. 16, 1804, in St. Etienne, Loire Department; died June 19, 1874, in Paris. French writer, critic, and journalist.

Janin became a member of the French Academy in 1870. His early novels The Dead Ass and the Guillotined Woman (1829) and Confession (1830) reflected the love of romanticists for dramatic conflicts and social contrasts. The first Russian translation of The Dead Ass (1831) brought Janin the attention of the Russian press as well. After the Revolution of 1830 he renounced his progressive passions and became the permanent theater critic on the government newspaper Le Journal des Débats. His unscrupulous and at times reactionary but observant and witty essays and newspaper satires were popular in bourgeois circles. Janin’s The End of a World and of Rameau’s Nephew (1861), a reinterpreted sequel to a novel by D. Diderot, was harshly condemned by Karl Marx (see K. Marx and F. Engels, Soch., 2nd ed., vol. 32, p. 242). Janin successfully translated the English classics (S. Richardson, L. Sterne, and others).

WORKS

Oeuvres diverses, vols. 1–17. Paris, 1876–83.
In Russian translation:
Fantazii. St. Petersburg, 1834.

REFERENCES

Istoriia frantsuzskoi literatury, vol. 2. Moscow, 1956.
Tomashevskii, B. V. Pushkin i Frantsiia. Leningrad, 1960.
Mergier-Bourdeix. Les Amours de J. Janin et “Le Manage du critique,” une correspondance inédite. Paris, 1968.

M. A. GOL’DMAN

The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
This social extinction is high among Jules Janin's preoccupations in the introduction of Les Francais peints par eux-memes, a collective work published between 1840 and 1842:
Initially floated as a blind item by Charles Maurice in a notorious, but popular theatrical paper, the Courier des Theatres, the most famous critic of the day Jules Janin quickly picked up on this item and expanded it into a doomed affair between the dancer and the "last leaf of the imperial laurel" to castfurther mystique around the dancer.
Comparisons of Heine and Baudelaire are not entirely new terrain: the first to identify parallels between the two poets was Baudelaire himself, in an unfinished draft letter to Jules Janin in the 1860s, defending Heine against the critic's denunciation and aligning himself with Heine's aesthetic, characterized in Baudelaire's eyes by sadness, irony, dissonance, pain, a longing for death, and a sense of decadence.
Los temores de Balzac no eran infundados porque si bien el periodismo habia permitido triunfar a empresarios como Girardin o criticos como Gustave Planche, tambien habia puesto fin a la carrera literaria de otros hombres de letras, como fue el caso de Jules Janin.
She was regularly defended in the English press by French journalist Jules Janin and Italian exile Joseph Mazzini with language that would find its way into Barrett's sonnets.
Impressively, Brownstein continues to ask this question as she pursues the equivocal Rachel through her painted images, her statues, her costumes, her reviews, her race and through the various appropriations of her talent, Pygmalionlike, by Jules Janin, the critic, Dr.
Valtat sur ce qu'il nomme l'epopee mentale moderne, celui de Joanna Augustyn sur L'Ane mort de Jules Janin, celui de Mathilde Bertrand sur Un Pretre marie de Barbey d'Aurevilly et enfin celui de Maria Aparecida Ribeiro sur Jose de Alencar, entretiennent tous un rapport ambigu au theme de cette section, intitulee: "Sur l'usure de l'epopee." Toutes ces oeuvres, romans ou texte "hybride, monstrueux" pour celui de Janin, semblent en effet entretenir un lien d'autant plus fort avec le genre epique qu'ils rechignent a l'admettre.
La critique dramatique que le poete apprehendait dans les annees 1840-50 (par exemple, celle de Jules Janin du Journal des Debats, ancien ami qu'il aurait rencontre au salon de Nodier a l'Arsenal.