Paysannerie: The Ethnography, Consumption and Performance of Peasant Culture in Enlightenment Paris

这篇论文将探讨巴黎精英阶层在古代王朝时期对法国乡村文化的兴趣。我会争辩说，在革命之前，启蒙运动创造了一些空间，在城市观众中培养了对农民社会的好奇心，用18世纪的Paysannerie一词来定义这种对乡村生活方式的兴趣。我的研究将围绕食物、住所、服装和表现，重点放在表演和跨文化交流的想法上。对收集和模仿法国农民的手工艺品和技术的这种尚未研究的品味，是由路易十四的征服、法国境内谷物路线的开辟、异国情调的市场以及启蒙运动对诡计的道德厌恶推动的。以往的艺术史研究，如艾米·温加德关于沃图的作品，或梅丽莎·海德关于包润石牧场的作品，总是通过文学主题的镜头来解读古代雷吉姆的农民生活，仅仅通过沙龙绘画来构建这一论点。我认为田园题材并不是理解城市观众接受农民身份的唯一视角。取而代之的是，一个由物体、建筑和图像组成的语料库讲述了一个平行的、以前被忽视的关于对农民生活的真诚探索的故事，这是启蒙运动自我定义项目的一部分。

This thesis will be an inquiry into the interest in French rural culture among Parisian elites during the Ancien Régime. I will argue that the Enlightenment created spaces that fostered a curiosity about peasant societies among urban audiences well before the revolution, using the eighteenth century term Paysannerie to define this interest in rustic lifestyles. My study will revolve around food, shelter, dress, and representation, focusing heavily on ideas of performance and intercultural exchange. This as yet unstudied taste for both collecting and imitating the artefacts and technologies of French peasants was driven by the conquests of Louis XIV, the opening up of grain routes within France, the market for exotica, as well as the enlightenment's moral distaste of artifice. Previous art historical studies such as Amy Wyngaard's work on Watteau, or Melissa Hyde on Boucher's pastorals, have always read the interpretation of peasant life in the Ancien Régime through the lens of literary motifs, constructing this argument solely through salon paintings. I contend that the pastoral theme is not the only lens for understanding the reception of peasant identity among urban audiences. Instead, a corpus of objects, buildings, and images narrate a parallel, previously overlooked story of sincere inquiry into peasant life that formed part of the Enlightenment's project of self-definition.