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

这篇论文将探讨在法国大革命时期，巴黎精英对法国乡村文化的兴趣。我认为启蒙运动创造了空间，在革命之前就培养了城市观众对农民社会的好奇心，用18世纪的术语Paysannerie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、服装和表现展开，重点关注表演和跨文化交流的理念。这种收集和模仿法国农民手工制品和技术的未经研究的品味，是由路易十四的征服、法国境内谷物路线的开放、异国情调的市场以及启蒙运动对技巧的道德厌恶所驱动的。以前的艺术史研究，比如艾米·温嘉德对华托的研究，或者梅丽莎·海德对布歇的田园画的研究，都是通过文学主题的视角来解读古代俄罗斯的农民生活，仅仅通过沙龙画来构建这一论点。我认为，田园主题并不是理解城市观众接受农民身份的唯一视角。相反，一系列的物品、建筑和图像讲述了一个平行的、以前被忽视的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.