| Title: | Les sultanes à Versailles: fantaisie orientale dans la fonction de l’(auto)representation |
| Author: | Bojana Anđelković |
| Publication: | Language and Literature – European Landmarks of Identity, 15, p. 243 |
| p-ISSN: | 1843-1577 |
| Publisher: | Universitatea din Pitești |
| Place: | Pitești |
| Year: | 2014 |
| Abstract: | By mid 18th century, Turkish fashion is at its peak in France, when Diderot, in his first published novel, the Indiscrete Jewels, makes a flattering portrait of Madame de Pompadour under a light veil of oriental travesty. The image he created of a virtuous sultana, ideal friend of an inconsistent sultan, not only brought important support of the influential marquise to the project of Encyclopedia, but also found its visual transposition in politics of self representation of the king’s favorite. For her Bellevue palace, she ordered a Turkish room and a set of paintings in which she represented herself as “haseki” sultana. Some twenty years later, Madame du Barry tried to recycle the image of the French sultana ordering a set of large tapestries at the Goblins manufactory. Although the two sets of decorations were using the same mechanism to strengthen the position of the most powerful women of the French harem=Versailles, based on a popular myth about the oriental harem and distribution of political power in it, they were unequally successful in communicating their message to the public. |
| Key words: | self-representation, Versailles, turqueries |
| Language: | French |
| Links: |  pdf |
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