15. "Plus tapageuse, plus braillard continuait form (the European nude in the visual arts) was 161 1'orgie, en depit de la somnolence des femmes" perforce acting masochistically or was at best an Notes (Edmond de Goncourt, La Fille Elisa [1877], uncomfortable transvestite. (See Laura Mulvey's to Pages Paris, 1906, p. 119). See my "Representations of reply to her own article of 1975: Mulvey, "After- 6 Prostitution," p. 147. thoughts on 'Visual Pleasure and Narrative Cin- 29-3 16. Forain's print was intended as an illustration ema' Inspired by Duel in the Sun," Framework, am for one of J. K. Huysmans's Croquis parisiens. In nos. 15, 16, 17 [1981]: 12—15.) I > however, un- Marcel Guerin, J. L. Forain, Aquafortiste, Paris, satisfied with a psychoanalytic construction of my 1912, vol. i, no. 21, the print is entitled Maison sexual identity that assumes, for example, that my close (planche refusee). experience of Degas's monotypes would resemble 17. The entry on Repose in Boggs et al., Degas, those of all other women more closely than they considers the woman at the right to be adjusting a would, say, the responses of men (and women) of stocking. my class, ethnicity, education, and politics. (For il- 18. Peter Brooks, "The Sign of the Beast: Pros- luminating discussions of this problem, see Mary titution, Serialization, and Narrative," chap. 6 of Ann Doane, The Desire to Desire: The Woman's his Reading for the Plot: Design and Intention in Film of the 19405, Bloomington, Ind., 1987, pp. 6ff; Narrative, New York, 1984, p. 155. Diane Waldman, "Film Theory and the Gendered 19. The abolitionists argued for an end to the Spectator: The Female or the Feminist Reader?" licensing and regulating of prostitution, not for the Camera Obscura 18 [Sept. 1988]: 80-94; Martha abolition of prostitution per se. The great spokes- Gever, "Just Looking," The Nation [Feb. 5, 1990]: person of the pan-European movement was the 170—74.) Tania Modleski's suggestion that the Englishwoman Josephine Butler. The most impor- female spectator of classic Hollywood cinema tant abolitionist in France was Yves Guyot. Norma (or — my substitution — of a modern European Broude has recently made the mistake of sepa- image of an unclad woman) is always caught in rating the feminist antiregulationists from their "double desire," as she puts it, more closely re- many abolitionist colleagues. See her problematic sembles my own experience: "identifying at one "Edgar Degas and French Feminism, ca. 1880: and the same time not only with the passive fe- The Young Spartans,' the Brothel Monotypes, and male (object), but with the active (usually male) the Bathers Revisited," The Art Bulletin 70, no. 4 subject" (Modleski, The Women Who Knew Too (Dec. 1988): 640-59. Much: Hitchcock and Feminist Theory, New York, 20. Four related bather monotypes were dedi- 1988, p. 2). Or in Lisa Tickner's words: "There is cated to Degas's friends Philippe Burty, the Vis- room for a mobile subject capable of moving in count Lepic, Henri Michel-Levy, and P. Rosanna. fantasy between positions constituted socially as On the probable limited viewership of the prints, masculine or feminine" (Tickner, "Feminism, Art see Richard R. Brettell and Suzanne Folds Mc- History, and Sexual Difference," Genders 3 [Fall Cullagh, Degas in The Art Institute of Chicago, 1988]: 113). Chicago, 1984, p. 143. Though I am aware of the 21. "Le miche serieux fait son entree. Aucune problems posed by recognizing, as we all must do, femme ne doit lui adresser une invitation verbale that the circuits of spectatorship are gendered, particuliere; mais toutes lui envoient des regards I have not raised the issue in my discussion of brulants, se dandinent, prennent des positions ex- Degas's prints because I have not yet completely citantes, sourient, et meme agitent la langue, pour sorted out my position. I have not decided yet just faire comprendre clairement qu'elles ont mis a la how to build into my account the existential, inter- disposition du client mille raffinements de vo- pretive, and political consequences of acknowledg- lupte" (Leo Taxil, La Prostitution contemporaine: ing the difficulty I experience in shuttling between Etude (Tune question sociale, Paris, 1884, quoted the "imagined" viewer position of a late nine- in Le Crapouillot, special issue: "Petite histoire des teenth-century bourgeois Frenchman and the "ac- maisons closes," n. s., no. 42 [Spring 1977]: 51). tual" position of a late twentieth-century feminist C orb in (Les Filles de noce, p. 90) provided this woman. I used to accept the classic argument of vivid synthetic description: "Au salon de la grande Laura Mulvey that the woman who "enjoyed" or toleiance, haut lieu des plaisirs aristocratiques et at least understood a paradigmatically male art bourgeois, regnent le silence et la discretion. Alors