@article{Jurado Bonilla_2015, title={Pastoral Bric-a-brac: Joseph Cornell’s Artistic Responses to Alain-Fournier’s Le Grand Meaulnes}, volume={22}, url={https://revistaselectronicas.ujaen.es/index.php/grove/article/view/2698}, abstractNote={<em><em></em></em><p>It has become a staple when Joseph Cornell’s art is analyzed and commented on to mention the novel <em>Le Grand Meaulnes</em> (1913) by Alain-Fournier. The novel is referred to many times in Cornell’s diaries and projects. It is well-known that Joseph Cornell felt a strong attachment to anything French (especially from the fin-de-siècle period), but such is too broad an explanation for his interest on that particular novel. In this article we analyze the bond between Cornell’s art and Alain-Fournier’s novel, taking them as two artistic examples of the pastoral mode. We try to explicate the connection between Alain-Fournier’s novel and many of Cornell’s most relevant assemblage boxes, such as the<em> Palace </em>series, the <em>Medici Slot Machine</em> boxes and <em>Untitled (Bébé Marie)</em>. This relation can be traced both in the themes and the assemblage technique used by Cornell: they seem to replicate Meaulnes’s experiences during the narration in the novel, and to reproduce, with Cornell’s use of the glass panel, the narrative strategies of denouement delay that Alain-Fournier employed in <em>Le Grand Meaulnes</em>.</p><p><strong>Keywords: </strong>Joseph Cornell, Alain-Fournier, pastoral, art and literature relation, assemblage art.</p>}, journal={The Grove - Working Papers on English Studies}, author={Jurado Bonilla, Mario}, year={2015}, month={Dec.} }