Pamela; ou, La vertu récompensée
Author : Samuel Richardson
Publisher :
Page : 510 pages
File Size : 48,25 MB
Release : 1914
Category :
ISBN :
Author : Samuel Richardson
Publisher :
Page : 510 pages
File Size : 48,25 MB
Release : 1914
Category :
ISBN :
Author : Samuel Richardson
Publisher :
Page : 378 pages
File Size : 33,3 MB
Release : 1977
Category :
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Author : Hans Ulrich Gumbrecht
Publisher : U of Minnesota Press
Page : 372 pages
File Size : 43,94 MB
Release : 1992
Category : Aesthetics, Modern
ISBN : 9781452901138
Author : Ellis (Firm)
Publisher :
Page : 784 pages
File Size : 38,36 MB
Release : 1924
Category :
ISBN :
Author :
Publisher :
Page : 458 pages
File Size : 19,81 MB
Release : 1843
Category :
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Author : Society for the Diffusion of Useful Knowledge (Great Britain)
Publisher :
Page : 456 pages
File Size : 12,68 MB
Release : 1843
Category :
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Author : Library of Congress
Publisher :
Page : 712 pages
File Size : 37,30 MB
Release : 1968
Category : Catalogs, Union
ISBN :
Author : Society for the diffusion of useful knowledge
Publisher :
Page : 456 pages
File Size : 49,97 MB
Release : 1843
Category : Biography
ISBN :
Author : Paul Friedland
Publisher : Cornell University Press
Page : 372 pages
File Size : 50,13 MB
Release : 2002
Category : Biography & Autobiography
ISBN : 9780801488092
From the start of the French Revolution, contemporary observers were struck by the overwhelming theatricality of political events. Examples of convergence between theater and politics included the election of dramatic actors to powerful political and military positions and reports that deputies to the National Assembly were taking acting lessons and planting paid "claqueurs" in the audience to applaud their employers on demand. Meanwhile, in a mock national assembly that gathered in an enormous circus pavilion in the center of Paris, spectators paid for the privilege of acting the role of political representatives for a day.Paul Friedland argues that politics and theater became virtually indistinguishable during the Revolutionary period because of a parallel evolution in the theories of theatrical and political representation. Prior to the mid-eighteenth century, actors on political and theatrical stages saw their task as embodying a fictional entity--in one case a character in a play, in the other, the corpus mysticum of the French nation. Friedland details the significant ways in which after 1750 the work of both was redefined. Dramatic actors were coached to portray their parts abstractly, in a manner that seemed realistic to the audience. With the creation of the National Assembly, abstract representation also triumphed in the political arena. In a break from the past, this legislature did not claim to be the nation, but rather to speak on its behalf. According to Friedland, this new form of representation brought about a sharp demarcation between actors--on both stages--and their audience, one that relegated spectators to the role of passive observers of a performance that was given for their benefit but without their direct participation. Political Actors, a landmark contribution to eighteenth-century studies, furthers understanding not only of the French Revolution but also of the very nature of modern representative democracy.
Author : Margaret Cohen
Publisher : Princeton University Press
Page : 331 pages
File Size : 29,51 MB
Release : 2009-02-14
Category : Literary Criticism
ISBN : 1400829518
The Literary Channel defines a crucial transnational literary "zone" that shaped the development of the modern novel. During the first two centuries of the genre's history, Britain and France were locked in political, economic, and military struggle. The period also saw British and French writers, critics, and readers enthusiastically exchanging works, codes, and theories of the novel. Building on both nationally based literary history and comparatist work on poetics, this book rethinks the genre's evolution as marking the power and limits of modern cultural nationalism. In the Channel zone, the novel developed through interactions among texts, readers, writers, and translators that inextricably linked national literary cultures. It served as a forum to promote and critique nationalist clichés, whether from the standpoint of Enlightenment cosmopolitanism, the insurgent nationalism of colonized spaces, or the non-nationalized culture of consumption. In the process, the Channel zone promoted codes that became the genre's hallmarks, including the sentimental poetics that would shape fiction through the nineteenth century. Uniting leading critics who bridge literary history and theory, The Literary Channel will appeal to all readers attentive to the future of literary studies, as well as those interested in the novel's development, British and French cultural history, and extra-national patterns of cultural exchange. Contributors include April Alliston, Emily Apter, Margaret Cohen, Joan DeJean, Carolyn Dever, Lynn Festa, Françoise Lionnet, Deidre Shauna Lynch, Sharon Marcus, Richard Maxwell, and Mary Helen McMurran.