This collection reconsiders the life and work of Emile Jean-Horace Vernet (1789-1863), presenting him as a crucial figure for understanding the visual culture of modernity. The book includes work by senior and emerging scholars, showing that Vernet was a multifaceted artist who moved with ease across the thresholds of genre and media to cultivate an image of himself as the embodiment of modern France. In tune with his times, skilled at using modern technologies of visual reproduction to advance his reputation, Vernet appealed to patrons from across the political spectrum and made works that nineteenth-century audiences adored. Even Baudelaire, who reviled Vernet and his art and whose judgment has played a significant role in consigning Vernet to art-historical obscurity, acknowledged that the artist was the most complete representative of his age. For those with an interest in the intersection of art and modern media, politics, imperialism, and fashion, the essays in this volume offer a rich reward.
(source: Nielsen Book Data)

• List of Illustrations Acknowledgments Introduction
• 1. Popular Panoramas
• 2. The de Kock Paradox
• 3. The Adaptable Eugene Sue
• 4. Balzac, High and Low Conclusion Source Acknowledgments Notes Bibliography Index.
• (source: Nielsen Book Data)

Mastering the Marketplace examines the origins of modern mass-media culture through developments in the new literary marketplace of nineteenth-century France and how literature itself reveals the broader social and material conditions in which it is produced. Anne O'Neil-Henry examines how French authors of the nineteenth century navigated the growing publishing and marketing industry, as well as the dramatic rise in literacy rates, libraries, reading rooms, literary journals, political newspapers, and the advent of the serial novel. O'Neil-Henry places the work of canonical author Honore de Balzac alongside then-popular writers such as Paul de Kock and Eugene Sue, acknowledging the importance of "low" authors in the wider literary tradition. By reading literary texts alongside associated advertisements, book reviews, publication histories, sales tactics, and promotional tools, O'Neil-Henry presents a nuanced picture of the relationship between "high" and "low" literature, one in which critics and authors alike grappled with the common problem of commercial versus cultural capital. Through new literary readings and original archival research from holdings in the United States and France, O'Neil-Henry revises existing understandings of a crucial moment in the development of industrialized culture. In the process, she discloses links between this formative period and our own, in which mobile electronic devices, internet-based bookstores, and massive publishing conglomerates alter-once again-the way literature is written, sold, and read.
(source: Nielsen Book Data)

• Introduction Part I: The Staircase
• Chapter 1. Fashioning the Commune Barricade: Zola's Au Bonheur des dames
• Chapter 2. Ups and Downs: Sartorial Spectacle in Texts by Rachilde, Maupassant, and Daudet Part II: The Antechamber
• Chapter 3. Waiting for Change: Zola's Au Bonheur des dames and Nana
• Chapter 4. Maupassant, Transformation, and the Unexotic Exotic Part III: The Fashion Atelier
• Chapter 5. Places and Spaces of Haute Couture: Feydeau's Tailleur pour dames and Zola's La Curee
• Chapter 6. A Woman's Work(space): Dressmaking Ateliers in Huysmans's En Menage and Rachilde's Late-Century Novels Epilogue Notes Bibliography Index.
• (source: Nielsen Book Data)

In Fashioning Spaces, Heidi Brevik-Zender argues that in the years between 1870 and 1900 the chroniclers of Parisian modernity depicted the urban landscape not just in public settings such as boulevards and parks but also in "dislocations, " spaces where the public and the intimate overlapped in provocative and subversive ways. Stairwells, theatre foyers, dressmakers' studios, and dressing rooms were in-between places that have long been overlooked but were actually marked as indisputably modern through their connections with high fashion. Fashioning Spaces engages with and thinks beyond the work of critics Charles Baudelaire and Walter Benjamin to arrive at new readings of the French capital. Examining literature by Zola, Maupassant, Rachilde, and others, as well as paintings, architecture, and the fashionable garments worn by both men and women, Brevik-Zender crafts a compelling and innovative account of how fashion was appropriated as a way of writing about the complexities of modernity in fin-de-siecle Paris.
(source: Nielsen Book Data)

• Table of Contents Acknowledgments
• 1. Introduction: Beyond the Binary-Triangulating Colonial Discourse
• 2. A War of Words: The Politics of Nomenclature
• 3. Villains and Heroes: Ventriloquizing the "Revolutionary'
• 4. Massacring the Myth: Telling Tales of Revenge
• 5. Compensating for l'Inde perdue: France's "Civilizing Mission" Conclusion: From Empire to Republic Glossary Bibliography Index About the Author.
• (source: Nielsen Book Data)

The French Colonial Imagination examines France's critical response to the Indian uprisings of 1857-58 and their brutal suppression by the British. Drawing from texts produced during the Second Empire and the early Third Republic, Nicola Frith foregrounds the extent to which British India acted as a counter-narrative in the construction of France's rival colonial discourse and its emerging "civilizing mission" alongside France's persistent desire to compensate for its "loss" of India at the end of the Napoleonic Wars.
(source: Nielsen Book Data)

• TABLE OF CONTENTS; FOREWORD; ACKNOWLEDGEMENTS; INTRODUCTION; PART I; CHAPTER ONE; CHAPTER TWO; CHAPTER THREE; PART II; CHAPTER FOUR; CHAPTER FIVE; CHAPTER SIX; PART III; CHAPTER SEVEN; CHAPTER EIGHT; CHAPTER NINE; CHAPTER TEN; BIBLIOGRAPHY; CONTRIBUTORS AND EDITORS; INDEX.

Quand la folie parle presents a timely reinvigoration of the complex subject of madness and its literary manifestations. This stimulating study, authored by a range of young and talented international scholars, is of key importance in defining and refining our ongoing endeavours to theorise and analyse the literary representations of the problematics of mental health. By including discussions of texts that speak of madness as well as those that speak from madness, this volume demonstrates that, in fact, the non-sense of madness achieves a force of expression often more powerful than the usual order of logic. Embracing the scientific, the religious, the medical, the psychoanalytic, the historical, the erotic, and, of course, the properly literary, this wide-ranging, historically-informed collection is particularly significant in its exploration of both the "madwoman" and the "madman, " and exhibits an inclusiveness which extends to the genres and modes of the texts examined. The authors discussed, from Nerval and Houellebecq to NDiaye and Le, provide a refreshingly "balanced" picture of mental illness, presenting madness or depression as a contestatory, creative stance against often mind-numbing social, racial or consumerist conventions, while refusing to play down the inevitable difficulties accompanying this isolating condition. The "dialectic effect" referenced in the title of the collection extends not only to the dynamics at work within the volume itself, as the different contributions implicitly dialogue with one another, but equally to the reader of these essays, who is engaged throughout in the debates put forward.
(source: Nielsen Book Data)

Le present ouvrage ne pretend pas proposer une histoire de l'edition de musique de 1550 a nos jours. Il consiste en une collection d'etudes explorant un versant foisonnant de l'histoire de la musique, l'edition musicale, depuis les premiers imprimes et l'insertion de portees dans les periodiques anciens jusqu'a la restitution critique des musiques du passe. Les approches retenues portent sur l'objet lui-meme et ses techniques autant que sur des criteres purement musicaux; sur les relations entre l'activite des editeurs avec le concert et la scene; ou encore sur les questions de choix de sources et les partis pris de restitution dans le domaine de l'edition musicologique contemporaine.<BR> Il est aussi un recueil de textes concus en hommage a Jean Gribenski, dont l'enseignement a la Sorbonne, puis a l'Universite de Poitiers, a repose sur une methode historique accordant au document une attention meticuleuse. Chaque texte s'appuie donc, comme l'enseignement du maitre, sur un document dont l'analyse vise a eclairer des pratiques artistiques, sociales, commerciales ou scientifiques. Concus par des collegues et d'anciens etudiants, il profite des avancees spectaculaires de la recherche dans le domaine de l'histoire de l'edition musicale francaise au cours des quarante dernieres annees."

• Cover; Introduction;
• 1. France in Whitman; I. The French Background;
• 2. Whitman and French Symbolism;
• 3. Whitman and Post-Symbolism; B. André Spire and Charles Péguy;
• 4. Whitman and L'esprit Nouveau;
• Appendix I. Chronological List of French Criticism of Whitman Since 1861;
• Appendix II. Chronological List of French Translations of Whitman Since 1886; Notes.

As the first full treatment of Walt Whitman's French sources and his later impact on French writers, this book revises our image of the poet and challenges many critical assumptions. Originally published in 1980. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is t.

• Cover; Introduction;
• 1. France in Whitman; I. The French Background;
• 2. Whitman and French Symbolism;
• 3. Whitman and Post-Symbolism; B. André Spire and Charles Péguy;
• 4. Whitman and L'esprit Nouveau;
• Appendix I. Chronological List of French Criticism of Whitman Since 1861;
• Appendix II. Chronological List of French Translations of Whitman Since 1886; Notes.

As the first full treatment of Walt Whitman's French sources and his later impact on French writers, this book revises our image of the poet and challenges many critical assumptions. Originally published in 1980. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is t.

If the eighteenth century was the age of reason and enlightenment, the nineteenth century was undeniably the age of movement. This tumultuous period in French history bore witness to the rise and fall of countless political movements, from revolutions and "coups d'etat", to popular protests and the first workers' strikes. It was an age of economic movements as France embraced the new world of finance and banking, and underwent its own industrial revolution. Social mobility increased as a dynamic commercial bourgeoisie began to challenge the system of aristocratic privilege that neither the 1789 Revolution nor the Napoleonic Empire had dismantled entirely. The era was one of artistic ferment, as Romanticism gave way to Realism, Naturalism, Impressionism, and Symbolism. Intellectual and philosophical movements, from Liberalism to Saint-Simonianism, sought both to reconcile the country with its past and construct the framework for a progressive, more harmonious future. Through seventeen thematic essays, Aller(s)-Retour(s) seeks to understand nineteenth-century France as a society in perpetual motion. Recognising the instability that is key to the very concept of movement, this volume explores how the intellectual shifts and cross-currents of the nineteenth century responded to, and impacted upon, each other. Finally, it asks why questions of motion and movement dominated this period, as every sphere of French life confronted its own extremes of progress and renewal, stagnancy and regression.
(source: Nielsen Book Data)

• Museums
• Part One: Mozart: Restorations ; (De)translations ; Transitions
• Part Two: Gluck: Resurrections ; Tragedies ; Symbols
• Part Three: Rameau: Monuments ; Quarrels ; Archaeologies.

Focusing on the operas of Mozart, Gluck, and Rameau, Building the Operatic Museum examines the role that eighteenth-century works played in the opera houses of Paris around the turn of the twentieth century. These works, mostly neglected during the nineteenth century, became the main exhibits in what William Gibbons calls the Operatic Museum -- a physical and conceptual space in which great masterworks from the past and present could, like works of visual art in the Louvre, entertain audiences while educating them in their own history and national identity. Drawing on the fields of musicology, museum studies, art history, and literature, Gibbons explores how this "museum" transformed Parisian musical theater into a place of cultural memory, dedicated to the display of French musical greatness. William Gibbons is Assistant Professor of Musicology at Texas Christian University.
(source: Nielsen Book Data)

• List of Figures Acknowledgements Introduction
• 1. Patriarchy and Abolition: Germaine de Stael
• 2. Fathers and Colonization: Charlotte Dard
• 3. Daughters and Paternalism: Marceline Desbordes-Valmore
• 4. Voices of Daughters and Slaves: Claire de Duras
• 5. Uniting Black and White Families: Sophie Doin Postscript Bibliography Index.
• (source: Nielsen Book Data)

Fathers, Daughters, and Slaves brings to life the unique contribution by French women during the early nineteenth century, a key period in the history of colonialism and slavery. The book enriches our understanding of French and Atlantic history in the revolutionary and postrevolutionary years when Haiti was menaced with the re-establishment of slavery and when class, race, and gender identities were being renegotiated. It offers in-depth readings of works by Germaine de Stael, Claire de Duras, and Marceline Desbordes-Valmore. In addition to these now canonical French authors, it calls attention to the lives and works of two lesser-known but important figures-Charlotte Dard and Sophie Doin. Approaching these five women through the prism of paternal authority, Fathers, Daughters, and Slaves explores the empathy that daughters show toward blacks as well as their resistance against the oppression exercised by male colonists and other authority figures. The works by these French women antislavery writers bear significant similarities, which the book explores, with twentieth and twenty-first century Francophone texts. These women's contributions allow us to move beyond the traditional boundaries of exclusively male accounts by missionaries, explorers, functionaries, and military or political figures. They remind us of the imperative for ever-renewed gender research in the colonial archive and the need to expand conceptions of French women's writing in the nineteenth century as being a small minority corpus. Fathers, Daughters, and Slaves contributes to an understanding of colonial fiction, Caribbean writing, romanticism, and feminism. It undercuts neat distinctions between the cultures of France and its colonies and between nineteenth and twentieth-century Francophone writing.
(source: Nielsen Book Data)

• Biography; The Paintings; The Drawings; Index.

Universally celebrated for the intricacy of his pointillist canvases, Georges Seurat (1859-1891) was a painter whose stunning union of art and science produced uniquely compelling results. Seurat's intricate paintings could take years to complete, with the magnificent results impressing the viewer with both their scientific complexity and visual impact. His Un Dimanche Après-Midi à l'Île de la Grande Jatte (Sunday Afternoon on the Island of Grand Jatte) has held its place among the most treasured and distinguished pieces of 20th-century art. Klaus H. Carl offers readers an intriguing glimpse i.

• 1. Olympe de Gouges and Marie-Joseph Chenier--
• 2. Brutus--
• 3. Setting the Feminist Stage--
• 4. Gender and Primogeniture in Racine's Andromaque--
• 5. Racine's Phedre as the Criminalized Femme Fatale--
• 6. Iphigenie.
• (source: Nielsen Book Data)

This is the first study to account the origins of French feminism to Neoclassical theatre and the court of Louis XIV. Through feminist revisionist histories of French literature, the Neoclassical plots and female archetypes from Racine's "Phedre" and "Andromache", Voltaire's "Brutus" (Catherine Bernard), and Marmontel's "Belisarius" (Stephanie Genlis) were transposed by women writers and patrons onto actresses and the queens, empresses, and mistresses of the French ruling dynasties from Louis XIV- to Napoleon at a time when women were denied the rights of citizenship. This study argues that contemporary French feminism is a function of historicism that defines female identity through parallel constructs between regency and theatre, Neoclassicism and modernity, authors of an emerging body of French feminist writings ineluctably reconcile sadist and pacifist incongruities between gendered roles in tragedy.
(source: Nielsen Book Data)

• Acknowledgments
• Introduction: The French Revolution Debate, the Discourses of History, and the British Novel, 1790-1814 Part I: Reading History in a Revolutionary Age, 1789-1794
• 1. 1688 in the 1790s: Strategies for Interpreting the Glorious Revolution
• 2. The Presence of the Past: The Discourses of History
• Part II: Novel and History, 1793-1814
• 3. Order under Siege: The Discourses of History in the Anti-Jacobin Novel
• 4. The Crumbling (E)state: The Problem of History in the Novel of Reform
• 5. Representing History in a Post-Revolutionary Age: Varieties of Early Historical Fiction Bibliography
• Index
• About the Author.
• (source: Nielsen Book Data)

This study examines how debates about history during the French Revolution informed and changed the nature of the British novel between 1790 and 1814. During these years, intersections between history, political ideology, and fiction, as well as the various meanings of the term "history" itself, were multiple and far reaching. Morgan Rooney elucidates these subtleties clearly and convincingly. While political writers of the 1790s-Burke, Price, Mackintosh, Paine, Godwin, Wollstonecraft, and others-debate the historical meaning of the Glorious Revolution as a prelude to broader ideological arguments about the significance of the past for the present and future, novelists engage with this discourse by representing moments of the past or otherwise vying to enlist the authority of history to further a reformist or loyalist agenda. Anti-Jacobin novelists such as Charles Walker, Robert Bisset, and Jane West draw on Burkean historical discourse to characterize the reform movement as ignorant of the complex operations of historical accretion. For their part, reform-minded novelists such as Charlotte Smith, William Godwin, and Maria Edgeworth travesty Burke's tropes and arguments so as to undermine and then redefine the category of history. As the Revolution crisis recedes, new novel forms such as Edgeworth's regional novel, Lady Morgan's national tale, and Jane Porter's early historical fiction emerge, but historical representation-largely the legacy of the 1790s' novel-remains an increasingly pronounced feature of the genre. Whereas the representation of history in the novel, Rooney argues, is initially used strategically by novelists involved in the Revolution debate, it is appropriated in the early nineteenth century by authors such as Edgeworth, Morgan, and Porter for other, often related ideological purposes before ultimately developing into a stable, nonpartisan, aestheticized feature of the form as practiced by Walter Scott. The French Revolution Debate and the British Novel, 1790-1814 demonstrates that the transformation of the novel at this fascinating juncture of British political and literary history contributes to the emergence of the historical novel as it was first realized in Scott's Waverley (1814).
(source: Nielsen Book Data)

• Introduction / Susan Harrow and Andrew Watts
• The word on the street : remembering the Paris Commune in the twenty-first century / Colette Wilson
• Staging La Fête des fous et de l'âne in 1898 : a commemoration of literary middle ages / Elizabeth Emery
• La Composante populaire de l'Affaire Dreyfus et ses effets d'oubli ultérieur / Luc Nemeth
• Spectres de Madame Bovary : la transfictionnalité comme remémoration / Richard Saint-Gelais
• Napoleonic memory and memoir : military friendship and the memoirs of Colonel Combe / Brian Martin
• Myth-making and memento : l'Expédition des Portes de Fer / Melanie Vandenbrouck-Przybylski
• La Fête nationale, espace de construction d'une mémoire nationale au XIX siècle / Rémi Dalisson
• Reporting on the nineteenth century : Catulle Mendès, Le Mouvement poétique française de 1867 à 1900 / Ben Fisher
• Balzac's 'mal d'archive'? 'Lieux de mémoire' in Le Lys dans la vallée / Owen Heathcote
• L'Ecriture du souvenir dans les 'Journaux' de Stendhal / Lucy Garnier et Cécil Meynard
• Remémorer Rabelais en France au XIXe siècle : un souvenir d'avenir? / Tim Farrant
• Souvenirs zutiques, en vers et coutre tous / Denis Saint-Amand
• Cultural history in question : Flaubert's La Légende de saint Julien l'hospitalier and the genres of collective memory / Mary Orr
• Memory, vision and meaning in La Tentation de saint Antoine : the mechanics of a narrative hallucination / Carmen Mayer-Robin
• Territoire de la mémoire, territoire du réel dans La Faute de l'Abbé Mouret d'Emile Zola / Emilies Piton-Foucault
• Prophesying the past : memory and sacrifice in Barbey d'Aurevilly's Un prêtre marié / Francesco Manzini.

Memory and memory studies have shaped a major site of humanities research over the last twenty years. Examined by ethnographers, archaeologists, social scientists, historians, economists, archivists, art historians, and literary scholars, the theme of memory - individual memory and memoir, collective memory, official memory and oral memory, cultural memory and popular memory - has informed academic discourse and formed institutional structures. Yet, the matter of memory is, paradoxically, under-explored in studies of the ' long nineteenth century' in France. Mapping Memory in Nineteenth-Century French Literature and Culture focuses critical attention on that neglected century when France was struggling to negotiate the serially renewed memory of revolutionary turmoil and socio-cultural redefinition. This volume explores the spaces that the memory process claims and shapes, and it works to identify the crosscurrents that connect those spaces. It asks how memory resists - or cedes to - colonisations by authority, by official discourse, by history, and by aesthetics. It asks how memory-work coincides with or morphs into the processes of the imagination. Eschewing diachronic approaches, the contributors to this volume explore sites around which memory is concentrated or which it shapes and informs: Memory on the Street; Sites of National Memory; Metamorphoses: Memory and Literary Practice; and Memory' s Imaginary Spaces.
(source: Nielsen Book Data)

• Table of contents; list of figures; introduction; 1) la muette de portici; 2) fra diavolo (saltarella); 3) le dieu et la bayadère; 4) gustave iii, ou le bal masqué; 5) le lac de fées; 6) l'enfant prodigue; 7) zerline; 8) les rendezvous; 9) grand pas classique.

Daniel-François-Esprit Auber (Caen 29 January 1782- Paris 12/13 May 1871) is primarily remembered as one of the great masters of opéra-comique, but also played a very important role in the development of Romantic ballet through the long danced interludes and divertissements in his grand operas La Muette de Portici, Le Dieu et la Bayadère, Gustave III, ou Le Bal masque, Le Lac des fées, L'Enfant prodigue, Zerline, and the opéra-ballet version of Le Cheval de bronze. Auber also adapted music of ...

• Introduction: Alexandre Dumas as a francophone writer / Eric Martone
• The paternal mystery of Alexandre Dumas / Simone Dubrovic
• "White Negroes, nothing more": the ambiguous role of the "mulatto" in Alexandre Dumas's Georges / Molly Krueger Enz
• Monte Cristo brings the empire home: Alexandre Dumas and the promise of postcolonial philology / Indra N. Mukhopadhyay
• Georges, or the "mixed-blood" settles scores / Claudie Bernard
• From the literary myth to the lieu de mémoire: Alexandre Dumas and French national identity(ies) / Roxane Petit-Rasselle
• "Dent pour dent": injustice, revenge, and storytelling in The Count of Monte Cristo and Balzac and the little Chinese seamstress / Barbara T. Cooper
• "A French precursor of Obama": the commemoration of General Alexandre Dumas and French reconciliation with the past / Eric Martone.

Alexandre Dumas, author of The Three Musketeers, The Count of Monte Cristo, and The Man in the Iron Mask, is the most famous French writer of the nineteenth century. In 2002, his remains were transferred to the Pantheon, a mausoleum reserved for the greatest French citizens, amidst much national hype during his bicentennial. Contemporary France, struggling with the legacies of colonialism and growing diversity, has transformed Dumas, grandson of a slave from St. Domingue (now Haiti), into a symbol of the colonies and the larger francophone world in an attempt to integrate its immigrants and migrants from its former Caribbean, African, and Asian colonies to improve race relations and to promote French globality. Such a reconception of Dumas has made him a major figure in debates on French identity and colonial history. Ten tears after Dumas's interment in the Pantheon, the time is ripe to re-evaluate Dumas within this context of being a representative of la Francophonie. The French re-evaluation of Dumas, therefore, invites a reassessment of his life, works, legacy, and previous scholarship. This interdisciplinary collection is the first major work to take up this task. It is unique for being the first scholarly work to bring Dumas into the center of debates about French identity and France's relations with its former colonies. For the purposes of this collection, to analyze Dumas in a "francophone" context means to explore Dumas as a symbol of a "French" culture shaped by, and inclusive of, its (former) colonies and current overseas departments. The seven entries in this collection, which focus on providing new ways of interpreting The Three Musketeers, The Man in the Iron Mask, The Count of Monte Cristo, and Georges, are categorized into two broad groups. The first group focuses on Dumas's relationship with the francophone colonial world during his lifetime, which was characterized by the slave trade, and provides a postcolonial re-examination of his work, which was impacted profoundly by his status as an individual of black colonial descent in metropolitan France. The second part of this collection, which is centered broadly around Dumas's francophone legacy, examines the way he has been remembered in the larger French-speaking (postcolonial) world, which includes metropolitan France, in the past century to explore questions about French identity in an emerging global age.
(source: Nielsen Book Data)

• Preface and acknowledgements Introduction
• 1. Individual and societal secularisation in France and England
• 2. Recovering the porous individual
• 3. Thinking and believing
• 4. The fragments of secular society
• 5. Mending secular fragmentation
• 6. Ultimate societal values
• 7. Catholic religiosity and the hierarchical Church
• 8. Catholic religiosity and the charismatic Church Conclusion Bibliography Index
• .
• (source: Nielsen Book Data)

This book is the first comparative study of its kind to explore at length the French and English Catholic literary revivals of the late nineteenth and early twentieth centuries. It compares individual and societal secularisation in France and England and examines how French and English Catholic writers understood and contested secular mores, ideologies and praxis, in the individual, societal and religious domains. It also addresses the extent to which some Catholic writers succumbed to the seduction of secular instincts, even paradoxically in themes which are considered to be emblematic of Catholic literature. The breadth of this book will make it a useful guide for students wishing to become familiar with a wide range of such writings in France and England during this period. It will also appeal to researchers interested in Catholic literary and intellectual history in France and England, theologians, philosophers and students of the sociology of religion. -- .
(source: Nielsen Book Data)

• Military fraternity from the revolution to Napoleon
• Napoleonic friendship at the top : Marshal Lannes, General Duroc, General Junot
• Napoleonic friendship in the ranks : General Marbot, Captain Coignet, Sergeant Bourgogne
• Wannabes and Waterloo : Stendhal's Napoleonic latecomers
• Grave friendship : Hugo's miserable Waterloo
• An army of bachelors : Napoleonic veterans from Blaze to Balzac
• Combat companions and veteran bedfellows : Balzac's Major Hulot and Colonel Chabert
• Military daddies and veteran rogues : Balzac's Major Genestas and Colonel Bridau
• Neo-Napoleonic friendship : Maupassant, Zola, and the War of 1870
• Conclusion : homo military modernity: Proust and the First World War.

Following the French Revolution, radical military reforms created conditions for new physical and emotional intimacy between soldiers, establishing a model of fraternal affection that would persist from the revolutionary and Napoleonic wars through the Franco-Prussian War and World War I. Based on extensive research in French and American archives, and enriched by his reading of Napoleonic military memoirs and French military fiction from Hugo and Balzac to Zola and Proust, Brian Joseph Martin's view encompasses a broad range of emotional and erotic relationships in French armies from 1789 to 1916. He argues that the French Revolution's emphasis on military fraternity evolved into an unprecedented sense of camaraderie among soldiers in the armies of Napoleon. For many soldiers, the hardships of combat led to intimate friendships. For some, the homosociality of military life inspired mutual affection, lifelong commitment, and homoerotic desire.
(source: Nielsen Book Data)

This edited collection aims to examine the popularisation of science for children in Britain and France from the middle of the eighteenth century to the end of the Victorian period. It compares and contrasts for the first time popular science works published at the same time in the two countries, focusing both on non-fictional and fictional texts. Starting when children?s literature emerged as a genre to the end of the nineteenth century it addresses the ways in which popular science for chil ...

• Introduction : out of the archive
• Romantic exoticism : Eugénie Foa and the dilemmas of assimilation
• Between realism and idealism : Ben-Lévi and the reformist impulse
• A conservative renegade : Ben Baruch and neo-orthodoxy
• Village tales : Alexandre Weill and mosaic monotheism
• Ghetto fiction : Daniel Stauben, David Schornstein, and the uses of the Jewish past
• Conclusion : Proust's progenitors.

In this book, Maurice Samuels brings to light little known works of literature produced from 1830 to 1870 by the first generation of Jews born as French citizens. These writers, Samuels asserts, used fiction as a laboratory to experiment with new forms of Jewish identity relevant to the modern world. In their stories and novels, they responded to the stereotypical depictions of Jews in French culture while creatively adapting the forms and genres of the French literary tradition. They also offered innovative solutions to the central dilemmas of Jewish modernity in the French context-including how to reconcile their identities as Jews with the universalizing demands of the French revolutionary tradition. While their solutions ranged from complete assimilation to a modern brand of orthodoxy, these writers collectively illustrate the creativity of a community in the face of unprecedented upheaval.
(source: Nielsen Book Data)

• 1 Table of Contents 2 List of Figures 3 Acknowledgments
• Chapter 4 Introduction
• Chapter 5
• 1. Conspiracy
• Chapter 6
• 2. Legality
• Chapter 7
• 3. Fraud
• Chapter 8
• 4. Imposture
• Chapter 9
• 5. Charivari
• Chapter 10
• 6. Absurdity
• Chapter 11 Conclusion 12 Bibliography 13 Index 14 About the Author.
• (source: Nielsen Book Data)

Where do democratic political practices originate? This issue has long concerned republics, but few historians have studied the process by which people learn the skills of rights-based government. In this illuminating history, Amy Wiese Forbes addresses these origins by analyzing how republicanism took shape through the political satire that flooded French newspapers, theaters, courtrooms, and even academic life in 1830. Forbes shows that satire was the chief source of the critical spirit of republicanism that erupted in the 1840s and sustained the Republic in the 1870s and argues against the notion that satire had no lasting political impact. This book will speak to historians of French politics, republicanism, popular culture, the July Monarchy, satire and political humor, class and gender formation, and legal history.
(source: Nielsen Book Data)
The Satiric Decade analyzes the impact on republicanism of French political satire in newspapers, theaters, street behavior, and even the academy in the 1830s. Author Amy Wiese Forbes argues that satire gave rise to the critical spirit and republicanism that erupted in the 1848 Revolution and that propelled the process by which France evolved from an absolutist monarchy to a liberal and democratic polity in the 1870s.
(source: Nielsen Book Data)

• Frontmatter
• Sommaire
• Préface
• I. Traduire la poésie allemande en France entre 1820 et 1850
• II. La poésie allemande en traduction française dans la première moitié du XIXe siècle – étude de cas
• III. Orientations de la traduction de la poésie allemande en français entre 1820 et 1850
• IV. Traduction de poésie allemande et nouvelle perception poétique française au XIXe siècle – Eléments pour une réévaluation
• Pour une conclusion
• Backmatter

• The wages of shame
• Worlds apart: mapping prostitution and the demi-monde
• Fictions of prostitution
• La Sapho, or staging vengeance
• Plotting exoneration
• Chabrillan's final novels, or the uses of fiction.

Writing with a Vengeance examines the life and works of a nineteenth-century French courtesan, C leste V nard, later the Countess de Chabrillan. A notorious Paris courtesan, Chabrillan married into the nobility, taught herself to write (penning two series of memoirs) and, upon being widowed, wrote novels to support herself - ten, between 1857 and 1885. These novels and memoirs constitute exceptional literary and historical documents, particularly as very few sex workers before the twentieth century have left written records of their lives. Writing with a Vengeance intertwines the courtesan's autobiographical account of the horrors of her life on the streets with that era's political, medical, and cultural discourses surrounding prostitution. Though French society both silenced and refused to pardon the prostitute, Carol Mossman's literary analysis of Chabrillan's novels contends that it is through the process of writing itself that she arrived at self-forgiveness and ultimately refashioned for her damaged self a new identity and narrative.
(source: Nielsen Book Data)

• TABLE OF CONTENTS; INTRODUCTION; CHAPTER ONE; CHAPTER TWO; CHAPTER THREE; CHAPTER FOUR; CHAPTER FIVE; CHAPTER SIX; CHAPTER SEVEN; CHAPTER EIGHT; REFERENCES; CONTRIBUTORS; INDEX.

The articles assembled in Culture Wars and Literature in the French Third Republic describe and analyze the ever-widening attempts in the early years of the Third Republic (1870-1914) to mobilize literary phenomena for the purposes of political and social warfare. Literature became the preferred site in which the human implications of the fiercest and most widespread of these culture wars, the battles over national identity waged between proponents of secular and religious education, were articulated, dramatized and appraised. In studies of Erckmann-Chatrian and Valles, Rachilde and Colette, the Goncourt brothers and Marcelle Tinayre, La Fontaine and Corneille, the song-writer Jules Jouy and the theater critic Francisque Sarcey among others, some of these essays open up new perspectives on well-known issues such as education, the definition of national classics, Boulangism and women's liberation, while others bring to light hitherto unsuspected connections between apparently disparate problems like decadence, anarchism and feminism, the mystery of literariness and the ban on Muslim headscarves, or the posthumous publication of private letters and the State's interest in cultural and literary heroes. The final piece crystallizes the fundamental conflict of democratization: the tension between the republican desire for popular participation and the fear of the consequences of that participation by an uncultured public.
(source: Nielsen Book Data)

Reconstructing the Middle Ages looks at nineteenth-century medievalism in France using as a case study Gaston Paris, philologist, literary critic and professor of medieval studies. Gaston Paris's method, traditionally seen as a combination of romanticism and positivism, exemplifies several elements of nineteenth-century medievalism in the Parisian academia in late nineteenth-century France. The text investigates Gaston Paris's theories about three medieval literary genres (epic, fabliaux, and Arthurian tales) to understand how Paris's view of medieval literature and history cross-related with nationalism at a time when France was particularly vulnerable, and at which French academics were especially eager to make a long-lasting contribution. Examining the work of Gaston Paris and his interaction with other scholars in the Parisian milieu, Reconstructing the Middle Ages offers a look at academic medievalism and the history philology, linguistics and literary and textual criticism in late nineteenth-century France. In particular, the book shows that when it comes to the self-image of France, medievalism was a topic that reached far beyond the walls of academia as it was related to national pride, memory and identity.
(source: Nielsen Book Data)

• Acknowledgments Introduction On Textual Genesis, Translation and Resurrection Claudine GROSSIR: George Sand: la genese des fins de romans Stephen GODDARD: Flaubert, Apuleius and Ovid: The Genesis of a Recurring Theme Larry DUFFY: Perdue en traduction: Translation, Betrayal and Death in Merimee's Carmen David EVANS: Le Tombeau de la Poesie: Strategies of Textual Resurrection in Mallarme and Banville Narratives of Birth and Death Peter COGMAN: Wilde's Salome: Tenses, Tension and Progression in Salome's Final Monologue Isabelle MICHELOT: Figures de l'artiste et comediens du reel: de la difficile naissance a l'implacable mort dans La Comedie humaine Barbara GIRAUD: Soeur Philomene ou comment la mort s'invite a l'hopital Kiera VACLAVIK: Death for Beginners: Nineteenth-Century Katabatic Narratives for Young Readers Problematizing Maternity and Femininity Maria SCOTT: Stendhal's Rebellious Mothers and the Fight Against Death-by-Maternity Catherine DUBEAU: La Mort de Madame de Vernon et les deux denouements de Delphine: invention romanesque et reminiscences maternelles chez Madame de Stael Carmen K. MAYER-ROBIN: Midwifery and Malpractice in Fecondite: Zola's Fictional History of Problematical Maternities Nathalie DUMAS: L'Erotisme cristallin de Theophile Gautier: etude de la figure de la `morte amoureuse' dans les contes fantastiques Aestheticizing Bodily Death Philippe BERTHIER: L'Evangile de la pourriture selon Saint Huysmans: Lydwine de Schiedam Isabelle DROIT: Une esthetique de la mort au dix-neuvieme siecle: Alphonse Daudet Pascal CARON: Selon Max Nordau: le poeme naturel du corps de Mallarme Claire MORAN: The Aesthetics of Self-Skeletonization in James Ensor Notes on Contributors Index.
• (source: Nielsen Book Data)

This volume draws contributors from around the globe who represent the full range of approaches to scholarship in nineteenth-century French studies: historical, literary, cultural, art historical, philosophical, and comparative. The theme of the volume - Birth and Death - is one with particular resonance for nineteenth-century French studies, since the nineteenth century is commonly perceived as an age of new life and renovation. It is the epoch that witnessed an efflorescence of industrial and artistic progress, the birth of the individual and the birth of the novel, and the creation of an urban population in the major demographic shift from the rural provinces to Paris. At the same time, however, it is the century of Decadence and degeneration theory, marked by a prominent morbid aesthetic in the artistic sphere and a fascination with criminality, moral decay and the pathologization of racial and sexual minorities in the scientific discourses. It is also the century in which reflection on processes of artistic creation begins to problematize concepts of mimetic representation, the function of the author and the status of the text. In the context of the dialectical quality of nineteenth-century French culture, caught between an obsession with the new and innovative and a paranoid sense of its own encroaching decay, the twin themes of birth and death open onto a variety of issues - literary, social, historical, artistic - which are explored, interrogated and reassessed in the essays contained in this volume.
(source: Nielsen Book Data)

• Acknowledgments Introduction Chapter One: The Dominance of Parnassian Poetry Chapter Two: Verlaine's Identities Chapter Three: Rimbaud, Beyond Time and Space Conclusion Bibliography Index.
• (source: Nielsen Book Data)

Leaving Parnassus: The Lyric Subject in Verlaine and Rimbaud considers how the crisis of the lyric subject in the middle of the nineteenth century in France is a direct response to the aesthetic principles of Parnassian poetry, which dominated the second half of the century much more than critics often think. The poets considered here rebel against the strict confines of traditional and contemporary poetry and attempt to create radically new discursive practices. Specifically, the close readings of poems apply recent studies of subjectivity in poetry and focus on the works of Paul Verlaine and Arthur Rimbaud to see how each subverts the dominant tradition of French poetry in a unique way. Whereas previous studies considered isolated aspects of each poet's lyric subject, Leaving Parnassus shows that the situation of the lyric is a source of subversion throughout the poets' entire work, and as such it is crucial to our full understanding of their respective innovations.
(source: Nielsen Book Data)

• Chapter 1 Introduction: The Branches of Romanticism
• Chapter 2 A Kiss Sent by Mail: The Expression of Passion in Rousseau's Julie, ou La Nouvelle Heloise
• Chapter 3 Between Two Worlds: Germaine de Stael's De L'Allemagne
• Chapter 4 Lucidity and Passion in Diderot's Aesthetics
• Chapter 5 Romantic Aesthetics: Wordsworth and Baudelaire
• Chapter 6 Aesthetics after Romanticism: On Originality, Individuality, and Autonomy in Art
• Chapter 7 A Sketch of Postromanticism
• Chapter 8 The Postromantic Manifesto
• Chapter 9 Postromantic Artists (postromanticism).
• (source: Nielsen Book Data)

Claudia Moscovici asserts in Romanticism and Postromanticism that the Romantic heritage, far from being important only in a historical sense, has philosophical relevance and value for contemporary art and culture. With an emphasis on artistic tradition as a continuing source of inspiration and innovation, she touches upon each main branch of philosophy: aesthetics, epistemology, and ethics.
(source: Nielsen Book Data)

• Energetic signs: autonomy and novelty in the age of revolution
• Revealing freedom: crisis and enthusiasm in Kant's philosophy of history
• Poetics of containment: Goethe's Conversations of German refugees and the crisis of communication
• Border narratives: Kleist's Michael Kohlhaas
• Conclusion: The big either.

Passions of the Sign traces the impact of the French Revolution on Enlightenment thought in Germany as evidenced in the work of three major figures around the turn of the nineteenth century: Immanuel Kant, Johann Wolfgang von Goethe, and Heinrich von Kleist. Andreas Gailus examines a largely overlooked strand in the philosophical and literary reception of the French Revolution, one which finds in the historical occurrence of revolution the expression of a fundamental mechanism of political, conceptual, and aesthetic practice. With a close reading of a critical essay by Kleist, an in-depth discussion of Kant's philosophical writing, and new readings of the novella form as employed by both Goethe and Kleist, Gailus demonstrates how these writers set forth an energetic model of language and subjectivity whose unstable nature reverberates within the very foundations of society. Unfolding in the medium of energetic signs, human activity is shown to be subject to the counter-symbolic force that lies within and beyond it. History is subject to contingency and is understood not as a progressive narrative but as an expanse of revolutionary possibilities; language is subject to the extra-linguistic context of utterance and is conceived primarily not in semantic but in pragmatic terms; and theindividual is subject to impersonal affect and is figured not as the locus of self-determination but as the site of passions that exceed the self and its pleasure principle. At once a historical and a conceptual study, this volume moves between literature and philosophy, and between textual analysis and theoretical speculation, engaging with recent discussions on the status of sovereignty, the significance of performative language in politics and art, and the presence of the impersonal, even inhuman, within the economy of the self.
(source: Nielsen Book Data)

• 1. A Feminine Genre: Romance and Women
• 2. Passion, Piety, and the New Woman: Romantic Fiction at the Belle Epoque
• 3. Reaction and Resistance: Romance in the 1930s and under the Occupation
• 4. Love in a Brave New World: Romance in the Fifties
• 5. Romance after Feminism
• 6. Love in a Postmodern Age: Contemporary Romance in France.
• (source: Nielsen Book Data)

Romance in modern times is the most widely read yet the most critically despised of genres. Associated almost entirely with women, as readers and as writers, its popularity has been argued by gender traditionalists to confirm women's innate sentimentality, while feminist critics have often condemned the genre as a dangerous opiate for the female masses. This study adopts the more positive perspective of critics such as Janice Radway, and takes seriously the pleasure that women readers consistently seem to find in romance. Drawing on the social constructionist feminism of Simone de Beauvoir, the psychoanalytical theories of Jessica Benjamin, and a range of social theorists from Bourdieu to Zygmunt Bauman, the book uncovers the history of romantic fiction in France from the late nineteenth to the early twenty-first century, and explores its place in women's lives and imaginations. Romance is not defined - as it usually is - solely in terms of its mass-market form. Rather, the history of women's popul.
(source: Nielsen Book Data)

• The theater of the Revolution
• The drama of the Revolution
• The Revolution and British theatrical politics
• The fall of Robespierre and the tragic imagination
• Reviving the Revolution: Dantons Tod.

"Tragedy Walks the Streets challenges the conventional understanding that the evolution of European drama effectively came to a halt during France's Revolutionary era. In this interdisciplinary history of the emergence of modern drama in European culture, Matthew S. Buckley contends that the political theatricality of the Revolution tested and forced the evolution of dramatic forms, supplanting the theater itself as the primary stage of formal development.
Drawing on a wide range of texts and images, he demonstrates how the social and political enlistment of dramatic theatricality inflected rising social and political tensions in pre-Revolutionary France, shaped French Revolutionary political culture, conditioned British political and cultural responses to the Revolution, and served as the impetus for Buchner's radical formal innovations of the 1830s."--Jacket.

• Patterns of revival
• Uses, appropriations, meanings.

In an era of heightened patriotic fervor following France's defeat in the Franco-Prussian War, Parisians packed concert halls to hear performances of Handel's oratorios and Bach's organ works. At the same time, both royalists and republicans called for the re-evaluation of the once detested musique francaise of the ancien regime. Musicologist Katharine Ellis examines these unlikely aspects of cultural life in the new Republic as part of a broader study of the early music revival in nineteenth-century France. This revival gives us a vivid sense of how music's cultural meanings were contested, distilled into dominant visions, and then often revised. Peppering the century are famous fakes, pastiches and other creative negotiations between past and present. Descriptions of these phenomena by contemporary witnesses reveal how dissent could run along social, religious and political lines, and why certain genres became idealized while others were disparaged. After providing an overview of trends and contexts throughout the century, Ellis examines specific repertoires that evoked unusually spirited advocacy and debate. She explores the attempts to revive French Baroque stage music in the 1870s; arguments on the appropriateness of Palestrina's liturgical music; the reception of Bach and Handel, and their relation to French choral activity; and, finally, musical "Frenchness." Four case-study chapters focus on key debates and repertories stretching from Adam de la Halle to Rameau, via Josquin, Janequin, Palestrina, Bach and Handel. Interpreting the Musical Past discusses what is at stake in the construction of a musical heritage, and how ideology informs musical value judgements. In its focus on the nature of musical experience and the meaning of music in society, the book explores amateur and professional music-making; working-class, aristocratic and bourgeois cultural life; national pride; religious politics; and ritual, both liturgical and secular. Based on extensive primary research in Paris and the French regions, Interpreting the Musical Past is at once a history of culture, of reception, and of historiography. Covering five centuries of music (from the mid-thirteenth to the mid-eighteenth centuries) and a century of French history, it explains long-term changes of cultural meaning while celebrating the richness of local detail. This study of musical revivalism offers a penetrating analysis of what lies at the heart of the construction, championing, and development of a musical cultural memory.
(source: Nielsen Book Data)

First published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.
(source: Nielsen Book Data)

• Chapter 1 Reading and Power in the Nineteenth Century
• chapter 2 "The Pathway from Slavery to Freedom": Frederick Douglass's Narrative of the Life of
• Frederick Douglass's Narrative of the Life of / Frederick Douglass
• chapter 3 The Passage to Middle-Class Respectability
• Horatio Alger's Ragged Dick
• chapter 4 The Road to Revolt
• Emile Zola's Germinal
• chapter 5 Women, Reading, and Power
• chapter 6 The Demonic Underneath the Angelic Little Woman: Louisa May
• Louisa May Alcott's Little Women / Alcott's Little Women
• chapter 7 A Little Woman Gone Astray
• Gustave Flaubert's Madame Bovary.

First Published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.
(source: Nielsen Book Data)

• Debris, mess and the modernist self: RImbaud from Poésies to the Illuminations
• Material fragments, autobiographical fantasy: reading Apollinaire's Calligrammes
• From culture critique to poetic capital: Ponge's things-in-language
• Sweeping the (sub)urban savannah: everyday culture and the Réadean sublime.

In The Material, the Real, and the Fractured Self, Susan Harrow explores the fascinating interrelation of subjectivity, materiality, and representation in the poetry and related texts of four modern French writers: Arthur Rimbaud, Guillaume Apollinaire, Francis Ponge, and Jacques R da. She demonstrates the richness and the relevance of modern French poetry for today's readers, putting contemporary thought to work on the fractured self emerging in the post-Baudelairian lyric. Harrow addresses the widely perceived marginalization of poetry in the writing/theory debate, demonstrating that the emergence of a self at once shaped by and straining against material, historical, subjective, and cultural impediments reveals fertile relations between theory and poetry. Where purer forms of postmodernist thinking have stressed the dissolution and dispersal of the human subject, new approaches informed by cultural studies, autobiography theory, and gender studies work to recover fictions of experience and retrieve submerged narratives of the self. Probing the activity of textual self-recovery among the debris of history and fantasy, visuality and desire, and culture and corporeality, The Material, the Real, and the Fractured Self imparts something of the startling beauty and the raw urgency of poetry writing across the broad modern period.
(source: Nielsen Book Data)

• Acknowledgments Introduction
• 1. A Nation within the Nation? The Jews of Old Regime France
• 2. Jews and Philosophes
• 3. Jews and Citizens
• 4. Contrapuntal Readings: Jewish Self-Representation in Prerevolutionary France
• 5. Constituting Differences: The French Revolution and the Jews
• 6. Familiar Strangers: Napoleon and the Jews Conclusion: Jews and Other "Others" Epilogue Notes Bibliography Index.
• (source: Nielsen Book Data)

Enlightenment writers, revolutionaries, and even Napoleon discussed and wrote about France's tiny Jewish population at great length. Why was there so much thinking about Jews when they were a minority of less than one percent and had little economic and virtually no political power? In this unusually wide-ranging study of representations of Jews in eighteenth-century France - both by Gentiles and Jews themselves - Ronald Schechter offers fresh perspectives on the Enlightenment and French Revolution, on Jewish history, and on the nature of racism and intolerance. Informed by the latest historical scholarship and by the insights of cultural theory, "Obstinate Hebrews" is a fascinating tale of cultural appropriation cast in the light of modern society's preoccupation with the 'other'. Schechter argues that the French paid attention to the Jews because thinking about the Jews helped them reflect on general issues of the day. These included the role of tradition in religion, the perfectibility of human nature, national identity, and the nature of citizenship. In a conclusion comparing and contrasting the 'Jewish question' in France with discourses about women, blacks, and Native Americans, Schechter provocatively widens his inquiry, calling for a more historically precise approach to these important questions of difference.
(source: Nielsen Book Data)

• Table of Contents - 6[-]Preface - 8[-]Acknowledgements - 12[-]Introduction - Reassessing Rembrandt - 16[-]1 Reinventing the Biography, Creating the Myth - The Formation of Rembrandt's Artistic Persona in Nineteenth-Century France - 30[-] Plates - 63[-]2 Politicizing Rembrandt - An Exemplar for New Aesthetic Values, Realism, and Republicanism - 82[-]3 Picturing the Myth - Rembrandt's Body and Images of the Old Master Artist - 124[-]4 Rembrandt the -Master - Choosing an Ancestral Figure for French Painter-Printmakers - 158[-]5 The Rembrandt Strategy - Etchers and Engravers Fashion their Professional Identities - 216[-]Conclusion - Repercussions of the Cult of Rembrandt - 284[-]Notes - 300[-]Appendix - Interpretive Prints after Rembrandt - 348[-]Bibliography - 356[-]Illustration Acknowledgments - 376[-]Index - 380.
• (source: Nielsen Book Data)

Rembrandt's life and art had a mythical resonance among ninetheenth-century French artists, writers and collectors. Artists and critics used Rembrandt's artistic persona as a benchmark and justification for their own goals and some reconstructed and falsified history while making making Rembrandt and ancestral figure whom they heralded as their talisman. This study, the first in-depth examination of the reception of Rembrandt in nineteenth-century France, analyzes the preoccupation with his perceived authenticity, originality and republicanism. This innovative book considers the written texts, prints, sculpture, painting, posters, and theatrical performances that demonstrate the growing power of the myth of Rembrandt.
(source: Nielsen Book Data)

• Preface-- Acknowledgments-- Introduction--
• 1. Novels reproved and reprieved--
• 2. Representing revolution--
• 3. The new philosophy--
• 4. The Vaurien and the hierarchy of Jacobinism--
• 5. Levellers, Nabobs and the manners of the great: the novel's defense of hierarchy--
• 6. The creation of orthodoxy: constructing the anti-Jacobin novel-- Conclusion-- Bibliography-- Index.
• (source: Nielsen Book Data)

The French Revolution sparked an ideological debate which also brought Britain to the brink of revolution in the 1790s. Just as radicals wrote 'Jacobin' fiction, so the fear of rebellion prompted conservatives to respond with novels of their own; indeed, these soon outnumbered the Jacobin novels. This was the first survey of the full range of conservative novels produced in Britain during the 1790s and early 1800s. M. O. Grenby examines the strategies used by conservatives in their fiction, thus shedding new light on how the anti-Jacobin campaign was understood and organised in Britain. Chapters cover the representation of revolution and rebellion, the attack on the 'new philosophy' of radicals such as Godwin and Wollstonecraft, and the way in which hierarchy is defended in these novels. Grenby's book offers an insight into the society which produced and consumed anti-Jacobin novels, and presents a case for reexamining these neglected texts.
(source: Nielsen Book Data)

• Introduction to literature's encounter with science
• Balzac and the unity of knowledge
• Flaubert and the ambiguous victory of positivism
• Zola's collaborative rivalry with science
• Proust and the end of epistemic competition.

In ""Fiction Rivals Science"", Allen Thiher describes the epistemic rivalry that the major 19th-century French novelists felt in dealing with science. After brief considerations of Stendhal, Thiher focuses on the four most important ""realist"" novelists in France: Balzac, Flaubert, Zola, and, going into the 20th century, Proust. According to Thiher, each of these novelists considered himself to be in competition with science to make the novel an instrument for knowledge. The first chapter sets forth the understanding of science that dominated the early 19th century in order to make it plausible that literary minds, throughout the 19th century, thought that they could not only rival science, but even make positive contributions to knowledge. The Newtonian paradigm that had dominated the Enlightenment was slowly being challenged by new developments both in physics and in nonphysical sciences such as biology. Especially in biology the development of a scientific discourse using narrative temporality favoured the idea that novelists could also use fiction to construct discourses that advanced knowledge. Balzac wanted to construct a natural history of society and correct the chemical theory of his time. Flaubert drew upon medicine and physiology for the rhetoric of his realist fiction. Zola used unsuccessful medical paradigms for his doctrine of heredity, and models drawn from thermodynamics to describe the relation of the individual to societal forces. Finally, Proust drew upon thinkers such as Poincare to elaborate an epistemology that put an end to the rivalry novelists might feel with scientists. Proust located certain knowledge within the realm of human subjectivity while granting the power of laws to rule over the contingent realm of physical reality, in which, after Poincare, neither mathematics not Newton was any longer a source of absolute certainty. Proust's novel is thus the last great realist work of the 19th century and the first modernist work of consciousness taking itself as the object of knowledge. By demonstrating that the great French realist novelists dealt with many of the same problems as did the scientists of the 19th century, ""Fiction Rivals Science"" attempts to show how culture unites literary and scientific inquiry into knowledge. Providing a new interpretation of the development of literary realism, this important new work should be welcomed not only by literary scholars, but by historians of science and culture as well.
(source: Nielsen Book Data)