• 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.
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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.
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• 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.
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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).
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• TABLE OF CONTENTS; PROLOGUE; CHAPTER ONE; CHAPTER TWO; CHAPTER THREE; CHAPTER FOUR; CHAPTER FIVE; CHAPTER SIX; CHAPTER SEVEN; EPILOGUE; BIBLIOGRAPHY; INDEX.

British Music and the French Revolution investigates the nature of British musical responses to the cataclysmic political events unfolding in France during the period of 1789-1795, a time when republican and royalist agendas were in conflict in both nations. While the parallel demands for social and political change resulted from different stimuli, and were resolved very differently, the 1790s proved to be a defining period for each country. In Britain, the combination of a protracted period of Tory conservatism, and the strong spirit of patriotism which swept the nation, had a profound influence on the arts. There was an outpouring of concert and theatrical music dealing with the French Revolution and the subsequent war with France. While patriotic songs might be expected when a country is at war, the number of recreations on the London stages of events taking place on the Continent may surprise. Initially, such topical subjects were restricted to the summer or "minor" theatres; however, government restrictions were relaxed after 1793, giving Londoners the opportunity to see topical theatre in the royal or "patent" theatres, as well. The resulting repertoire of plays and recreations (often propagandist in nature) made considerable use of music, and those performed in the "minor" theatres were all-sung. Consequently, there exists a large repertoire of music which has been little studied. British Music and the French Revolution investigates this repertoire within a social and political context. Initial chapters examine the historical relationship between France and Britain from a musical perspective, the powerful symbols of national identity in both countries, and the complex laws that governed commercial theatres in London. Thereafter, the materials are presented in a chronological fashion, starting with the fall of the Bastille in 1789, and the Fete de la Federation in 1790. The period of the Captivity was one of growing tension and fear in both France and Britain as war became an ever-increasing threat between the two nations. Two subsequent chapters examine the war years of 1793 until first half of 1795. The choice of a five-year period allows the reader to follow British musical reactions to the fall of the Bastille and subsequent events up to the rise of Napoleon.
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• Contents: Introduction-- Catechisms: a retrospective-- Reason: usage and meaning-- In two minds: constitutional monarchy-- Republican questions-- Republican answers-- After Thermidor-- Concluding remarks-- Bibliography-- Index.
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At the heart of the French Revolution there lay a fundamental paradox: how to liberate the minds of the people whilst simultaneously ensuring their loyalty to the new regime. It is an exploration of the facts and implications of this tension that forms the basis of this study, which reconstructs the intellectual world of the Revolution. The new radical regime attacked the old institutionalized forms of Catholic worship and instruction, yet retained the catechetical outlook with its dogmatic mindset as an important feature of political education. Catechisms not only conveyed information in an accessible manner, they also revealed the intellectual tendencies of those who favoured the genre. Civic catechisms were meant to play an important part of revolutionary instruction; they were the only category of texts repeatedly mentioned in the National Assembly and in various pieces of legislation, including education bills, and there were calls for a 'national catechism'. The status of the catechisms changed throughout the Revolution, and this study also investigates the degree of continuity of purpose across the period, as well as the catechisms' place alongside other texts such as speeches and bills. An important contribution to the literature on the intellectual history of the French Revolution, this book will also be of interest to scholars of rhetoric, education and the intellectual history of the eighteenth century, as well as to revolutionary studies in general.
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• List of Illustrations-- List of Abbreviations-- Acknowledgements-- Introduction--
• 1. The Catholicity of 'Frost at Midnight'--
• 2. The Submerged History of 'The Ancient Mariner'--
• 3. Ungodly Visions--
• 4. A Tale of Remorse-- Conclusion-- Bibliography-- Index.
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The Romantic phenomenon of multiple texts has been shaped by the link between revision and authorial intent. However, what has been overlooked are the profound implications of multiple and contradictory versions of the same text for a materialist approach; using the works of Coleridge as a case study and the afterlife of the French Revolution as the main theme, this monograph lays out the methodology for a more detailed multi-layered analysis. Scrutinising four works of Coleridge (two poems, a newspaper article and a play), where every major variant is read as a separate work with its own distinct socio-historical context, Ve-Yin Tee challenges the notion that any one text is representative of its totality. By re-reading Coleridge in the light of alternative textual materials within that time, he opens a wider scope for meaning and the understanding of Coleridge's oeuvre.
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• 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.
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• 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.

• 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.
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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.
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• Acknowledgements-- Note on the text-- Introduction--
• 1. England and France in 1789--
• 2. The Revolution--
• 3. From the federation to the terror--
• 4. Dramatising (the) terror--
• 5. Performance and performing--
• 6. The shadow of Napoleon--
• 7. Theatre and alienation-- Reflections towards a conclusion-- Notes-- Bibliography-- Index.
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During the French Revolution most performances on the London stage were strictly censored, but political attitudes found indirect expression. New and popular genres like pantomime, gothic drama, history plays, musical and spectacular entertainment, and, above all, melodrama provided metaphors for the hopes and fears inspired by the conflict in France and subsequent European wars. This 2001 book looks at how British drama and popular entertainment were affected by the ideas and events of the French Revolution and Napoleonic Wars. He argues that melodrama had its origins in this period, with certain gothic villains displaying qualities attributed to Robespierre and Napoleon, and that recurrent images of incarceration and dispossession reflected fears of arbitrary persecution, from the tyranny of the Bastille to the Jacobin's Reign of Terror. By a cultural analysis of the popular entertainment and theatre performances of the eighteenth and nineteenth centuries Taylor reveals issues of ideological conflict and psychological stress.
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• Preface; Introduction The Notions of "Performing History"; Refractions of the Shoah on Israeli Stages Theatre and Survival; The Theatrical Modes of Israeli Shoah Performances; Yehoshua Sobol, "Ghetto"; Dudu Ma'ayan, "Arbeit macht frei vom Toitland Europa"; Hanoch Levin, "The Boy Dreams"; Three European Productions about the French Revolution; Peter Brook, "Marat/Sade"; Ariane Mnouchkine, "1789"; Ingmar Bergman, "Madame de Sade"; Three American Productions of "Danton's Death"; Büchner's Play and Its Beholders; The Production Qualities; The Individualized Crowd; The Execution.

• Theatrical EnergiesTextual Energies; From Textual to Performative Energies; Performance Energies; The Eavesdropper and the Survivor-Witness; Metaphysical Energies; Epilogue; Notes; Bibliography; Index.

Collective identities grow from a sense of the past, and the theatre very forcefully participates in the ongoing representations of and debates about the past, sometimes by contesting them and sometimes by reinforcing them. In his examination of the ways in which the theatre after World War II has presented different aspects of the French Revolution and the Holocaust, Freddie Rokem shows us that by "performing history" actors - as witnesses for the departed witnesses - bring the historical past and the theatrical present together. Rokem analyzes the significance of stage representations of the French Revolution and the Holocaust in different national contexts: the United States and Europe for performances about the French Revolution and Israel for performances about the Holocaust. By pointing out both the great diversity and the common features of these performances, he draws attention to the complex collective efforts and the creativity of playwrights, directors, designers and actors as they connect their theatrical energies to a specific historical past. He also focuses on the ways in which audiences in different cultures have been affected by and even had an influence on the ideological debates embedded in these performances. Rokem looks at plays and performances by Yehoshua Sobol, Dudu Ma'ayan and Hanoch Levin in Israel; Peter Brook, Ariane Mnouchkin and Ingmar Bergman in Europe; and Orson Welles, Herbert Blau and Robert Wilson in the United States. Drawing upon these and upon his own life in Europe, Israel and the United States, Rokem makes us aware of the critical interaction between the failures of history and the efforts to create viable and meaningful works of art.
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• The romantic movement at the end of history
• The color of imagination and the office of romantic criticism
• Ecce homo: the end of the French Revolution and the romantic reinvention of English verse
• The dark romanticism of the Edinburgh review
• Romantic hope: the maid of Buttermere, the right to write, and the future of liberalism
• Clerical liberalism: Walter Scott's world picture
• Using: romantic ethics and digital media in the ruins of the university.

The Romantics lived through a turn of the century that seemed to mark an end to history as it had long been understood. They faced accelerated change, including unprecedented state power, mass armies capable of mass destruction, a polyglot imperial system and a market economy driven by speculation. In this study, Jerome Christensen chooses as his points of departure the dates 1798, 1802 and 1815 - times of war, truce and peace - to reconsider how English Romantic writers defined their relationship to radical social and political changes that seemed answerable to no author and directed to no clear goal. Opposing the prevailing attitude that Romanticism is an extended exercise in bad faith to be condemned for its denial of the facts of social injustice, Christensen shows that the ethic capably imagined by the Romantics is the tool, not just the object, of critique. In a revisionary account of the way first-generation Romantics responded to the crisis of revolution and war, he identifies the emergence of an anthropological imagination that conceived of poetry as the notation of fugitive differences that escaped the impasse of England versus France, friend versus foe. Christensen produces provocative and searching readings of the poetry of Wordsworth; the poems, criticism, and journalism of Coleridge; the "Confessions" of De Quincey; and Sir Walter Scott's "Waverley". He concludes that, in practice, Romanticism matters because it promotes and performs "an ethics of imaginative, collaborative work." In the book's final chapter, Christensen applies this idea of Romantic ethics to modern-day academia, prompting a reconsideration of how universities ought to approach the study of the humanities in a time of rapid technological innovation and dislocating social change.
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• Introduction--
• 1. Despotism of liberty: Robespierre and the illusion of politics--
• 2. The politics of confession in Rousseau and Robespierre--
• 3. Chivalry, justice and the law in William Godwin's Caleb Williams--
• 4. 'The Prometheus of Sentiment': Rousseau, Wollstonecraft and aesthetic education--
• 5. Strangling the infant Hercules: Malthus and the population controversy--
• 6. 'The virtue of one paramount mind': Wordsworth and the politics of the mountain--
• 7. 'Sour Jacobinism': William Hazlitt and the resistance to reform-- Bibliography.
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This book re-opens the question of Rousseau's influence on the French Revolution and on English Romanticism, by examining the relationship between his confessional writings and his political theory. Gregory Dart argues that by looking at the way in which Rousseau's writings were mediated by the speeches and actions of the French Jacobin statesman Maximilien Robespierre, we can gain a clearer and more concrete sense of the legacy he left to English writers. He shows how the writings of William Godwin, Mary Wollstonecraft, William Wordsworth and William Hazlitt rehearse and reflect upon the Jacobin tradition in the aftermath of the French revolutionary Terror.
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• Female confinement literalized: The Wrongs of woman; or, Maria
• Breaking the "magic circle": from repression to effusion in Memoirs of Emma Courtney
• The mother and daughter: the dangers of replication in The Victim of prejudice
• Resisting the phallic: a return to maternal values in Julia
• Disruption and containment: the mother and daughter in A Simple story
• Resisting the symbolic: exile and exclusion in Nature and art
• Contradictory narratives: feminine ideals in Emmeline
• Revolutionary politics: domesticity and monarchy in Desmond
• Celebrating the ex-centric: maternal influence in The Young philosopher.

Barton Friedman demonstrates the ways in which English men of letters in the nineteenth century attempted to grasp the dynamics of history and to fashion order, however fragile, out of its apparent chaos. The authors he discusses--Blake, Scott, Hazlitt, Carlyle, Dickens, and Hardy--found in the French Revolution an event more compelling as a paradigm of history than their own ""Glorious Revolution."" To them the French Revolution seemed universally significant--a microcosm, in short. For these writers maintaining the distinction between ""history"" and ""fiction"" was less important than ma.

The title of this study "History in the text" is an oxymoronic phrase, and by this, the main focus of the book is clear immediately. On the other hand, there still remains the question to what extent text and history are comparable. The author of this volume tries to answer this by discussing the famous novel of Victor Hugo Quatrevingt-Treize against the background of the French Revolution.
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