From the construction of Notre Dame and the Eiffel Tower to the Fall of the Bastille and the Declaration of the Rights of Man and the Citizen to NapolZon Bonaparte's defeat at Waterloo to Albert Camus' L'Etranger and the existentialism of Jean-Paul Sartre, France has been a part of some of the greatest and most memorable events in human history. Author Gino Raymond relates the history of these events in the second edition of the Historical Dictionary of France. Through a chronology, an introductory essay, a bibliography, and hundreds of cross-referenced dictionary entries on kings, politicians, authors, architects, composers, artists, and philosophers, a thorough history of France is presented.

Few nations have such a long and rich history as France. This indispensible volume covers political, economic, and cultural milestones throughout its long and fascinating history. From Gothic cathedrals to rap and hip-hop, France is at the intersection of the worlds of Northern Europe and the Mediterranean, and it continues to renew the democratic model of politics. Having weathered the storms of the first half of the 20th century, France has helped to curb the recent global march of right-wing nationalism, while economically France ranks among the U.S., China, Japan, Germany, and Great Britain as one of the most powerful economies in the world. The History of France is up-to-date and concise yet comprehensive, offering a readers a current, narrative history of France. Engagingly written for students and general readers alike, it brings to life the compelling history of this fractious and fascinating country. Chronological chapters examine the history of France through the first year and a half of Emmanuel Macron's presidency. A timeline and appendix of Significant Individuals round out the work.

"Three years spent in France, during the 'Second Empire' of Napoleon III, gave Henry James an early mastery of the French language and its literature. When he settled in Europe, as an adult, it was not in Britain but, briefly yet crucially, in Paris. This study identifies the 'missing link' in the history of James's literary engagement with France, between Balzac, revered throughout his career, and later French writers. It was Second Empire writers who spurred James's own contribution to the novel. While realism courted official displeasure, culminating in the prosecution of Flaubert's Madame Bovary, and closure of the radical Revue de Paris which serialized it, the conservative Revue des Deux Mondes (to which James subscribed) enjoyed imperial approval. James remained indebted to the authors published in its pages - Edmond About, Victor Cherbuliez, and Octave Feuillet - to his close friend Paul Bourget, and to the era's greatest playwright, Alexandre Dumas fils."

This work contains much information on a colorful period in history. It will be welcomed in academic and public libraries. Reference Books Bulletin

In this assessment James McMillan moves away from ideologically-based representations of the man to focus on his use of power. He recognises the Emporer as a highly skilled operator who in the face of innumerable obstacles, attempted to conduct an original policy.

Here is an incomparably rich portrait of France in the years when the disparate elements that made up the fragmented kingdom of the ancien regime were forged into the modern nation. The survey begins with an exploration of national obsessions and attitudes. It considers the tendency to revolution and war, the preoccupation with the idea of a New Order and the deep strain of national paranoia that was to be intensified by the dramatic debacle of the Franco-Prussian War. Robert Tombs then investigates the structures of power and in Part Three he turns his attention to social identities, from the individual and family to the nation at large. When every aspect of the period has been put under the microscope, Robert Tombs draws them all into the broad political narrative that brings the book to its rousing conclusion. Bursting with life as well as learning, this is, quite simply, a tour de force.

In Dramaturgical Leaves: Essays about Musical Works for the Stage and Queries about the Stage, Its Composers and Performers, the third volume in Janita R. Hall-Swadley’s The Collected Writings of Franz Liszt, Liszt heralds his admiration for early nineteenth-century opera and musical stage works. He honors Gluck, the musical prophet, as the cultivator of dramatic truth in the Romantic opera Orpheus, expounds on Beethoven’s harmonic inventions and innovative treatment of form in Fidelio, and argues for the latter’s incidental music to Goethe’s Egmont as the epitome of music organicism, a complete unity of words and tone. He also comments on Weber’s Euryanthe as offering the most progressive musical characterizations and declamation—even more so than his popular work Der Freischütz—and on how both works prefigure Wagner’s music dramas; awards Mendelssohn, whose genius Liszt ranks only slightly less than Beethoven’s, top honors for creating in Midsummer’s Night Dream the highest standards of music poetry; suggests how Scribe and Meyerbeer’s Robert the Devil paints a mental image of art’s eternal flames, where poet and musician share equal space in the development of music tragedy; reveals how the poetic deficiencies in the libretto to Schubert’s Alfonso and Estrella are too easily overlooked because of the music’s melodic and lyrical supremacy; and offers in contrast Auber’s Mute from Portici, a remarkable text by many historically picturesque musical motives that are universal and nationalistic at the same time. Finally Liszt offers an early gender study in music in his essay about Bellini’s Montague and Capulet (as well as its impact on nineteenth-century audiences), a look at Boieldieu’s White Lady as a sublime depiction of literary music, and Donizetti’s Favorite as colored with a special type of imagery, a laterna magica, in Liszt’s hand. The beloved soprano Pauline Viardot-Garcia receives special attention in an essay devoted entirely to her, and Liszt proffers a critique of entr’acte music as a pointless tradition that dethrones music and insults the artist and composer by making music a “palate cleanser.” This volume includes a detailed discussion about what it meant to be patronized by Liszt and how his support—financial, literary, and musical—helped shape many a music career. It also offers commentary on how gender in opera was sometimes obscured not only for dramatic interest but also as part of the process of outlining a nation’s identity,as well as a thorough study of Liszt’s concepts of Gestalt theory, the Archetype, and his musical Weltanschauung (his musical "world view"), all revealing his contribution to 19th-century music philosophy as it relates to opera. Finally, a historical review of entr’acte music is presented—how it began and how it developed—to clarify Liszt’s stance against it, making this volume a necessary read for music historians, serious musicians, and music connoisseurs alike.

Historians in France assume that the restoration of Monarchy after the defeat of Napoleon was doomed. The first compact recent history of the period in English, this book reveals that although the French experimented with two Monarchies and a Republic (1814 - 48), there was substantial stability. The Institutional framework constructed during the Revolutionary years (1789 - 1814) remained intact, and the ruling elites retained basic control.

These essays arose out of lectures given in Oxford to commemorate the 150th anniversary of the 1848 revolutions in Europe. Authoritative, yet readable and colourful, they comprise judicicious summaries of the existing stte of knowledge, as well as new insights and unfamiliar information. Thebook also seeks to place the revolutionary events in their wider context: apart from chapters covering the main centres of disturbance in France, Germany, Italy, and the Habsburg lands, there are discussions of the situation in Britain and Russia, which were affected but not convulsed by thedisorders elsewhere; of reactions in the United States of America; of the symbolism of 1848 for the later democratic, radical, and socialist movements. 1848 marked the first breakdown of traditional authority across much of the continent, and as such is of profound significance in the developmentof modern European politics as a whole.