Essays on French dramatists writing during a period when Paris and the provinces saw thousands of dramatic works in a myriad of genres. These plays offered not only entertainment, but broached serious political and social issues as well, during a time of government censorship. Includes information on the various forms of theatrical entertainment, and the various types of playwriting, including melodrama, romantic drama, tragedies, comedies and realistic dramas.

France and Women, 1789-1914 is the first book to offer an authoritative account of women's history throughout the nineteenth century. James McMillan, author of the seminal work Housewife or Harlot, offers a major reinterpretation of the French past in relation to gender throughout these tumultuous decades of revolution and war. This book provides a challenging discussion of the factors which made French political culture so profoundly sexist and in particular, it shows that many of the myths about progress and emancipation associated with modernisation and the coming of mass politics do not stand up to close scrutiny. It also reveals the conservative nature of the republican left and of the ingrained belief throughout french society that women should remain within the domestic sphere. James McMillan considers the role played by French men and women in the politics, culture and society of their country throughout the 1800s.

The term "French theater" evokes most immediately the glories of the classical period and the peculiarities of the Theater of the Absurd. It has given us the works of Corneille, Racine, and Moliere. In the Romantic era there was Alexander Dumas and surrealist works of Alfred Jarry, and then the Theater of the Absurd erupted in rationalistic France with Samuel Beckett, Eugene Ionesco, and Jean-Paul Sartre. The Historical Dictionary of French Theater relates the history of the French theater through a chronology, introduction, bibliography, and over 400 cross-referenced dictionary entries on authors, trends, genres, concepts, and literary and historical developments that played a central role in the evolution of French theater.

This is a comprehensive critical study of the nineteenth-century French grand opéra La Juive, by Halévy.

Essays on twentieth-century French playwrights who were largely influenced by non-French traditions, during the greatest age of French theater since the mid 1700s. French drama of the twentieth-century was cosmopolitan, experimental and eclectic and attempted to appeal to a wider audience than in the past. Dramatists came not only from Paris but from the provinces and the French states of the Caribbean as well as from Francophone countries such as Belgium.

Fourteen wide-ranging chapters by distinguished international scholars treat key aspects of the rapidly changing political and cultural scene in France from the First Republic, through the Consulate and Empire to the death of Louis XVIII in 1824. Falling into two interlinked parts, this collection of original essays explores new developments as well as continuities characterising the transition between the eighteenth century and the nineteenth. It includes chapters on feminism, politics and theatre, elections and plebiscites, revolution and counter-revolution, patronage, universities and education, medicine, music and science.

The essays in Novel Stages examine the myriad intersections between drama and the novel in nineteenth-century France, a period when the two genres were in constant engagement with one another. The collection is unified by common intellectual concerns: the inscription of theatrical esthetics within the novel; the common practice among nineteenth-century novelists of adapting their works for the stage; and the novel's engagement with popular forms of theater. The essays provide insight into a specific aspect of the relationship between the theater and the novel in the nineteenth century. Their distinct perspectives form an overview of the literary landscape of nineteenth-century France, and demonstrate many ways in which all major nineteenth-century French novelists, including Hugo, Flaubert, Sand, and Zola, participated in the theatrical culture of their century.

This is a critical edition, or “édition critique,” of Victor Hugo’s play Hernani. The in-depth introduction includes a study of the manuscript, the galley proofs and all other original documents. The preface and play contain a critical apparatus that indicates all modifications made by Hugo during the composition of the work. Following the play, there are literary, historical, linguistic and critical notes, indexes of all words and proper names, a list of the differences between the first edition of Hernani and the edition of 1836, and a bibliography of works related to the play in question.

Two centuries of sexism have hidden Staël's place in international history. Straddling the divides of the French Revolution, Napoleonic Europe, emergent nationalism, and European Romanticism, and playing pivotal roles in those movements, she was also a friend of Byron, Jefferson, and Tsar Alexander. Extensive archival research, and a complete contextual overview of Staël's writings, here restore Staël's canonical status as political philosopher, historian, European Romantic theorist, and Revolutionary. While the term stateswoman is not commonly used, it describes Staël aptly, acting as she necessarily did through men around her. The brilliant game of masks and proxies imposed on her by patriarchy is detailed here, alongside her unending fight for the oppressed, from the nations of Napoleon's subjugated Europe to the victims of the Atlantic slave trade. This title is part of the Flip it Open Programme and may also be available Open Access. Check our website Cambridge Core for details.

Profiling more than 1400 print and electronic sources, this book helps connect librarians and researchers to the most relevant sources of information in genealogy and biography.