In nineteenth-century France, authorities feared the inflammatory power of the stage, but sought to exploit it as an effective means of propaganda. The focus of this book is on theatrical representations of Napoléon Bonaparte during France’s Second Empire (1850-1870), a period marked by the impérialisation of the capital through the renaming of streets and public spaces. Many heroes of the revolution and the wars of the Empire appeared with Napoléon in these plays. Several featured members of his family, Joséphine and her son, Eugène, the actor Talma, or the fortune teller Lenormand. Already popular during the July Monarchy, these Napoléon-themed dramas enjoyed a renewed interest with Louis-Napoléon Bonaparte’s rise to power. Although based on historical fact, they were subject to prior government censorship, as were all dramatic works at that time, and were often substantially modified. Intended for a predominantly working-class audience, these historical dramas were carefully revised by the censors so that the narrative they presented strengthening the ties between the First and Second Empires and removed any suggestion of regime change. These dramas highlight the central role theatrical works about Napoléon played in shaping collective memory and myths of national identity during the Second Empire.

This is a most thoroughly researched book on Napoleon III's Second Empire. It makes a vital contribution to the quarter-century of French history following the 1848 revolution, which saw major developments in the 'modernization' of the French state and in its relationships with its citizens.

The National Book Award–winning historian’s “vivid and moving” eyewitness account of the fall of France to Hitler’s Third Reich at the outset of WWII (The New York Times). As an international war correspondent and radio commentator during World War II, William L. Shirer didn’t just research the fall of France. He was there. In just six weeks, he watched the Third Reich topple one of the world’s oldest military powers—and institute a rule of terror and paranoia. Based on in-person conversations with the leaders, diplomats, generals, and ordinary citizens who both shaped the events and lived through them, Shirer constructs a compelling account of historical events without losing sight of the human experience. From the heroic efforts of the Freedom Fighters to the tactical military misjudgments that caused the fall and the daily realities of life for French citizens under Nazi rule, this fascinating and exhaustively documented account brings this significant episode of history to life. “This is a companion effort to Shirer’s The Rise and Fall of the Third Reich, also voluminous but very readable, reflecting once again both Shirer’s own experience and an enormous mass of historical material well digested and assimilated.” —Kirkus Reviews (starred review)

The first volume of the book series Ottoman Empire and European Theatre focuses on the period between 1756 and 1808, the era of W. A. Mozart (1756-1791) and Sultan Selim III (1761-1808). These historical personalities, whose life-spans overlap, were towering figures of their time: Mozart as an extraordinary composer and Selim III as both a politician and a composer. Inspired by the structure of opera, the forty-four contributions of Volume I are arranged in eight sections, entitled Ouverture, Prologue, Acts I-V and Epilogue. The Ouverture includes the opening speeches of diplomats, politicians, and scholars as well as a memorial text for the "Genius of Opera", Turkish prima donna Leyla Gencer (1928-2008). The Prologue, "The Stage of Politics", features texts by distinguished historians who give an historical overview of the Ottoman Empire and Europe in the late eighteenth century, from both Turkish and Austrian points of view. Act I features texts concerning "Diplomacy and Theatre", and Act II takes the reader to "Europe South, West and North". Act III has contributions concerning theatre in "Central Europe", while Act IV deals with "Mozart" and the world of the seraglio. Act V turns our attention to the Ottoman "Sultan Selim III", and the Epilogue considers literary and theatrical adventures of "The Hero in the Sultan's Harem". Contributions by Metin And, Emre Araci, Tülay Artan, Esin Akalin, Thomas Betzwieser, Annemarie Bönsch, Emil Brix, Christian Brunmayr, Bertrand Michael Buchmann, Aysin Candan, Helga Dostal, Erich Duda, Wolfgang Greisenegger, Heidemaria Gürer, Matthew Head, Caroline Herfert, Bent Holm, Frank Huss, Michael Hüttler, Nadja Kayali, Hans-Peter Kellner, Alexandre Lhâa, Isabelle Moindrot, Ilber Ortayli, Zeynep Oral, Cemal Öztas, William F. Parmentier, Matthias J. Pernerstorfer, Gabriele C. Pfeiffer, Walter Puchner, Günsel Renda, Mustafa Fatih Salgar, Ulrike Schneider, Selin Ipek, Käthe Springer-Dissmann, Suna Suner, Marianne Travén, B. Babür Turna, Derek Weber, Mehmet Alaaddin Yalçinkaya, Selim Yenel.

This collection of essays, written by authors of different nationalities, explores the experiences of the countries that were not numbered among the Second World War’s major belligerents, including colonies, 'lesser' powers, and neutral nation states. The story of the war is often dominated by the experiences, actions, and historical narratives of the major belligerent powers. By focusing on the war history of ten diverse countries, this analysis of the conflict’s global manifestations facilitates greater empathy with the experience of polities and societies dragged into regional and international conflicts. The volume offers valuable insights on the war’s place in national culture and collective memory. National Perspectives on the Global Second World War is an essential contribution to the study of the Second World War and will be of particular interest to scholars of imperial and colonial history, military history, and global history.

The French Revolution, politics and the modern nation -- French and the civilizing mission -- Paris and magnetic appeal -- France stirs up the melting pot -- France hurtles into the future.

Joseph Nye coined the term "soft power" in the late 1980s. It is now used frequently—and often incorrectly—by political leaders, editorial writers, and academics around the world. So what is soft power? Soft power lies in the ability to attract and persuade. Whereas hard power—the ability to coerce—grows out of a country's military or economic might, soft power arises from the attractiveness of a country's culture, political ideals, and policies. Hard power remains crucial in a world of states trying to guard their independence and of non-state groups willing to turn to violence. It forms the core of the Bush administration's new national security strategy. But according to Nye, the neo-conservatives who advise the president are making a major miscalculation: They focus too heavily on using America's military power to force other nations to do our will, and they pay too little heed to our soft power. It is soft power that will help prevent terrorists from recruiting supporters from among the moderate majority. And it is soft power that will help us deal with critical global issues that require multilateral cooperation among states. That is why it is so essential that America better understands and applies our soft power. This book is our guide.

The book series "Ottomania" researches cultural transfers between the Ottoman Empire and Europe, with the performing arts as its focus. The fifth volume of the sub-series Ottoman Empire and European Theatre focuses on The Turkish Subject in Ballet and Dance from the seventeenth century to the time of Christoph W. Gluck (1714-1787). The Turkish theme was a popular topic on European ballet stages throughout the seventeenth and eighteenth centuries, and most influential choreographers had 'Turkish' ballets in their repertoire. Taking as its departure point Ch. W. Gluck and Gasparo Angiolini (1741-1803), succesful composer and choreographer of ballets at the French theatre in Vienna, this publication discusses the topic from a historical perspective, presents new findings, and introduces the latest scholarly achievements of the research field. Contributions by Emre Aracı, Bruce Alan Brown, David Chataignier, Sibylle Dahms, Vera Grund, Bert Gstettner, Bent Holm, Michael Hüttler, Evren Kutlay, Dóra Kiss, Laura Naudeix, Strother Purdy, Katalin Rumpler, Käthe Springer-Dissmann, Dirk Van Waelderen, Hans Ernst Weidinger

This volume illuminates musical connections between Britain and the continent of Europe, and Britain and its Empire. The seldom-recognized vitality of musical theatre and other kinds of spectacle in Britain itself, and also the flourishing concert life of the period, indicates a means of defining tradition and identity within nineteenth-century British musical culture. The objective of the volume has been to add significantly to the growing literature on these topics. It benefits not only from new archival research, but also from fresh musicological approaches and interdisciplinary methods that recognize the integral role of music within a wider culture, including religious, political and social life. The essays are by scholars from the USA, Britain, and Europe, covering a wide range of experience. Topics range from the reception of Bach, Mozart, and Liszt in England, a musical response to Shakespeare, Italian opera in Dublin, exoticism, gender, black musical identities, British musicians in Canada, and uses of music in various theatrical genres and state ceremony, and in articulating the politics of the Union and Empire.

Examines Franco-American cinema relations, and France's periodic attempts to curb Hollywood's access to the French market. The text's major focus is the French influence - and American reaction to - the European Union's "Television Without Frontiers" directive and the 1993 GATT talks in Uruguay.