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Sacred Bonds of Solidarity
Sacred Bonds of Solidarity is a history of the emergence of Jewish international aid and the language of "solidarity" that accompanied it in nineteenth-century France.
Reappearing Characters in Nineteenth-Century French Literature
This book examines the phenomenon of the reappearance of characters in nineteenth-century French fiction. It approaches this from a hitherto unexplored perspective: that of the twin history of the aesthetic notion of originality and the legal notion of literary property. While the reappearance of characters in the works of canonical authors such as Honoré de Balzac and Émile Zola is usually seen as a device which transforms the individual works of an author into a coherent whole, this book argues that the unprecedented systematisation of the reappearance of characters in the nineteenth century has to be seen within a wider cultural, economic, and legal context. While fictional characters are seen as original creations by their authors, from a legal point of view they are considered to be ‘ideas’ which are not protected and can be appropriated by anyone. By co-examining the reappearance of characters in the work of canonical authors and their reappearances in unauthorised appropriations, such as stage adaptations and sequels, this book discusses a series of issues that have shaped our understanding of authorship, originality, and property.
Operetta
Operetta developed in the second half of the 19th century from the French opéra-comique and the more lighthearted German Singspiel. As the century progressed, the serious concerns of mainstream opera were sustained and intensified, leaving a gap between opéra-comique and vaudeville that necessitated a new type of stage work. Jacques Offenbach, son of a Cologne synagogue cantor, established himself in Paris with his series of opéras-bouffes. The popular success of this individual new form of entertainment light, humorous, satirical and also sentimental led to the emergence of operetta as a separate genre, an art form with its own special flavour and concerns, and no longer simply a "little...
Dostoevskii’s Overcoat: Influence, Comparison, and Transposition.
One of the most famous quotations in the history of Russian literature is Fedor Dostoevskii’s alleged assertion that ‘We have all come out from underneath Gogol’s Overcoat’. Even if Dostoevskii never said this, there is a great deal of truth in the comment. Gogol certainly was a profound influence on his work, as were many others. Part of this book’s project is to locate Dostoevskii in relationship to his predecessors and contemporaries. However, the primary aim is to turn the oft-quoted apocryphal comment on its head, to see the profound influence Dostoevskii had on the lives, work and thought of his contemporaries and successors. This influence extends far beyond Russia and beyond literature. Dostoevskii may be seen as the single greatest influence on the sensibilities of the twentieth and twenty-first centuries. To a greater or lesser extent those concerned with the creative arts in the twentieth and twenty-first centuries have all come out from under Dostoevskii’s ‘Overcoat’.
The Athenaeum
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The Athenaeum
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The Efflorescence of Caricature, 1759-1838
Searing disputes over caricature have recently sparked flames across the world?the culmination, not the beginning, of the story of one of modernity's definitive artistic practices. Modern visual satire erupts during a period marked by reform and revolution, by cohering nationalisms and expanding empires, and by the emerging discipline of art history. This has long been recognized as its Golden Age. It is time to look anew. In The Efflorescence of Caricature, 1759-1838, an international, interdisciplinary, and intergenerational team of scholars reconfigures the geography of modern visual satire, as the expansive narrative reaches from North America to Europe, to China and the Ottoman Empire. ...
Bathilda: A Play in Three Acts
Adapted by Alexandre Dumas from a script by Auguste Maquet, BATHILDA tells the story of a woman who's raped by Marcel, and becomes his lover for a time. After she leaves him and moves to Paris, she meets Deworde, her deceased spouse's nephew, and plans to marry him. But Marcel pursues her, determined that if he can't have her, no one else will either. He plays a cat-and-mouse game with Bathilda, Deworde, and his friend Guilaumin, until their final confrontation. Will Marcel have his bullying way? Or will Bathilda find some resolution to her seemingly impossible moral dilemma? A great early work by this major French writer!
The Mad Marquis
Written in 1836, this collaborative play is based on a real-life incident, using the actual names of the principals involved. The young Marquis de Brunoy is snubbed at the French Royal Court of Versailles because his father, a financier, had been ennobled for his great wealth. After having to fight several duels to defend his honor, the Marquis strikes back by disregarding his rank and wealth, and associating with peasants and artisans as equals. The more extravagant that his behavior becomes, the more the French nobility feels ridiculed. The final straw is when the Marquis dares to ennoble some of his peasants. Then he's hauled before a court, where the noblemen seek to have him judged insane. A first-rate revenge play by a master of the form.
