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The Parisian Order of Barristers and the French Revolution
This investigation not only revises what historians have long thought of the attitude of barristers toward the French Revolution, but also offers insights into the corporate character of Old Regime society and how the Revolution affected it. Fitzsimmons's study suggests that many propertied commoners during the Revolution were not politically engaged, that they were not necessarily associated with a party or cause simply because of their place within a set of social relationships.
Crescendo of the Virtuoso
During the Age of Revolution, Paris came alive with wildly popular virtuoso performances. Whether the performers were musicians or chefs, chess players or detectives, these virtuosos transformed their technical skills into dramatic spectacles, presenting the marvelous and the outré for spellbound audiences. Who these characters were, how they attained their fame, and why Paris became the focal point of their activities is the subject of Paul Metzner's absorbing study. Covering the years 1775 to 1850, Metzner describes the careers of a handful of virtuosos: chess masters who played several games at once; a chef who sculpted hundreds of four-foot-tall architectural fantasies in sugar; the fir...
In Thrall to Political Change
This first history of the French police and gendarmerie explores the relations between the police and the public, and the place of the police in the political order. Based on archival material, Malcolm Anderson explores dramatic and often harrowing developments which have made policing in France troubled and controversial.
Listening Well
The twelve essays in Listening Well illuminate aesthetic, educative, and evaluative strategies utilized by writers in Paris, Boston, and New York to guide listeners in confronting the challenges of musical modernity between 1764 and 1890. They interpret criticism from treatises, journals, and newspapers for its importance in cultural history and consider the reception of major works by Beethoven and by Berlioz. The essays explore contrasting responses to new operas and symphonies by composers, librettists, authors, critics, and conductors as well as by writers including Chabanon, Lacépède, Berlioz, Urhan, D'Ortigue, Dwight, Fuller, Watson, and Hassard. Readers interested in perceptions of Classicism and Romanticism in music as they relate to French, German, and American literature and criticism will discover how audiences on both sides of the Atlantic were encouraged to listen attentively to the new and controversial in music of the eighteenth and nineteenth centuries.
