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From antiquity through the Enlightenment, disasters were attributed to the obscure power of the stars or the vengeance of angry gods. As philosophers sought to reassess the origins of natural disasters, they also made it clear that humans shared responsibility for the damages caused by a violent universe. This far-ranging book explores the way writers, thinkers, and artists have responded to the increasingly political concept of disaster from the Enlightenment until today. Marie-Hélène Huet argues that post-Enlightenment culture has been haunted by the sense of emergency that made natural catastrophes and human deeds both a collective crisis and a personal tragedy. From the plague of 1720 to the cholera of 1832, from shipwrecks to film dystopias, disasters raise questions about identity and memory, technology, control, and liability. In her analysis, Huet considers anew the mythical figures of Medusa and Apollo, theories of epidemics, earthquakes, political crises, and films such as Blow-Up and Blade Runner. With its scope and precision, The Culture of Disaster will appeal to a wide public interested in modern culture, philosophy, and intellectual history.
The subject of this book is literary rhetoric which is treated both in a historical outline and a systematic concept, implemented in analyses of literary texts of all ages and languages.
Papers based on proceedings of two seminars held at the Center for Seventeenth- and Eighteenth-Century Studies of the William Andrews Clark Library, University of California, Los Angeles, and at the Universite du Quebec a Trois-Rivieres.
How it came about that a man who was in no way destined for literature and politics authored texts considered foundational for modern democracies.
Some of the language we come across, in reading other peoples' works or listening to others speak, moves us profoundly. It requires a response from us; it occupies and involves us. Writers, always readers and listeners as well, are fascinated by this phenomenon, which became the subject of the classical treatise On the Sublime , traditionally attributed to Longinus. Emma Gilby looks at this compelling and complex text in relation to the work of three major seventeenth-century authors: Pierre Corneille, Blaise Pascal and Nicolas Boileau. She offers, in each case, intimate critical readings which spin out into broad interrogations about knowledge and experience in early modern French literature.
Située au carrefour de l’histoire du livre et de la réception des œuvres, de la réflexion sur l’édition des textes et de leur interprétation, la note critique a fait, depuis une vingtaine d’années, l’objet d’un certain nombre d’études stimulantes comme en témoigne l’importante bibliographie proposée et commentée par Andréas Pfersmann dans L’Espace de la note. Ce qui ressort de ces travaux, c’est que, loin de se réduire à l’annotation savante entendue comme pratique pédante à l’usage de pédants, la note peut être abordée comme un véritable phénomène littéraire qui s’impose à la fois comme genre et comme registre au point d’investir la fict...
L'âge classique de la culture française a honoré la voix, chantée, déclamée ou parlée. Elle restait toutefois marginale dans l'univers de l'écriture. La modernité, avec Derrida, révisa ce statut. Mais la littérature française de 1713 à 1875 avait déjà posé la voix comme l'une de ses questions.
Annually published since 1930, the International bibliography of Historical Sciences (IBOHS) is an international bibliography of the most important historical monographs and periodical articles published throughout the world, which deal with history from the earliest to the most recent times. The works are arranged systematically according to period, region or historical discipline, and within this classification alphabetically. The bibliography contains a geographical index and indexes of persons and authors.
This reference work provides bibliographic details for students of 18th-century studies.