Calendrier Republicain
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Fair Shares for All
FAIR SHARES FOR ALL JACOBIN EGALITARIANISM IN PRACT ICE JEAN-PIERRE GROSS This study explores the egalitarian policies pursued in the provinces during the radical phase of the French Revolution, but moves away from the habit of looking at such issues in terms of the Terror alone. It challenges revisionist readings of Jacobinism that dwell on its totalitarian potential or portray it as dangerously Utopian. The mainstream Jacobin agenda held out the promise of 'fair shares' and equal opportunities for all in a private-ownership market economy. It sought to achieve social justice without jeopardising human rights and tended thus to complement, rather than undermine, the liberal, individualist programme of the Revolution. The book stresses the relevance of the 'Enlightenment legacy', the close affinities between Girondins and Montagnards, the key role played by many lesser-known figures and the moral ascendancy of Robespierre. It reassesses the basic social and economic issues at stake in the Revolution, which cannot be adequately understood solely in terms of political discourse. Past and Present Publications Fair shares for all Past and Present Publications General Editor: JOANNA INNES, Somerville College, Oxford Past and Present Publications comprise books similar in character to the articles in the journal Past and Present. Whether the volumes in the series are collections of essays - some previously published, others new studies - or mono- graphs, they encompass a wide variety of scholarly and original works primarily concerned with social, economic and cultural changes, and their causes and consequences. They will appeal to both specialists and non-specialists and will endeavour to communicate the results of historical and allied research in readable and lively form. -
Le Naturalisme Sur La Scène De L'opéra Lyrique
Université Lumière Lyon 2 Le Naturalisme sur la scène de l’Opéra lyrique Roxane SIFFER Sous la Direction de Mme Sophie PAPAEFTHYMIOU Août-Septembre 2010 Table des matières Remerciements . 5 Introduction. 6 PREMIERE PARTIE : LE THEATRE LYRIQUE COMME MOYEN D’EXPRESSION: LE PROLONGEMENT ET L’ACHEVEMENT DU COMBAT NATURALISTE . 20 SECTION PREMIERE : Genèse et collaborations du couple fondateur : Zola-Bruneau . 20 A°) L’acte de naissance du naturalisme : la rencontre d’Emile Zola et d’Alfred Bruneau . 20 B°) L’œuvre singulière d’Alfred Bruneau . 26 SECTION DEUXIEME : La confusion entre le naturalisme et les Dreyfusards . 33 A°) D’une coopération artistique à l’engagement politique : l’affaire Dreyfus en toile de fond . 33 B°) La prise de position de Bruneau en faveur de Zola . 37 SECTION TROISIEME : L’Affaire Dreyfus : une affaire politique dans les coulisses de l’opéra . 38 A°)Le combat naturaliste sur la scène lyrique : le prolongement du combat dreyfusard . 38 B°)Triomphes et de défaites du naturalisme musical . 40 C°) Un répertoire trop figé historiquement: du mépris à l’oubli . 43 DEUXIEME PARTIE : LE NATURALISME LYRIQUE: UN MOUVEMENT MUSICAL CONTESTE ET INCOMPRIS . 46 SECTION PREMIERE : Les difficultés techniques et l’absence de réelle identité musicale . 46 A°) L’influence du wagnérisme: un héritage romantique indubitable . 46 B°) Style et registres de langue du naturalisme: la négation des canons de l’opéra lyrique . 50 SECTION SECONDE : Les élites de l’univers musical réservées à l’égard du naturalisme lyrique . 59 A°) Des journaux hostiles à l’avènement d’un genre “profane” sur la scène lyrique: . 59 B°) Les directeurs des théâtres lyriques nationaux, majoritairement hostiles aux opéras naturalistes . -
Jean-Baptiste Lingaud Papers Ms
Jean-Baptiste Lingaud papers Ms. Coll. 515 Finding aid prepared by Anton Matytsin. Last updated on April 24, 2020. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts July 2004 Jean-Baptiste Lingaud papers Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents....................................................................................................................................... 4 Administrative Information........................................................................................................................... 4 Controlled Access Headings..........................................................................................................................5 Collection Inventory...................................................................................................................................... 6 Mayor’s Office of Limoges.....................................................................................................................6 Personal Papers of Lingaud...................................................................................................................29 - Page 2 - Jean-Baptiste Lingaud papers Summary Information Repository University -
Appropriations of Gregorian Chant in Fin-De-Siècle French Opera: Couleur Locale – Message-Opera – Allusion?
Journal of the Royal Musical Association, 145/1, 37–74 doi:10.1017/rma.2020.7 Appropriations of Gregorian Chant in Fin-de-siècle French Opera: Couleur locale – Message-Opera – Allusion? BENEDIKT LESSMANN Abstract This article compares three French operas from the fin de siècle with regard to their appropriation of Gregorian chant, examining their different ideological and dramaturgical impli- cations. In Alfred Bruneau’s Le rêve (1891), the use of plainchant, more or less in literal quotation and an accurate context, has often been interpreted as naturalistic. By treating sacred music as a world of its own, Bruneau refers to the French idea of Gregorian chant as ‘other’ music. In Vincent d’Indy’s L’étranger (1903), a quotation of Ubi caritas does not serve as an occasional illustration, but becomes essential as part of the leitmotif structure, thus functioning as the focal point of a religious message. Jules Massenet’s Le jongleur de Notre-Dame (1902) provides a third way of using music associated with history and Catholicism. In this collage of styles, plainchant is not quoted literally, but rather alluded to, offering in this ambiguity a mildly anti-clerical satire. Thus, through an exchange, or rather through a bizarre and unfortunate reversal, church music in the theatre is more ecclesiastical than in the church itself. Camille Bellaigue1 In an article in the Revue des deux mondes of 1904, the French critic Camille Bellaigue described the incorporation of church music into contemporary opera, referring to anticipated examples by Meyerbeer and Gounod; to works less well known today, such as Lalo’s Le roi d’Ys (which quotes the Te Deum); and also (quite extensively) to Wagner’s Parsifal, the ‘masterpiece […] or the miracle of theatrical art that is not only Email: [email protected] I am grateful to Stefan Keym for his support and advice with my doctoral studies and beyond. -
The Negro in France
University of Kentucky UKnowledge Black Studies Race, Ethnicity, and Post-Colonial Studies 1961 The Negro in France Shelby T. McCloy University of Kentucky Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation McCloy, Shelby T., "The Negro in France" (1961). Black Studies. 2. https://uknowledge.uky.edu/upk_black_studies/2 THE NEGRO IN FRANCE This page intentionally left blank SHELBY T. McCLOY THE NEGRO IN FRANCE UNIVERSITY OF KENTUCKY PRESS Copyright© 1961 by the University of Kentucky Press Printed in the United States of America by the Division of Printing, University of Kentucky Library of Congress Catalog Card No. 61-6554 FOREWORD THE PURPOSE of this study is to present a history of the Negro who has come to France, the reasons for his coming, the record of his stay, and the reactions of the French to his presence. It is not a study of the Negro in the French colonies or of colonial conditions, for that is a different story. Occasion ally, however, reference to colonial happenings is brought in as necessary to set forth the background. The author has tried assiduously to restrict his attention to those of whose Negroid blood he could be certain, but whenever the distinction has been significant, he has considered as mulattoes all those having any mixture of Negro and white blood. -
MESSIDOR . Nu MÊME AUTEUR: Briséis, N'emmanuel CHABRIER
MESSIDOR . nu MÊME AUTEUR: Briséis, n'EMMANUEL CHABRIER. Le Chant de la Cloche, de VINCENT n'INDY. Collot d'Herbois à Nantes. 'Dîx Jours à Bayreuth. L'ÉvDJution musicale cher Verdi. Fervaal, de VINCENT n'IN DY. F. Halévy (épuisé) . .Les Interprètes musicaux du Faust de GŒTHE [épuisé). :Notes de Voyage. L'Œuvre théâtral de Meyerbeer. L'Œuvre lyrique de César F1·anck. Proserpine, de C. SAINT-SAËNS. OLe Rêve, d'A. BRUNEAU. Samson et Dalila, de C. SAINT-SAËNS. Souvenirs de Bayreuth. Le Théâtre à Nantes depuis ses origines jusqu'à nos Jours (I430-It593). Tannhœuser. Les Troyens, de BERLIOZ. Le Vaisseau Fantôme. POUR PARAITRE PROCHAINEMENT: Les Femmes de Wagner. ÉTIENNE DESTRANGES MESSIDOR n'A. BRUNEAU ÉTUDE ANALYTIQUE ET CRITIQUE PARIS -LIBRAIRIE FISCHBACHER (SOCIÉTÉ ANONYME) 33, ~ue de Seine, 33 1897 ~ ' f A E. JAQUES-DALCROZE Rmicalemenl g. D. MESSIDO-R 1. L'Œuvre littéraire Un fait unique jusqu'ici dans l'histoire de l'art lyrique est celui qui nous est offert en cette fin du XIX6 siècle: la collaboration avec un compositeur non plus d'un vulgaire libret tiste, arrangeur ou plutôt dérangeur de chefs d'œuvre littéraires, mais d'uI1 écrivain de gé nie qui, ayant commencé par consentir à tirer deux drames, l'un d'un roman, l'autre d'une nouvelle, finit par se laisser aller à écrire spé cialement des ouvrages en vue de l'adapta tion musicale. Certes, M. Emile Zola donne là un bel exemple. Les discussions passion nées, les nombreuses critiques soulevées par son dernier poème ont dû être, pour un esprit combatif comme Id sien, la plus douce des récompenses en même tem ps que le pl us énergique des stimulants. -
The Calendar in Revolutionary France : Perceptions of Time in Literature, Culture, Politics / Sanja Perovic
THE C A LENDA R IN REVOLUTIONARY FRANCE One of the most unusual decisions of the leaders of the French Revolution – and one that had immense practical as well as symbolic impact – was to abandon customarily accepted ways of calculating date and time to create a revolutionary calendar. The experiment lasted from 1793 to 1805 and prompted all sorts of questions about the nature of time, ways of measuring it and its relationship to indi- vidual, community, communication and creative life. This study traces the course of the revolutionary calendar, from its cultural ori- gins to its decline and fall. Tracing the parallel stories of the calen- dar and the literary genius of its creator, Sylvain Maréchal, from the Enlightenment to the Napoleonic era, Sanja Perovic reconsiders the status of the French Revolution as the purported ‘origin’ of modern- ity, the modern experience of time and the relationship between the imagination and political action. sanja perovic is Lecturer in the French Department at King’s College London. Le calendrier républicain, Debucourt, No. 1987–49, © Musée de la Révolution française/Domaine de Vizille. THE CA LENDA R IN REVOLUTIONARY FRANCE Perceptions of Time in Literature, Culture, Politics SANJA PEROVIC King’s College London cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo, Delhi, Mexico City Cambridge University Press The Edinburgh Building, Cambridge cb2 8ru, uk Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9781107025950 © Sanja Perovic 2012 This publication is in copyright. -
Not So Silent: Women in Cinema Before Sound Stockholm Studies in Film History 1
ACTA UNIVERSITATIS STOCKHOLMIENSIS Not so Silent: Women in Cinema before Sound Stockholm Studies in Film History 1 Not so Silent Women in Cinema before Sound Edited by Sofia Bull and Astrid Söderbergh Widding ©Sofia Bull, Astrid Söderbergh Widding and Acta Universitatis Stockholmiensis, Stockholm 2010 Cover page design by Bart van der Gaag. Original photograph of Alice Terry. ISBN 978-91-86071-40-0 Printed in Sweden by US-AB, Stockholm 2010. Distributor eddy.se ab, Visby, Sweden. Acknowledgements Producing a proceedings volume is always a collective enterprise. First and foremost, we wish to thank all the contributors to the fifth Women and the Silent Screen conference in Stockholm 2008, who have taken the trouble to turn their papers into articles and submitted them to review for this proceed- ings volume. Margareta Fathli, secretary of the Acta Universitatis Stockholmiensis, de- serves a particular mention for her engagement in establishing the new series Stockholm Studies in Film History; an ideal framework for this publication. A particular thanks goes to Lawrence Webb, who has copy–edited the book with a seemingly never–ending patience. We also owe many thanks to Bart van der Gaag for making the cover as well as for invaluable assistance in the production process. Finally, we are most grateful to the Holger and Thyra Lauritzen Foundation for a generous grant, as well as to the Department of Cinema Studies which has also contributed generously to funding this volume. Stockholm 30 April 2010 Sofia Bull & Astrid Söderbergh Widding 5 Contributors Marcela de Souza Amaral is Professor at UFF (Universidade Federal Fluminense––UFF) in Brazil since 2006. -
Republican Calendar
Republican Calendar. Republican Gregorian Prairial 9 20 May Germinal 7 22 March An Messidor 10 19 June Floréal 8 21 April Vendémaire 1 I 22 Sept. 1792 Thermidor 11 19 July Prairial 9 21 May Brumaire 2 22 October Fructidor 12 18 August Messidor 10 20 June Frimaire 3 21 November Vendémaire 1 VII 22 September Thermidor 11 20 July Nivôse 4 21 December Brumaire 2 22 October Fructidor 12 19 August Pluviôse 5 1793 20 January Frimaire 3 22 November Vendémaire 1 XIII 23 September Ventôse 6 19 February Nivôse 4 21 December Brumaire 2 23 October Germinal 7 21 March Pluviôse 5 1799 20 January Frimaire 3 22 November Floréal 8 20 April Ventôse 6 19 February Nivôse 4 22 December Prairial 9 20 May Germinal 7 21 March Pluviôse 5 1805 21 January Messidor 10 19 June Floréal 8 20 April Ventôse 6 20 February Thermidor 11 19 July Prairial 9 20 May Germinal 7 22 March Fructidor 12 18 August Messidor 10 19 June Floréal 8 21 April Vendémaire 1 II 22 September Thermidor 11 19 July Prairial 9 21 May Brumaire 2 22 October Fructidor 12 18 August Messidor 10 20 June Frimaire 3 22 November Vendémaire 1 VIII 23 September Thermidor 11 20 July Nivôse 4 21 December Brumaire 2 23 October Fructidor 12 19 August Pluviôse 5 1794 20 January Frimaire 3 22 November Vendémaire 1 XIV 23 September Ventôse 6 19 February Nivôse 4 22 December Brumaire 2 23 October Germinal 7 21 March Pluviôse 5 1800 21 January Frimaire 3 22 November Floréal 8 20 April Ventôse 6 20 February Nivôse 4 22 December Prairial 9 20 May Germinal 7 22 March Pluviôse 5 1806 21 January Messidor 10 19 June Floréal -
The Coming of the Terror in the French Revolution
THE COMING OF THE TERROR IN THE FRENCH REVOLUTION The Coming of the Terror in the French Revolution Timothy Tackett The Belknap Press of Harvard University Press Cambridge, Massachusetts, and London, En gland 2015 Copyright © 2015 by the President and Fellows of Harvard College All rights reserved Printed in the United States of America First printing Library of Congress Cataloging- in- Publication Data Tackett, Timothy, 1945– Th e coming of the terror in the French Revolution / Timothy Tackett. pages cm Includes bibliographical references and index. ISBN 978- 0- 674- 73655- 9 (alk. paper) 1. France— History—Reign of Terror, 1793– 1794. 2. France— History—Revolution, 1789– 1799. I. Title. DC183.T26 2015 944.04—dc23 2014023992 Contents List of Illustrations vii List of Maps ix Introduction: Th e Revolutionary Pro cess 1 1 Th e Revolutionaries and Th eir World in 1789 13 2 Th e Spirit of ’89 39 3 Th e Breakdown of Authority 70 4 Th e Menace of Counterrevolution 96 5 Between Hope and Fear 121 6 Th e Factionalization of France 142 7 Fall of the Monarchy 172 8 Th e First Terror 192 9 Th e Convention and the Trial of the King 217 10 Th e Crisis of ’93 245 11 Revolution and Terror until Victory 280 12 Th e Year II and the Great Terror 312 Conclusion: Becoming a Terrorist 340 Abbreviations 351 Notes 353 Sources and Bibliography 419 A c k n o w l e d g m e n t s 447 Index 449 Illustrations Th e Tennis Court Oath 50 Attack on the Bastille 56 Market women leave Paris en route to Versailles 67 Federation Ball 93 Confrontation between Catholics and -
FOR the RECORDS Researching Alsace and Lorraine
VOL. 11, NO. 2 — FEBRUARY 2018 FOR THE RECORDS Researching Alsace and Lorraine Publications and websites mentioned in this article are listed in the bibliography. Alsace and Lorraine are storied, often contested lands located in eastern France on its border with Germany and the Low Countries. Alsace (see map, right), at 3,196 square miles, is about one-quarter larger than the state of Connecticut1. Lorraine (see map, page 4), at 9,089 square miles, is just slightly smaller than the state of Vermont2. Along with Champaign-Ardenne, they form the modern region Grand Est whose regional capital and largest city is Strasbourg. The historic Alsace Region was the smallest in metro- politan France, made up of two departments, Bas-Rhin in the north and Haut-Rhin in the south. The region features a large plain about four times longer than it is wide and situated between the Vosges Mountains and the Rhine River. Prior to the Franco-Prussian War, Al- sace, specifically the Haut-Rhin, also included the Ter- ritoire de Belfort. When the Germans took control over the rest of Alsace, it became the smallest department in France, and was attached to Franche-Comté and is now part of Bourgogne- Franche-Comté. The historic Lorraine Region was much larger and con- sisted of four departments, Meurthe-et-Moselle, Meuse, Moselle, and Vosges. The territory included the histori- ALSACE cal Duchy of Lorraine, Barrois, the Three Bishoprics (Metz, Verdun, and Toul), and a number of small prin- Alsace includes the French départements of Haut-Rhin (Upper Rhine) and Bas-Rhin (Lower Rhine) | Map cipalities. -
From Aesthetics to Politics in the Dreyfus Affair Roderick Cooke
From Aesthetics to Politics in the Dreyfus Affair Roderick Cooke Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Gaduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2013 Roderick Cooke All rights reserved ABSTRACT From Aesthetics to Politics in the Dreyfus Affair Roderick Cooke This dissertation proposes a new interpretation for the political engagement of French writers in the Dreyfus Affair between 1897 and 1900. I argue that aesthetics has been undervalued by past scholarship on this question, and analyze the engagement of four very different writers - Emile Zola, Ferdinand Brunetière, Henry Céard and Saint-Georges de Bouhélier - demonstrating that, in each case, their prior aesthetic thought was a vital part of their political discourse on the Affair. This claim involves a rethinking of the relationship between aesthetics and politics as it has usually been conceived, with the aesthetic no longer a reflection of the political, but rather a potential source for it. For each of the writers studied, his literary criticism and theory (dating as far back as the 1860s) are put in dialogue with his writing about the Dreyfus Affair itself through close readings of both corpuses. In each case, attention is paid to the continuities and inversions of central ideas such as individualism, truth, and the Republic, in order to illustrate their structural role in the intellectual world of the fin de siècle. As a result, I have termed the four chapters 'micro-histories of ideas' to convey the way in which individual concerns provide a window onto the major battles of ideas in the France of the early Third Republic.