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On a Recent Italian Edition of Voltaire's Essai Sur Les Moeurs Et L'esprit Des Nations 1
Araucaria. Revista Iberoamericana de Filosofía, Política y Humanidades ISSN: 1575-6823 ISSN: 2340-2199 [email protected] Universidad de Sevilla España On a recent Italian edition of Voltaire's Essai sur les moeurs et l'esprit des nations 1 Campi, Riccardo 1 On a recent Italian edition of Voltaire's Essai sur les moeurs et l'esprit des nations Araucaria. Revista Iberoamericana de Filosofía, Política y Humanidades, vol. 20, no. 40, 2018 Universidad de Sevilla, España Available in: https://www.redalyc.org/articulo.oa?id=28264622033 This work is licensed under Creative Commons Attribution-NonCommercial-NoDerivs 4.0 International. PDF generated from XML JATS4R by Redalyc Project academic non-profit, developed under the open access initiative Reseñas y debates On a recent Italian edition of Voltaire's Essai sur les moeurs et l'esprit des nations 1 Riccardo Campi Università di Bologna, Italia Most readers at once associate Voltaire’s name with the noble figure of the paladin of tolerance, author of the Traité sur la Tolérance, and with the image of the brilliant narrator and inimitable stylist with his cutting irony, inventor of that literary genre called conte philosophique and Araucaria. Revista Iberoamericana de characters who have become part of the pantheonof world literature, such Filosofía, Política y Humanidades, vol. 20, no. 40, 2018 as Candide and Zadig. But all too oen the average reader’s knowledge is reduced to this. e rest of Voltaire’s immense production (which Universidad de Sevilla, España includes verse tragedies and comedies, epic poems, poetry of all kinds, educational treatises on science, philosophical texts, historical works, all Redalyc: https://www.redalyc.org/ sorts of pamphlets, and an immense correspondence) remains a heritage articulo.oa?id=28264622033 open to a small coterie of experts on 18th-century French literature. -
How to Quote Voltaire: the Edition to Use1 February 2021
How to quote Voltaire: the edition to use1 February 2021 A complete alphabetical list of Voltaire texts and in which edition and volume to find them. The Voltaire Foundation’s Œuvres complètes de Voltaire (OCV) edition includes most texts, but for those not yet published in OCV, the 1877-1885 Moland edition (M) is mostly given. Abbreviations used AP Ajouts posthumes Best., followed by a a letter printed in Voltaire’s correspondence, ed. Th. Besterman, number 107 vol. (Geneva, 1953-1965, 1st edition) BnC Bibliothèque nationale de France: Catalogue général des livres imprimés, 213-214 (1978) BnF, ms.fr. Bibliothèque nationale de France: Manuscrits français BnF, n.a.fr. Bibliothèque nationale de France: Nouvelles acquisitions françaises D, followed by a number a letter printed in Voltaire, Correspondence and related documents, ed. Th. Besterman, in OCV, vol.85-135 DP Dictionnaire philosophique Lizé Voltaire, Grimm et la Correspondence littéraire, SVEC 180 (1979) M Œuvres complètes de Voltaire, éd. Louis Moland, 52 vol. (Paris, Garnier, 1877-1885) NM Nouveaux Mélanges philosophiques, historiques, critiques ([Genève], 1768) OA Œuvres alphabétiques (Articles pour l’Encyclopédie, Articles pour le Dictionnaire de l’Académie) OCV Œuvres complètes de Voltaire (Voltaire Foundation, Oxford, 1968- ) QE Questions sur l’Encyclopédie RC Romans et Contes, ed. Frédéric Deloffre et Jacques van den Heuvel (Paris, Gallimard [Pléiade], 1979) RHLF Revue d’histoire littéraire de la France (Presses universitaire de France) SVEC Studies on Voltaire and the Eighteenth Century (Voltaire Foundation) Vauger ‘Vauger’s lists of Voltaire’s writings, 1757-1785’ (D.app.161, OCV, vol.102, p.509-10) W72P Œuvres de M. -
Voltaire Et Le Sauvage Civilisé
San Jose State University SJSU ScholarWorks Master's Theses Master's Theses and Graduate Research Spring 2010 Voltaire et le sauvage civilisé Christopher J. Barros San Jose State University Follow this and additional works at: https://scholarworks.sjsu.edu/etd_theses Recommended Citation Barros, Christopher J., "Voltaire et le sauvage civilisé" (2010). Master's Theses. 3747. DOI: https://doi.org/10.31979/etd.883s-xa8q https://scholarworks.sjsu.edu/etd_theses/3747 This Thesis is brought to you for free and open access by the Master's Theses and Graduate Research at SJSU ScholarWorks. It has been accepted for inclusion in Master's Theses by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. VOLTAIRE ET LE « SAUVAGE CIVILISÉ » A Thesis Presented to The Faculty of the Department of World Languages and Literatures San José State University In Partial Fulfillment of the Requirements of the Degree Master of Arts by Christopher J. Barros May 2010 © 2010 Christopher J. Barros ALL RIGHTS RESERVED The Designated Thesis Committee Approves the Thesis Titled VOLTAIRE ET LE « SAUVAGE CIVILISÉ » by Christopher Joseph Barros APPROVED FOR THE DEPARTMENT OF WORLD LANGUAGES AND LITERATURES SAN JOSE STATE UNIVERSITY May 2010 Danielle Trudeau Department of World Languages and Literatures Jean-Luc Desalvo Department of World Languages and Literatures Dominique van Hooff Department of World Languages and Literatures ABSTRACT VOLTAIRE ET LE « SAUVAGE CIVILISÉ » by Christopher J. Barros This thesis explores Voltaire’s interpretation of human nature, society, and progress vis-à-vis the myth of the “noble savage,” an image that was widespread in the literature, imagination, and theater of the 17th and 18th centuries. -
La Réception Du Théâtre De Voltaire Dans Les Provinces-Unies Au Xviiième Siècle Hageman, M
La réception du théâtre de Voltaire dans les Provinces-Unies au XVIIIème siècle Hageman, M. Citation Hageman, M. (2010, September 15). La réception du théâtre de Voltaire dans les Provinces-Unies au XVIIIème siècle. Retrieved from https://hdl.handle.net/1887/15946 Version: Not Applicable (or Unknown) Licence agreement concerning inclusion of doctoral thesis in the License: Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/15946 Note: To cite this publication please use the final published version (if applicable). La Réception du théâtre de Voltaire dans les Provinces-Unies au XVIIIème siècle Marjolein Hageman 1 2 La Réception du théâtre de Voltaire dans les Provinces-Unies au XVIIIème siècle par Marjolein Hageman Sur la couverture : Voltaire tenant un exemplaire de la Henriade, 1736, peinture anonyme d’après un pastel de Maurice Quentin de la Tour, Château de Versailles. 3 4 La Réception du théâtre de Voltaire dans les Provinces-Unies au XVIIIème siècle Proefschrift ter verkrijging van de graad van Doctor aan de Universiteit Leiden, op gezag van Rector Magnificus prof.mr. P.F. van der Heijden, volgens besluit van het College voor Promoties te verdedigen op woensdag 15 september 2010 klokke 16:15 uur door MARJOLEIN HAGEMAN geboren te Champigny-sur-Marne (France) in 1979 5 Promotiecommissie Promotores: Prof.dr. S. Menant (Université Paris IV- Sorbonne) Prof.dr. P.J. Smith Overige leden : Prof.dr. G. Artigas-Menant (Université Paris XII) Prof.dr. P. Brunel (Université Paris IV- Sorbonne) Dr. M.M.G. van Strien-Chardonneau 6 Remerciements Je tiens à remercier : Monsieur le Professeur Sylvain Menant qui m’a apporté son soutien durant toutes ces années, Madame le Professeur Geneviève Artigas-Menant qui m’a fait part de son intérêt pour mon travail, ainsi que Monsieur le Professeur Paul J. -
The Italian Girl in Algiers
Opera Box Teacher’s Guide table of contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .8 Reference/Tracking Guide . .9 Lesson Plans . .11 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Gioachino Rossini – a biography .............................45 Catalogue of Rossini’s Operas . .47 2 0 0 7 – 2 0 0 8 S E A S O N Background Notes . .50 World Events in 1813 ....................................55 History of Opera ........................................56 History of Minnesota Opera, Repertoire . .67 GIUSEPPE VERDI SEPTEMBER 22 – 30, 2007 The Standard Repertory ...................................71 Elements of Opera .......................................72 Glossary of Opera Terms ..................................76 GIOACHINO ROSSINI Glossary of Musical Terms .................................82 NOVEMBER 10 – 18, 2007 Bibliography, Discography, Videography . .85 Word Search, Crossword Puzzle . .88 Evaluation . .91 Acknowledgements . .92 CHARLES GOUNOD JANUARY 26 –FEBRUARY 2, 2008 REINHARD KEISER MARCH 1 – 9, 2008 mnopera.org ANTONÍN DVOˇRÁK APRIL 12 – 20, 2008 FOR SEASON TICKETS, CALL 612.333.6669 The Italian Girl in Algiers Opera Box Lesson Plan Title Page with Related Academic Standards lesson title minnesota academic national standards standards: arts k–12 for music education 1 – Rossini – “I was born for opera buffa.” Music 9.1.1.3.1 8, 9 Music 9.1.1.3.2 Theater 9.1.1.4.2 Music 9.4.1.3.1 Music 9.4.1.3.2 Theater 9.4.1.4.1 Theater 9.4.1.4.2 2 – Rossini Opera Terms Music -
La Henriade Dans La Littérature Hollandaise
La henriade dans la littérature hollandaise H.J. Minderhoud bron H.J. Minderhoud, La henriade dans la littérature hollandaise. Librairie ancienne Honoré Champion, Paris 1927 Zie voor verantwoording: http://www.dbnl.org/tekst/mind006henr01_01/colofon.htm © 2010 dbnl / erven H.J. Minderhoud VII AAN MIJN VROUW AAN MIJN KINDEREN. H.J. Minderhoud, La henriade dans la littérature hollandaise IX Voorwoord. Bij het eindigen van deze arbeid moge een kort woord van dank hier zijn plaats vinden. Vooreerst ben ik U, Hooggeleerde De Vooys, mijn erkentelikheid verschuldigd. Bijzondere omstandigheden zijn oorzaak, dat dit proefschrift aan Uwe universiteit wordt aangeboden. Ik breng U mijn oprechte dank voor de welwillendheid, waarmede U als mijn promotor wilt optreden. Hoewel de studie voor de Franse examens reeds jaren achter mij ligt, wil ik dankbaar gedenken de lessen van U, Hooggeleerde Salverda de Grave, te Amsterdam, en U, Hooggeleerde Sneyders de Vogel, te Groningen, aan wie ik het welslagen van mijn Franse studie te danken heb. Daarbij wil ik tevens hulde brengen aan de nagedachtenis van wijlen de Heer N.L. Verlint. De Heer Emile Boulan, te Groningen, zij dank gebracht voor zijn medewerking bij mijn doctoraal examen. En in de laatste, maar ten opzichte van dit proefschrift in de voornaamste plaats, voel ik me gedrongen U, Hooggeleerde Valkhoff, mijn hartelike dank te betuigen. Op Uw aanraden koos ik dit onderwerp, dat een klein deel vormt van het uitgebreide studieterrein, dat Uwe bijzondere belangstelling heeft, namelik de invloed van de Franse letterkunde op de onze. Op hoge prijs stel ik Uwe voorlichting bij mijn werk, dat, hoop ik, een niet onwaardige plaats mag innemen onder de monographieën, waarvan U, in 1918, sprak in Uwe ‘leçon d'ouverture’. -
Pierre Cambou Lycée Saint-Sernin, DAM, Université Toulouse II
LES OREILLES DU COMTE DE CHESTERFIELD OU L’impasse DU TRAITEMENT GÉNÉrique Pierre Cambou Lycée Saint-Sernin, DAM, Université Toulouse II Les Oreilles du comte de Chesterfield est un conte de vieillesse. L’énergie s’y 289 dégrade en ressassement, l’ironie en cynisme, avec son résidu d’amertume. n voltaire revue Critiques fondées, par rapport au goût, et au goût voltairien lui-même. Beaucoup moins par rapport à une poétique du conte qui, à force d’être pratiquée, se crispe mais se stylise aussi et révèle des constantes. Il se pourrait même que l’humeur, la hâte ou la peur d’en finir, le relâchement du propos, libèrent des virtualités narratives jusqu’alors contenues, et les ° 9 portent à un degré d’incandescence jamais atteint. C’est ainsi que ce texte • subvertit non seulement le conte classique, mais aussi le traitement qu’en pups donne habituellement Voltaire, en une sorte de surdétermination parodique • qui se donne à lire, très clairement, dans la progression linéaire du récit. La 2009 narration y est peut-être moins celle d’une déception intellectuelle et morale que d’un dérèglement de la pratique voltairienne du conte, un exercice ultime et exaspéré d’autocritique qui mettrait à l’épreuve et dramatiserait le renouvellement philosophique du genre. SITUATION INITIALE OU CONTE EN RACCOURCI ? (CHAP. 1) La formule augurale, « La fatalité gouverne irrémissiblement toutes les choses de ce monde 1 », programme la narration, comme dans la scène des dons. Le mandateur est le comte de Chesterfield qui « avait promis de […] faire du bien » au héros, mais sa surdité l’en empêche, et sa mort compromet 1 Contes en vers et en prose, éd. -
September 8, 2009 (XIX:2) Raoul Walsh HIGH SIERRA (1941, 100 Min)
September 8, 2009 (XIX:2) Raoul Walsh HIGH SIERRA (1941, 100 min) Directed by Raoul Walsh Screenplay by John Huston and W.R. Burnett Cinematography by Tony Gaudio Ida Lupino...Marie Humphrey Bogart...Roy Earle Alan Curtis...'Babe' Arthur Kennedy...'Red' Joan Leslie...Velma Henry Hull...'Doc' Banton Henry Travers...Pa Jerome Cowan...Healy Minna Gombell...Mrs. Baughmam Barton MacLane...Jake Kranmer Elisabeth Risdon...Ma Cornel Wilde...Louis Mendoza George Meeker...Pfiffer Zero the Dog...Pard RAOUL WALSH (11 March 1887, NYC—31 December 1980, Simi Valley, CA), directed 136 films, the last of which was A Distant Trumpet (1964). Some of the others were The Naked and the Dead (1958), Band of Angels (1957), The King and Four Queens (1956), officials they kept it under lock and key for 25 years because they Battle Cry (1955), Blackbeard, the Pirate (1952), Along the Great were convinced that if the American public saw Huston’s scenes of Divide (1951), Captain Horatio Hornblower R.N.(1951), White American soldiers crying and suffering what in those days was Heat (1949), Cheyenne (1947), The Horn Blows at Midnight called “shellshock” and “battle fatigue” they would have an even (1945), They Died with Their Boots On (1941), High Sierra more difficult time getting Americans to go off and get themselves (1941), They Drive by Night (1940), The Roaring Twenties (1939), killed in future wars. One military official accused Huston of being Sadie Thompson (1928), What Price Glory (1926), Thief of “anti-war,” to which he replied, “If I ever make a pro-war film I Baghdad (1924), Evangeline (1919), Blue Blood and Red (1916), hope they take me out and shoot me.” During his long career he The Fatal Black Bean (1915), Who Shot Bud Walton? (1914) and made a number of real dogs e.g. -
FRANÇOIS MARIE AROUET DE VOLTAIRE (1694-1778) Author: George Saintsbury, D.C.L., LL.D
FRANÇOIS MARIE AROUET DE VOLTAIRE (1694-1778) Author: George Saintsbury, D.C.L., LL.D. Encyclopedia Britannica (New York 1911) vol. 28: 199-205. Electronic Text edited, modified & paginated by Dr Robert A. Hatch© VOLTAIRE, FRANCOIS MARIE AROUET DE. French philosopher, historian, dramatist and man of letters, whose real name was François Marie Arouet simply, was born on the 21st of November 1694 at Paris, and was baptized the next day. His father was François Arouet, a notary; his mother was Marie Marguerite Daumart or D’Aumard. Both father and mother were of Poitevin extraction, but the Arouets had been for two generations established in Paris, the grandfather being a prosperous tradesman. The family appear to have always belonged to the yeoman-tradesman class; their special home was the town of Saint-Loup. Voltaire was the fifth child of his parents—twin boys (of whom one survived), a girl, Marguerite Catherine, and another boy who died young, having preceded him. Not very much is known of the mother, who died when Voltaire was but seven years old. She pretty certainly was the chief cause of his early introduction to good society, the Abbé de Châteauneuf (his sponsor in more ways than one) having been her friend. The father appears to have been somewhat peremptory in temper, but neither inhospitable nor tyrannical. Marguerite Arouet, of whom her younger brother was very fond, married early, her husbands name being Mignot; the elder brother, Armand, was a strong Jansenist, and there never was any kind of sympathy between him and François. The Abbé do Châteauneuf instructed him early in belles lettres and deism, and he showed when a child the unsurpassed faculty for facile verse-making which always distinguished him. -
Regeneration by Marilyn Ann Moss
Regeneration By Marilyn Ann Moss One of the most beloved directors of classic Hollywood cinema, Raoul Walsh began his career in 1913 as an actor with the Pathe Brothers studios in Fort Lee, New Jersey. He quickly moved to Biograph Studios, where he began di- recting alongside the Father of American Cinema, the great D.W. Griffith. Walsh appeared as John Wilkes Booth in “The Birth of a Nation” (1915) and also assist- ed Griffith by filming the picture’s battle scenes. Impressed with Walsh’s work for Griffith, Rockliffe Fellowes as Owen Conway is transformed from Bowery up-and-coming studio mogul William Fox tough guy to responsible citizen by love for Marie (Anna Q. Nilsson). pirated Walsh away from Griffith in 1915 and gave Walsh his first chance to direct on his own. What a feature debut it was: the epic film, most infamous New York has ever known." When “Regeneration.” he meets a young woman, Mamie Rose (who be- comes Marie in Walsh’s film), Owen steadily trans- “Regeneration,” thought to be the first feature- forms himself into a caring, responsible human be- length gangster film produced in American cinema, ing. Eventually he and Mamie Rose are to be mar- premiered in the U.S. in 1915. Its reputation flour- ried, but, tragically, she dies of pneumonia just be- ishes even today. Critics and moviegoers alike fore the wedding. Nevertheless, she has changed agree that with this film, Walsh quickly surpassed Owen’s life forever. the directorial prowess of his mentor, D.W. Griffith. Kildare’s characters hungered even more than the Walsh could not have found better material for his aches in their stomachs; despair mapped the days first solo outing as a director than with the story he of their lives. -
Dramatic Structure and Philosophy in Brutus, Alzire and Mahomet
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Modern Languages and Literatures, Department French Language and Literature Papers of October 1975 Dramatic structure and philosophy in Brutus, Alzire and Mahomet Thomas M. Carr Jr. University of Nebraska - Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/modlangfrench Part of the Modern Languages Commons Carr, Thomas M. Jr., "Dramatic structure and philosophy in Brutus, Alzire and Mahomet" (1975). French Language and Literature Papers. 34. https://digitalcommons.unl.edu/modlangfrench/34 This Article is brought to you for free and open access by the Modern Languages and Literatures, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in French Language and Literature Papers by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Published in Studies on Voltaire and the Eighteenth Century, edited by Theodore Besterman, Volume CXLIII. The Voltaire Foundation, Thorpe Mandeville House, Banbury, Oxfordshire, 1975. Pages 7–48. Copyright © 1975 Theodore Besterman. Dramatic structure and philosophy in Brutus, Alzire and Mahomet by Thomas M. Carr, jr. An impressive amount of recent critical work has dealt with the philosophic element in Voltaire's tragedies. His plays have been labelled a theatre of involvement and a theatre of ideas; they have been examined from the standpoint of propaganda and as tragedyl. However,the focus of such studies has been primarily on Voltaire's message or on the meaning ofthe plays, rather than on the dramatic structure he created to convey his philosophic concerns. Today, of course, Voltaire does not rank high either as an original thinker or as a dramatist. -
Rousseau Et Voltaire: Une Comparaison
The Corinthian Volume 8 Article 12 2007 Rousseau et Voltaire: Une comparaison Rita Howard Georgia College & State University Follow this and additional works at: https://kb.gcsu.edu/thecorinthian Part of the French and Francophone Language and Literature Commons Recommended Citation Howard, Rita (2007) "Rousseau et Voltaire: Une comparaison," The Corinthian: Vol. 8 , Article 12. Available at: https://kb.gcsu.edu/thecorinthian/vol8/iss1/12 This Article is brought to you for free and open access by the Undergraduate Research at Knowledge Box. It has been accepted for inclusion in The Corinthian by an authorized editor of Knowledge Box. Rousseau et Voltaire: Une Comparaison Ro~u et Voltaire: Une oomparaison Rita Howard Dr. Hedwig Fraunhofer Faculty Sponsor Le XVIIIe siecle est avant tout l'age de la raison marque par un mouve ment intellectuel reformateur en Europe a la recherche du bonheur. C'est le siecle des Lumieres et de l'Encyclopedie. Les philosophes s'unissent pour liberer le public des traditions, superstitions et des idees medievales fausses. Ils defendent entre autres la liberte, la raison, la tolerance, la justice, l'egal ite, le progres, et denoncent les abus de pouvoir. C'est le siecle de la critique religieuse, sociale et politique avec Voltaire et Rousseau qui contestent la societe de privilegies issus du Moyen Age. Meme si Voltaire et Rousseau sont consideres comme des philosophes du Siecle des Lumieres, leurs styles et leurs points de vue sont differents sur presque tous les sujets. Jean-Jacques Rousseau utilise la sensibilite pour comprendre le monde; sa pensee philosophique est profonde et originale.