Jean-Louis Wagniere servit Voltaire en qualite de secretaire de 1755 a 1778 avant de defendre sa memoire jusqu'a sa mort. Ses lettres assurent une importante mediation dans notre connaissance de la vie et de l'oeuvre du grand philosophe. Dans cette etude Christophe Paillard rassemble d'importants documents inedits qui apportent des eclaircissements sur les oeuvres de Voltaire et ses strategies epistolaires, ses rapports avec les editeurs, l'installation de sa bibliotheque a Petersbourg et l'histoire de l'edition de Kehl. Or, C. Paillard montre aussi que le temoignage de Wagniere doit etre interprete avec plus de precaution que la critique n'a eu tendance a le faire auparavant. Il fait voir que l'attribution de certaines oeuvres ou les remarques sur l'edition de Kehl doivent etre replacees dans le contexte d'une mise en scene; on decouvre a quel point le 'petit scribe' a assimile et mis en oeuvre les strategies litteraires de son maitre. Dans Jean-Louis Wagniere, secretaire de Voltaire: lettres et documents Christophe Paillard renouvelle l'etude de l'epistolaire et des methodes d'ecriture de Voltaire. Il procure aux specialistes de Voltaire une mine de documents inedits, et, de plus, il nous offre un moyen de les lire.

Shakespeare was born into a new age of will, in which individual intent had the potential to overcome dynastic expectation. The 1540 Statute of Wills had liberated testamentary disposition of land and thus marked a turning point from hierarchical feudal tradition to horizontal free trade. Focusing on Shakespeare's late Elizabethan plays, Gary Watt demonstrates Shakespeare's appreciation of testamentary tensions and his ability to exploit the inherent drama of performing will. Drawing on years of experience delivering rhetoric workshops for the Royal Shakespeare Company and as a prize-winning teacher of law, Gary Watt shows that Shakespeare is playful with legal technicality rather than obedient to it. The author demonstrates how Shakespeare transformed lawyers' manual book rhetoric into powerful drama through a stirring combination of word, metre, movement and physical stage material, producing a mode of performance that was truly testamentary in its power to engage the witnessing public. Published on the 400th anniversary of Shakespeare's last will and testament, this is a major contribution to the growing interdisciplinary field of law and humanities.

The book looks at ways of world-building in prose fictions of cosmic voyage in the seventeenth century. With the rise of the New Astronomy, there equally was a resurgence of the cosmic voyage in fiction. Various models of the universe were reimagined in prose form. Most of these voyages explore imagined versions of a world in the moon, such as the cosmic voyages by Johannes Kepler, Francis Godwin and Savinien Cyrano de Bergerac. In Margaret Cavendish's The Blazing World, an eponymous imaginary planet is introduced. The book analyses the world-building of cosmic voyages by combining theories of world-building with contemporary concepts from early modern literature. It shows how imaginary worlds were created in early modern prose literature.

Une oeuvre de fiction peut-elle etre vraie? C'est ce que de nombreux auteurs du dix-huitieme siecle ont pretendu dans les prefaces de leurs romans. Il est communement admis que cette revendication tente de deguiser la fictionnalite de la fiction, et de tromper le lecteur dans le but de lui faire prendre une illusion pour une verite. Dans cet ouvrage, Herman, Kozul et Kremer examinent d'un oeil neuf ce point de vue, et analysent tout un eventail de prefaces sous deux perspectives: semantique et pragmatique. La lecture semantique developpe celle de G. May dans son etude pionniere, Le Dilemme du roman (1963), et situe la preface ainsi que sa pretention a la verite a l'interieur du recit fictionnel lui-meme, ou elle joue son role dans cette supercherie dont le lecteur est la cible. L'approche pragmatique, cependant, mene a une lecture absolument nouvelle de ces pretentions prefacielles, et revele comment elles soulignent la fictionnalite du roman. Les auteurs avancent l'argument que cette declaration qui nous est si familiere 'ceci n'est pas un roman', sert a legitimer l'artifice du roman, et a etablir une sorte de pacte de complicite avec le lecteur. Herman, Kozul et Kremer nous permettent de voir d'une facon entierement neuve l'ecriture et la lecture de la fiction au dix-huitieme siecle. Ils explorent les problemes de legitimation et d'accreditation qui caracterisent non seulement les prefaces des romans, mais aussi bien d'autres discours de la premiere modernite.

Includes articles on architecture, cultural history, the 'Luxury debate' in the eighteenth century, Rousseau, and the manuscript of The Life of John Wilkes with commentary and contextualisation.

Shakespeare's Pictures is the first full-length study of visual objects in Shakespearean drama. In several plays (Hamlet, The Merchant of Venice and Twelfth Night, among others) pictures are brought on stage - in the form of portraits or other images - as part of the dramatic action. Shakespeare's characters show, exchange and describe them. The pictures arouse in their beholders strong feelings, of desire, nostalgia or contempt, and sometimes even taking the place of the people they depict. The pictures presented in Shakespeare's work are part of the language of the drama, and they have a significant impact on theatrical performance, from Shakespeare's time to our own. Keir Elam pays close attention to the iconographic and literary contexts of Shakespeare's pictures while also exploring their role in performance history. Highly illustrated with 46 images, this volume examines the conflicted cooperation between the visual and the verbal.

Arden Early Modern Drama Guides offer students and academics practical and accessible introductions to the critical and performance contexts of key Elizabethan and Jacobean plays. Contributions from leading international scholars give invaluable insight into the text by presenting a range of critical perspectives, making these books ideal companions for study and research. Key features include: Essays on the play's critical and performance histories A keynote chapter reviewing current research and recent criticism of the play A selection of new essays by leading scholars A survey of learning and teaching resources for both instructors and students This volume offers a thought-provoking guide to Shakespeare's Richard II, surveying its critical heritage and the ways in which scholars, critics, and historians have approached the play, from the 17th to the 21st century. It provides a detailed, up-to-date account of the play's rich performance history on stage and screen, looking closely at some major British productions, as well as a guide to learning and teaching resources and how these might be integrated into effective pedagogic strategies in the classroom. Presenting four new critical essays, this collection opens up fresh perspectives on this much-studied drama, including explorations of: the play's profound preoccupation with earth, ground and land; Shakespeare's engagement with early modern sermon culture, 'mockery' and religion; a complex network of intertextual and cultural references activated by Richard's famous address to the looking-glass; and the long-overlooked importance to this profoundly philosophical drama of that most material of things: money.

The Oxford Handbook of the Age of Shakespeare presents a broad sampling of current historical scholarship on the period of Shakespeare's career that will assist and stimulate scholars of his poems and plays. Rather than merely attempting to summarize the historical 'background' to Shakespeare, individual chapters seek to exemplify a wide variety of perspectives and methodologies currently used in historical research on the early modern period that can inform close analysis of literature. Different sections examine political history at both the national and local levels; relationships between intellectual culture and the early modern political imagination; relevant aspects of religious and social history; and facets of the histories of architecture, the visual arts and music. Topics treated include the emergence of an early modern 'public sphere' and its relationship to drama during Shakespeare's lifetime; the role of historical narratives in shaping the period's views on the workings of politics; attitudes about the role of emotion in social life; cultures of honour and shame and the rituals and literary forms through which they found expression; crime and murder; and visual expressions of ideas of moral disorder and natural monstrosity, in printed images as well as garden architecture.

By convention, the likely end of the career of an eighteenth-century actress was marriage, the convent or the gutter. Jeanne Quinault used her talents to shape a most unconventional life. Despite her provincial origins, she was a favourite for over twenty years at the Comedie-Francaise and also carved an identity for herself in literary and salon life. Jeanne Quinault's role as organizer of the societe badine, called the Bout-du-Banc, is what has attracted the most interest, but historians have not generally recognized in her a salonniere as devoted to benevolence and mentorship as her wealthier and better-born contemporaries. From the time of her depiction in the pseudo-memoirs of Mme d'Epinay, the story has been distorted and errors have been handed down. This study offers a fresh assessment of her friendships with Caylus, Piron, Duclos, Maurepas and many other prominent individuals. In the theatrical sphere, Mlle Quinault promoted the development of sentimental comedy, sponsored both authors and actors, and participated in the creation of a number of works, including those of Francoise de Graffigny. Another client was Voltaire, whose letters shed light on the interplay between writers and performers. On a broader scale, the story of Jeanne Quinault is also that of the large acting family to which she belonged and of their aspiration to acceptance in polite society. Drawing on archival resources and unpublished collections of letters, this work offers readers the first detailed study of the actress and her circle.

Sade's rehabilitation as a major Enlightenment writer has hitherto not extended to a re-evaluation of his dramatic works. With a theoretical framework inspired by psychoanalysis and dramatic theory, and attentive to eighteenth-century theoretical debates, Thomas Wynn demonstrates the value of these neglected works. This is the first study to consider the nature and implications of Sade's dramatic aesthetic, and to define the erotic quality of spectatorship in his experimental plays. Challenging the assumption that the gaze is sadistic, the author uses insights from film theory to argue that Sade adapts contemporary theatrical texts and practice to create an aesthetic distinct from that of his novels. Rather than replicate the style of such works as Les Cent vingt journees de Sodome, Sade's drama anticipates a masochistic model, as theorised by Theodor Reik and Gilles Deleuze. This analysis of Sadean spectatorship takes a thematic rather than chronological or text-by-text approach. The author argues that Sade, as an atheist materialist, focuses on the structural elements of theatre to produce visual pleasure rather than moral improvement, and that he elaborates an insistently visual dramatic aesthetic, a mode analogous to the linguistic saturation of the novels' tout dire. With reference to eighteenth-century obscene drama, theatre architecture and the history of visuality, the author explores the paradox that Sade's theatre is meant not for the stage, but for the private imagination. His visionary theatre is an example of the late eighteenth-century sublime, an aesthetic of the ineffable and the unrepresentable which, in its emphasis on the survival of the demeaned individual, structurally resembles masochism. Without deforming his technique or strategy, the author shows that Sade's voluptuous theatre - like his fiction - addresses an individual whose sovereignty in a godless world is intimately linked to the independent imagination. This book will be of interest to all those working in eighteenth-century drama and theory of spectatorship.

'Libelles diffamatoires', 'ecrits scandaleux', 'lettres anonymes', 'histoires forgees a plaisir': autant de manifestations, explique Voltaire a Frederic II en 1739 de la 'fureur de nuire' de ceux qui sont resolus a le 'perdre'. Le modele se transpose aisement aux querelles qui marquent l'affirmation conflictuelle du pouvoir intellectuel des philosophes des Lumieres au cours des vingt annees qui suivent la publication du Prospectus de l'Encyclopedie. Olivier Ferret se propose de combler une lacune dans les etudes dix-huitiemistes (les travaux que les litteraires - surtout les historiens - ont consacres au pamphlet concernent la Fronde et la periode revolutionnaire) et adopte, pour la periode 1750-1770, a cote des travaux consacres a un auteur, une querelle ou l'un des clans en presence, une perspective nouvelle, centree sur la question des echanges pamphletaires: c'est par les representations que construisent les pamphlets que les 'philosophes' et les 'antiphilosophes' trouvent un semblant d'unite. En expliquant pourquoi, en raison de l'antagonisme ideologique qui oppose les deux clans, elles ressortissent aussi au religieux et au politique, l'auteur cherche a degager la specificite de ces querelles litteraires et a questionner leurs repercussions sur une sphere publique litteraire en train de se constituer en opinion publique. Les preoccupations de l'histoire culturelle sont au coeur d'une demarche qui, pour tenter de cerner les elements d'une pratique litteraire, voire d'une poetique du pamphlet qui n'est pas une forme anhistorique, fait aussi appel a des problematiques issues de la lexicologie, de la bibliographie materielle, de l'analyse rhetorique et de l'analyse du discours. En observant la part qu'il prend dans ces querelles, il s'agit enfin de mesurer l'influence de Voltaire sur la physionomie de tels echanges pamphletaires.

Hamlet is the most often produced play in the western literary canon, and a fertile global source for film adaptation. Samuel Crowl, a noted scholar of Shakespeare on film, unpacks the process of adapting from text to screen through concentrating on two sharply contrasting film versions of Hamlet by Laurence Olivier (1948) and Kenneth Branagh (1996). The films' socio-political contexts are explored, and the importance of their screenplay, film score, setting, cinematography and editing examined. Offering an analysis of two of the most important figures in the history of film adaptations of Shakespeare, this study seeks to understand a variety of cinematic approaches to translating Shakespeare's "words, words, words" into film's particular grammar and rhetoric

Natural History in Early Modern France offers a longue duree account of recurring poetic structures of the genre through case studies spanning from the Renaissance to the eve of the nineteenth century. These case studies reveal the lasting epistemic importance of bookish knowledge and commonplacing in the natural-historical description from Belon to Buffon. They also highlight the French reception of Baconianism. Natural History in Early Modern France makes a case for the literary status of the genre by attending to the permanence of its 'Plinian' features, such as wonders. Natural history was not only concerned with increasingly rational modes of ordering natural particulars: this book reveals its enduring social, affective, spiritual, and aesthetic underpinnings. Contributors are: Peter Anstey, Susan Broomhall, Isabelle Charmantier, Arlette Fruet, Raphaele Garrod, Paul Gibbard, Dana Jalobeanu, Myriam Marrache-Gouraud, Stephane Schmitt, Paul J. Smith, and Stephane Van Damme.

Literature serves many purposes, and one of them certainly proves to be to convey messages, wisdom, and instruction, and this across languages, religions, and cultures. Beyond that, as the contributors to this volume underscore, people have always endeavored to reach out to their community members, that is, to build community, to learn from each other, and to teach. Hence, this volume explores the meaning of communication, translation, and community building based on the medium of language. While all these aspects have already been discussed in many different venues, the contributors endeavor to explore a host of heretofore less considered historical, religious, literary, political, and linguistic sources. While the dominant focus tends to rest on conflicts, hostility, and animosity in the pre-modern age, here the emphasis rests on communication with its myriad of challenges and potentials for establishing a community. As the various studies illustrate, a close reading of communicative issues opens profound perspectives regarding human relationships and hence the social context. This understanding invites intensive collaboration between medical historians, literary scholars, translation experts, and specialists on religious conflicts and discourses. We also learn how much language carries tremendous cultural and social meaning and determines in a most sensitive manner the interactions among people in a communicative and community-based fashion.

As the long sixteenth century came to a close, new positive ideas of gusto/ taste opened a rich counter vision of food and taste where material practice, sensory perceptions and imagination contended with traditional social values, morality, and dietetic/medical discourse. Exploring the complex and evocative ways the early modern Italian culture of food was imagined in the literature of the time, Food Culture and the Literary Imagination in Early Modern Italy reveals that while a moral and disciplinary vision tried to control the discourse on food and eating in medical and dietetic treatises of the sixteenth century and prescriptive literature, a wide range of literary works contributed to a revolution in eating and taste. In the process long held visions of food and eating, as related to social order and hierarchy, medicine, sexuality and gender, religion and morality, pleasure and the senses, were questioned, tested and overturned, and eating and its pleasures would never be the same.

Shakespeare's tragedies are among the greatest works of tragic art and have attracted a rich range of commentary and interpretation from leading creative and critical minds. This Reader's Guide offers a comprehensive survey of the key criticism on the tragedies, from the 17th century through to the present day. In this book, Nicolas Tredell: - Introduces essential concepts, themes and debates. - Relates Shakespeare's tragedies to fi elds of study including psychoanalysis, gender, race, ecology and philosophy. - Summarises major critical texts from Dryden and Dr Johnson to Janet Adelman and Julia Reinhard Lupton, and covers influential critical movements such as New Criticism, New Historicism and poststructuralism. - Demonstrates how key critical approaches work in practice, with close reference to Shakespeare's texts. Informed and incisive, this is an indispensable guide for anyone interested in how the category of Shakespeare's tragedies has been constructed, contested and changed over the years.

The handbook offers a comprehensive introduction to the British novel in the long eighteenth century, when this genre emerged to develop into the period's most versatile and popular literary form. Part I features six systematic chapters that discuss literary, intellectual, socio-economic, and political contexts, providing innovative approaches to issues such as sense and sentiment, gender considerations, formal characteristics, economic history, enlightened and radical concepts of citizenship and human rights, ecological ramifications, and Britain's growing global involvement. Part II presents twenty-five analytical chapters that attend to individual novels, some canonical and others recently recovered. These analyses engage the debates outlined in the systematic chapters, undertaking in-depth readings that both contextualize the works and draw on relevant criticism, literary theory, and cultural perspectives. The handbook's breadth and depth, clear presentation, and lucid language make it attractive and accessible to scholar and student alike.

The shift in the interpretation of eighteenth-century European culture over the last century provokes the questions: what meaning can be ascribed to that notion at the beginning of the twenty-first century? and how should we see Diderot's response to it? This collection of essays re-examines Diderot's uniquely rich relationship with the intellectual life of European nations, and his crucial role in focusing, connecting and spreading its many strands. While sharing certain Eurocentric prejudices, he held a more liberated view of a common humanity and the universal nature of human aspirations. These essays explore his interest in those hybrid, borderline zones, where systems, hierarchies, and national or disciplinary boundaries come under productive stress. What emerges is the irreducibility of his writing, which resists incorporation into any officially sanctioned canon. The Diderot being created by today's scholars is truly protean, not so much French, or even European, as global, a cultural icon for the modern age.

Bovo d'Antona by Elye Bokher (Elyiahu ben Asher haLevi Ashkenazi, 1469-1549) is a chivalry poem written in Yiddish in Padoa, in the year 1507, and printed under the author's supervision in Isny (Germany) in the year 1541. The present book intends to present a critical edition of this poem, together with a commentary. An introduction will focus on various related questions, such as the place of the Bovo d'Antona in European literature and in Italian literature, Bovo d'Antona and the chivalric genre in Old Yiddish literature, the analysis of the manuscript versions in comparison with the printed edition, the relationship with the Italian source and the readership. An appendix will deal with later transformations of the Bovo-Bukh. "Bovo Bukh is an excellent example of the relationship between romances and folktales,and Rosenzweig's introduction and edition of this important early Yiddish text will be appreciated by scholars of early Modern literature and folk narrative." - Dr. David Elton Gay, Indiana University, in: Fabula 59:1-2 (2018)

Deux cent cinquante ans apres la mort de Montesquieu, de nouvelles questions se posent. Ce volume presente en trois volets les dernieres recherches sur Montesquieu, suscitees par la nouvelle edition des OEuvres completes (Oxford, Voltaire Foundation). Avec les Lettres persanes apparait la necessite d'analyser les modes de lecture induits par les dispositifs editoriaux (paratexte, nouvelle edition 'augmentee et diminuee' en 1721, table des matieres ou des sommaires, usages typographiques du dix-huitieme ou du dix-neuvieme siecle) voire par la censure romaine. On voit ainsi combien hier et aujourd'hui la lecture est tributaire de facteurs jusque-la meconnus: les Lettres persanes sont decidement un texte redoutable... L'Esprit des lois est scrute d'abord dans son ecriture meme, grace a la mise en relation du manuscrit conserve a la Bibliotheque nationale de France et d'un enorme corpus de manuscrits et d'archives desormais disponible, mais disperse dans toute l'Europe (oeuvres inachevees, correspondance, actes notaries, etc.): les strates de composition et de redaction sont reperables et datables de maniere tres precise grace a l'identification des 'mains' des secretaires de Montesquieu, ce qui permet de reconstituer une methode de travail et une chronologie de composition sensiblement differentes de celles qui etaient admises depuis les travaux fondateurs de Robert Shackleton. Cela conduit a evoquer differents aspects complementaires de l'activite de Montesquieu, qui necessitaient une mise au point (sur la pretendue cecite de Montesquieu, sur 'L'invocation aux Muses' ou la chronologie generale des secretaires). Enfin, ce sont les themes essentiels de Montesquieu, les idees-forces autour desquelles se constitue l'oeuvre majeure, qui sont examines. Le droit comme expression d'une rationalite mais aussi comme prolongement des premiers temps de la monarchie (avec la notion de constitution), l'economie comme champ nouveau offert a la reflexion politique, et un traitement de l'histoire qui offre de fructueux rapprochements avec Voltaire: tels sont les modes d'approche d'une pensee avec laquelle s'est ouvert un horizon radicalement nouveau.

Medievalism -the appropriation of elements of medieval culture - has a long history: every century since the sixteenth has remade the Middle Ages in its own image. But different generations look back to the medieval period for different reasons, and each successive generation finds a different 'Middle Ages', a Middle Ages that says more about that generation's own aspirations and anxieties than it does about the medieval period itself. What does eighteenth-century medievalism tell us about France at the end of the Ancien regime? The cliche is well known: in Enlightenment France, the Middle Ages - those 'temps grossiers' dividing Classical times from the Renaissance - were universally despised as a dark age of bigotry and barbarism. But historical cliches are often the result of reading the past backwards. Relegated to the dust-heap of history by Enlightenment intellectuals, the Middle Ages in fact held a remarkable attraction for readers and audiences of the time. This wide-ranging book charts some aspects of the surprisingly broad influence of medievalism on the scholarship and popular culture of eighteenth-century France.

Signs of Power in Habsburg Spain and the New World explores the representation of political, economic, military, religious, and juridical power in texts and artifacts from early modern Spain and her American viceroyalties. In addition to analyzing the dynamics of power in written texts, chapters also examine pieces of material culture including coats of arms, coins, paintings and engravings. As the essays demonstrate, many of these objects work to transform the amorphous concept of power into a material reality with considerable symbolic dimensions subject to, and dependent on, interpretation. With its broad approach to the discourses of power, Signs of Power brings together studies of both canonical literary works as well as more obscure texts and objects. The position of the works studied with respect to the official center of power also varies. Whereas certain essays focus on the ways in which portrayals of power champion the aspirations of the Spanish Crown, other essays attend to voices of dissent that effectively call into question that authority.

When we read poetry, we tend to believe that we are getting a glimpse of the interior of the poet's mind-pictures from the poet's imagination relayed through the representative power of language. But poets themselves sometimes express doubt (usually indirectly) that poetic language has the capability or the purpose of revealing these images. This book examines description in Renaissance poetry, aiming to reveal its complexity and variability, its distinctiveness from prose description, and what it can tell us about Renaissance ways of thinking about the visible world and the poetic mind. Recent criticism has tended to address representation as a product of culture; The Unimagined in the English Renaissance argues to the contrary that attention to description as a literary phenomenon can complicate its cultural context by recognizing the persistent problems of genre and literary history. The book focuses on Sidney, Spenser, Donne, and Milton, who had very different aims as poets but shared a degree of skepticism about imagistic representation. For these poets, description can obscure as much as it makes visible, and can create whole categories of existence that are outside of visibility altogether.