The reception accorded to Jacques Offenbach's (1819-1880) stage
works is traditionally dominated by concepts such as 'satire' or
'parody'. But the insistence on such categories fails to do justice
to the heterogeneous nature of his oeuvre. One way of remedying
this defect is to examine the works in the literary and dramatic
context of the age in which they were written. Paradigmatic for the
preoccupation with moral discourse typical of that age is Alexandre
Dumas fils' essay AThA(c)A[tre utileA. The study sets out to
demonstrate that at an idealistic level Dumas fils and Offenbach
had more in common than has been hitherto supposed.
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