During the French Revolution, traditional literary forms such as the sentimental novel and the moral tale dominate literary production. At first glance, it might seem that these texts are unaffected by the upheavals in France; in fact they reveal not only a surprising engagement with politics but also an internalised emotional response to the turbulence of the period. In this innovative and wide-ranging study, Katherine Astbury uses trauma theory as a way of exploring the apparent contradiction between the proliferation of non-political literary texts and the events of the Revolution. Through the narratives of established bestselling literary figures of the Ancien Regime (primarily Marmontel, Madame de Genlis and Florian), and the early works of first generation Romantics Madame de Stael and Chateaubriand, she traces how the Revolution shapes their writing, providing an intriguing new angle on cultural production of the 1790s.Katherine Astbury is Senior Lecturer in French Studies at the University of Warwick.

This book examines the politics of legitimacy as they played out across Europe in response to Napoleon's dramatic return to power in France after his exile to Elba in 1814. Napoleon had to re-establish his claim to power with initially minimal military resources. Moreover, as the rest of Europe united against him, he had to marshal popular support for his new regime, while simultaneously demanding men and money to back what became an increasingly inevitable military campaign. The initial return - known as 'the flight of the eagle' - gradually turned into a dogged attempt to bolster support using a range of mechanisms, including constitutional amendments, elections, and public ceremonies. At the same time, his opponents had to marshal their resources to challenge his return, relying on populations already war-weary and resentful of the costs they had had to bear. The contributors to this volume explore how, for both sides, cultural politics became central in supporting or challenging the legitimacy of these political orders in the path to Waterloo.

This book examines both the notion that the non-political fiction of the Revolution is responding to the events in France and the idea that trauma theory might shed light on the ways in which novelists responded to the Revolution.

This book examines the politics of legitimacy as they played out across Europe in response to Napoleon's dramatic return to power in France after his exile to Elba in 1814. Napoleon had to re-establish his claim to power with initially minimal military resources. Moreover, as the rest of Europe united against him, he had to marshal popular support for his new regime, while simultaneously demanding men and money to back what became an increasingly inevitable military campaign. The initial return - known as 'the flight of the eagle' - gradually turned into a dogged attempt to bolster support using a range of mechanisms, including constitutional amendments, elections, and public ceremonies. At the same time, his opponents had to marshal their resources to challenge his return, relying on populations already war-weary and resentful of the costs they had had to bear. The contributors to this volume explore how, for both sides, cultural politics became central in supporting or challenging the legitimacy of these political orders in the path to Waterloo.

Written substantially in the late 1740s and published between 1747 and 1749, the three contes which are collected in this volume are among the best known of Voltaire's works. They were composed at a time when Voltaire had abandoned the tranquillity of Cirey for the tumult of Paris and Versailles, and was enjoying new recognition from members of the court and the learned societies. The three contes in the present volume, "Zadig", "Memnon" and "Le Monde comme il va", mark a new departure for Voltaire. They are the first of his fictional writings to be composed especially for the general reading public. Secure in his official prestige by the late 1740s, Voltaire felt free to publish these fictional experiments which adapt the popular mode of oriental fiction, parodying and pastiching the works of other writers - while at the same time offering serious criticisms of French society and his reflections on the nature of human happiness and the problem of evil.