Tragedy and nation in the age of Napoleon
著者
書誌事項
Tragedy and nation in the age of Napoleon
(Oxford University studies in the Enlightenment, 2020:05)
Liverpool University Press on behalf of Voltaire Foundation, University of Oxford, c2020
大学図書館所蔵 全8件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references and index
内容説明・目次
内容説明
Napoleon's biographers often note his fondness for theatre, but as we approach the bicentenary of the Emperor's death, little remains known about the nature of theatre at the time. This is particularly the case for tragedy, the genre in which France considered itself to surpass its neighbours.
Based on extensive archival research, this first sustained study of tragedy under Napoleon examines how a variety of agents used tragedy and its rewriting of history to make an impact on French politics, culture and society, and to help reconstruct the French nation after the Revolution. This volume covers not just Napoleon's efforts, but also those of other individuals in government, the theatrical world, and the wider population. Similarly, it uncovers a public demand for tragedy, be it the return of Corneille, Racine, and Voltaire to the Comedie-Francaise, or new hits like Les Templiers (1805) and Hector (1809).
This research also sheds new light on Napoleonic propaganda and censorship, exposing their incoherencies and illustrating how audiences reacted to these processes. In short, Tragedy and Nation in the Age of Napoleon argues that Napoleonic tragedy was not simply tired and derivative; it engaged its audiences, by chomping at the poetic bit, allowing for a retrial of the Revolution, and offering a vision of the new French nation.
目次
List of illustrations and tables
Acknowledgements
List of abbreviations
Note on the text
Introduction
Reconstructing the nation
Tracing tragedy
Research aims and structure
I. The reimposition of the tragic canon: introduction
Chapter 1: The tragic inheritance
The eighteenth century
The Revolution
Chapter 2: Rewriting the past
Attempts at adaptation
Institutional rewritings
Tracing tragedy in performance
The legacy of the afterlives
Chapter 3: Heroic conquerors
Censorship
Propaganda
II. New Napoleonic tragedies: introduction
Tragedie
Chapter 4: Composition, performance, reception: pulling back the curtain on censorship and propaganda
To the Comedie-Francaise
The bureaucratic censorship system
Back at the theatre
In print
Chapter 5: The ambiguity of antiquity
Ancient Greece: Pyrrhus, 1807, Polyxene, 1804, and Hector, 1809
Ancient Rome: Vitellie, 1809, Tibere, Belisaire, Scipion, ou l'Africain and Camille, ou le Capitole sauve
Chapter 6: Heroes of the East
Cyrus, 1804
Ninus II, 1813
Artaxerce, 1808
Omasis, ou Joseph en Egypte, 1806
Chapter 7: Fear of the foreign
Staging foreign history: Mahomet II, 1811, Pierre le Grand, 1804, and Don Pedre, ou le Roi et le laboureur, 1802
Foreign threats: Jeanne Gray, Marie Stuart, L'Orphelin polonois, Genes sauvee and Wallstein
Chapter 8: Meddling in the Middle Ages
The Middle Ages on the stage: Brunehaut, 1810, and Les Templiers, 1805
Unperformed medieval tragedies nationales: Charlemagne, Clovis, Baudouin empereur, La Demence de Charles VI, La Regence de Charles VII and Arthur de Bretagne
Chapter 9: Testing tragedies nationales
Les Etats de Blois, 1810 and 1814
La Mort de Henri IV, 1806
Tippo-Saeb, 1813
Conclusion
Appendix 1
Appendix 2
Appendix 3
Bibliography
Index
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