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Bringing together the previously disparate fields of historical witchcraft, reception history, poetics, and psychoanalysis, this innovative study shows how the glamour of the historical witch, a spell that she cast, was set on a course, over a span of three hundred years from the sixteenth to the eighteenth centuries, to become a generally broadcast glamour of appearance. Something that a woman does, that is, became something that she has. The antique heroine Medea, witch and barbarian, infamous poisoner, infanticide, regicide, scourge of philanderers, and indefatigable traveller, serves as the vehicle of this development. Revived on the stage of modernity by La Péruse in the sixteenth century, Corneille in the seventeenth, and the operatic composer Cherubini in the eighteenth, her stagecraft and her witchcraft combine, author Amy Wygant argues, to stun her audience into identifying with her magic and making it their own. In contrast to previous studies which have relied upon contemporary printed sources in order to gauge audience participation in and reaction to early modern theater, Wygant argues that psychoanalytic thought about the behavior of groups can be brought to bear on the question of "what happened" when the early modern witch was staged. This cross-disciplinary study reveals the surprising early modern trajectory of our contemporary obsession with magic. Medea figures the movement of culture in history, and in the mirror of the witch on the stage, a mirror both appealing and appalling, our own cultural performances are reflected. It concludes with an analysis of Diderot's claim that the historical process itself is magical, and with the moment in Revolutionary France when the slight and fragile body of the golden-throated singer, Julie-Angélique Scio, became a Medea for modernity: not a witch or a child-murderess, but, as all the press reviews insist, a woman.
"This reassessment of French classical ideas about tragedy will be valuable to students and scholars of French literature, drama, and cultural history."--BOOK JACKET.
Presents a theoretically informed reading of Racine's nine secular tragedies, from La Thebaide (1664) to Phedre (1677). This study focuses on literary/theatrical constructions of space, time, and identity.
This book explores the concept of freedom by reading the works of Corneille, Pascal, and Racine as political theories in the guise of literature. Within this framework, a certain model quickly becomes apparent, namely that of absolute sovereignty as the guarantor of freedom. The three writers under consideration share the view that freedom is ensured only by absolute authority rather than the absence of such authority. From Corneille, who modulates freedom through an erotic link to the monarch as a means through which the glorious individual is brought into the state's fold, to Pascal, who traces the liberation of the will via absolute submission to God, to Racine, for whom absolute submission to the most Christian king is the only route to political and personal salvation, Elmarsafy studies a politics of taking charge that differs markedly form the contemporary orthodoy that privileges individual freedom.
This study of the French early music revival gives us a vivid sense of how music's cultural meanings were contested in the nineteenth century. It surveys the main patterns of revivalist activity while also providing in-depth studies of repertories stretching from Adam de la Halle to Rameau.
This study recognizes the broad impact of opera in early-modern French culture.
Noting significant differences between the individual tragedies of Racine and the many current notions of what "Racinian tragedy" is deemed to imply, John Campbell explores the identity and meaning of the modern "Racine." He asks if any one critical parad