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"Linguistic" theories in the eighteenth-century are also theories of literature and art, and it is probably better, therefore, to think of them as "aesthetic" theories. As such, they are answers to the age-old question "what is beauty?," but formulated, also, to respond to contemporary concerns. Edward Nye considers a wide range of authors from these two perspectives and draws the following conclusions: etymology is a theory of poetry, dictionaries of synonymy, prosody and metaphor are theories of preciosity, and Sensualism is a theory of artistic representation.
Zhivov's magisterial work tells the story of the creation of a new vernacularliterary language in modern Russia, an achievement arguably on a par with thenation's extraordinary military successes, territorial expansion, developmentof the arts, and formation of a modern empire.
Reading 1759 investigates the literary culture of a remarkable year in British and French history, writing, and ideas. Familiar to many as the British “year of victories” during the Seven Years’ War, 1759 was also an important year in the histories of fiction, philosophy, ethics, and aesthetics. Reading 1759 is the first book to examine together the range of works written and published during this crucial year. Offering broad coverage of the year’s work in writing, these essays examine key works by Johnson, Voltaire, Sterne, Adam Smith, Edward Young, Sarah Fielding, and Christopher Smart, along with such group projects as the Encyclopédie and the literary review journals of the mid-eighteenth century. Organized around a cluster of key topics, the volume reflects the concerns most important to writers themselves in 1759. This was a year of the new and the modern, as writers addressed current issues of empire and ethical conduct, forged new forms of creative expression, and grappled with the nature of originality itself. Texts written and published in 1759 confronted the history of Western colonialism, the problem of prostitution in a civilized society, and the limitations of linguistic expression. Philosophical issues were also important in 1759, not least the thorny question of causation; while, in France, state censorship challenged the Encyclopédie, the central Enlightenment project. Taking into its purview such texts and intellectual developments, Reading 1759 puts the literary culture of this singular, and singularly important, year on the scholarly map. In the process, the volume also provides a self-reflective contribution to the growing body of “annualized” studies that focus on the literary output of specific years.
From the 1750s to the 1830s, numerous British intellectuals, novelists, essayists, poets, playwrights, translators, educationalists, politicians, businessmen, travel writers, and philosophers brooded about the merits and demerits of the French language. The decades under consideration encompass a particularly tumultuous period in Anglo-French relations that witnessed the Seven Years' War (1756-1763), the American War of Independence (1775-1783), the Revolutionary and Napoleonic Wars (1792-1802 and 1803-1815, respectively), the Bourbon Restoration (1814-1830), and the July Revolution (1830) - not to mention the gradual expansion of the British Empire, and the complex cultural shifts that led from Neoclassicism to Romanticism. In this book, Marcus Tomalin reassesses the ways in which writers such as Tobias Smollett, Maria Edgeworth, William Wordsworth, John Keats, William Cobbett, and William Hazlitt acquired and deployed French. This intricate topic is examined from a range of critical perspectives, which draw upon recent research into European Romanticism, linguistic historiography, comparative literature, social and cultural history, education theory, and translation studies. This interdisciplinary approach helps to illuminate the deep ambivalences that characterised British appraisals of the French language in the literature of the Romantic period.
The apparent self-sufficiency of joie de vivre means that, despite the widespread use of the phrase since the late nineteenth century, the concept has rarely been explored critically. Joie de vivre does not readily surrender itself to examination, for it is in a sense too busy being what it is. However, as the essays in this collection reveal, joie de vivre can be as complex and variable a state as the more negative emotions or experiences that art and literature habitually evoke. This volume provides an urgently needed study of an intriguing and under-explored area of French literature and culture from the Middle Ages to the contemporary era. While the range and content of contributions embraces linguistics, literature, art, sport and politics, the starting point is, like that of the term joie de vivre itself, in French language and culture. This volume will be of special interest to researchers across the full range of French studies, from literature and language to cultural studies. It will be of direct appeal to specialist readers, university libraries, graduate and undergraduate students, and general readers with a lively interest in French literature and culture of the medieval, early modern and broad modern periods. This book's fresh perspectives on the theme of joie de vivre and its relation to questions of privacy, contemplation, voyeurism, feasting and nationhood will also be of relevance to researchers in comparative and cognate disciplines.
Highlights the importance of language in the social theory, epistemology, and aesthetics of the Enlightenment. Argues that awareness of the historicity and linguistic rootedness of all forms of life was a mainstream Enlightenment notion rather than a feature of the so-called 'Counter-Enlightenment'.
How do translators manage relations with parties in a position of authority and power? The book investigates the intellectual, social and professional identity of translators and interpreters across different time periods and locations when their role involves a negotiation with political powers and cultural authorities.
The market for print steadily expanded throughout the eighteenth-century Atlantic world thanks to printers' efforts to ensure that ordinary people knew how to read and use printed matter. Reading is and was a collection of practices, performed in diverse but always very specific ways. These practices were spread down the social hierarchy through printed guides. Eve Tavor Bannet explores guides to six manners or methods of reading, each with its own social, economic, commercial, intellectual and pedagogical functions, and each promoting a variety of fragmentary and discontinuous reading practices. The increasingly widespread production of periodicals, pamphlets, prefaces, conduct books, conversation-pieces and fictions, together with schoolbooks designed for adults and children, disseminated all that people of all ages and ranks might need or wish to know about reading, and prepared them for new jobs and roles both in Britain and America.
The 'ballet d'action' was one of the most successful and controversial forms of theatre in the early modern period. A curious hybrid of dance, mime and music, its overall and overriding intention was to create drama. It was danced drama rather than dramatic dance, musical drama rather than dramatic music. Most modern critical studies of the ballet d'action treat it more narrowly as stage dance and very few view it as part of the history of mime. Little use has previously been made of the most revealing musical evidence. This innovative book does justice to the distinctive hybrid nature of the ballet d'action by taking a comparative approach, using contemporary literature and literary criticism, music, mime and dance from a wide range of English and European sources. Edward Nye presents a fascinating study of this important and influential part of eighteenth-century European theatre.