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When Cäleste Mogador's memoirs were first published in 1854 and again in 1858, they were immediately seized and condemned as immoral and unsuitable for public consumption. For a reader in our more forgiving times, this extraordinary document offers not only a portrait of the early life of an intelligent, courageous, and infinitely intriguing Frenchwoman but also an exceedingly rare inside look at the world of the courtesans and prostitutes of nineteenth-century France. ø Writing to conciliate judges and creditors, Mogador (born Cäleste Venard in 1824) explains how with tenacity, wit, and audacity, she managed to escape a difficult childhood and subsequent life of prostitution to become, successively, a darling of the dance halls, a circus rider, and an actress, all the while attracting wealthy young men who vied for her favor. Although her account gives readers a peek into the rakish demimonde made famous by Verdi's opera La Traviata, its greatest value lies in its candid picture of a spunky, self-educated woman who doggedly transformed herself into an esteemed and prolific novelist and playwright, who fell in love with a count and married him, and who made her name synonymous with the bohemian life of the 1840s and 1850s in Paris.
A new translation of the memoirs of Celeste Mogador, first published in 1858 by the famous Parisian courtesan and performer.
When Cäleste Mogador's memoirs were first published in 1854 and again in 1858, they were immediately seized and condemned as immoral and unsuitable for public consumption. For a reader in our more forgiving times, this extraordinary document offers not only a portrait of the early life of an intelligent, courageous, and infinitely intriguing Frenchwoman but also an exceedingly rare inside look at the world of the courtesans and prostitutes of nineteenth-century France. ø Writing to conciliate judges and creditors, Mogador (born Cäleste Venard in 1824) explains how with tenacity, wit, and audacity, she managed to escape a difficult childhood and subsequent life of prostitution to become, successively, a darling of the dance halls, a circus rider, and an actress, all the while attracting wealthy young men who vied for her favor. Although her account gives readers a peek into the rakish demimonde made famous by Verdi's opera La Traviata, its greatest value lies in its candid picture of a spunky, self-educated woman who doggedly transformed herself into an esteemed and prolific novelist and playwright, who fell in love with a count and married him, and who made her name synonymous with the bohemian life of the 1840s and 1850s in Paris.
Céleste de Chabrillan, former courtesan and widow of the first French Consul to Melbourne, became the most prolific female stage writer in nineteenth-century France. Forever haunted by her scandalous past, Céleste fought to hold her place in an artistic world dominated by men. Courtesan and Countess tells the story not only of her struggle as a creative artist to survive and earn a living, but also of her fascinating life at the centre of the bohemian circles of Paris, surrounded by friends such as Alexandre Dumas père, Georges Bizet and Prince Napoléon. Courtesan and Countess paints a portrait of a remarkable woman and of the turbulent world of Paris during the Belle Epoque. Lost for more than eighty years until discovered by the authors in the attic of a French country manor, these are the unpublished and final set of memoirs from Céleste de Chabrillan.
‘Sullivan’s outstanding book is the first to show how French courtesans were fully-fledged masters of the pen as well as proverbial ladies of the night. We learn how their rewriting of classics such as The Lady of the Camellias and their response to a male “backlash” inspire Colette in previously unseen ways.’ — Nicholas White, University of Cambridge, UK This book is about the autobiographical fictions of nineteenth-century French courtesans. In response to damaging representations of their kind in Zola and Alexandre Dumas' novels, Céleste de Chabrillan, Valtesse de la Bigne, and Liane de Pougy crafted fictions recounting their triumphs as celebrities of the demi-monde and their outcries against the social injustices that pushed them into prostitution. Although their works enjoyed huge success in the second half of the nineteenth century, male writers penned faux-memoirs mocking courtesan novels, and successfully sowed doubt about their authorship in a backlash against the profitable notoriety the novels earned these courtesans. Colette, who did not write from personal experience but rather out of sympathy for the courtesans with whom she socialized, innovated the genre when she wrote three novels exploring the demi-mondaine’s life beyond prostitution and youth.
Text in English; unpublished memoirs originally written in French.
"First published in the United Kingdom by Icon Books Ltd"--Title page verso.
'What a subject for a film, but not, please, Meryl Streep ... Together with Dr Patricia Clancy (Melbourne University) and Jeanne Allen's (La Trobe University) elegant translation and able notes, the memoirs make for a piquant, informative, variegated and often startling read ... Miegunyah Press you've done it again.' (Derek Whitelock, Weekend Australian) A former Parisian courtesan, circus performer and dancer, C leste de Chabrillan scandalised Melbourne society when she arrived in 1854 as the wife of the French Consul. These memoirs give a vivid firsthand account of the two-and-a-half years she spent in gold-rush Victoria. C leste's arrival in Melbourne was preceded by the publication of her memoirs describing her illegitimate birth, miserable adolescence and celebrity career as a courtesan, bareback rider and polka dancer. As a result she was dubbed the consul's 'harlot spouse' and ostracised by society. Despite this, C leste did not avoid the public gaze and continued to employ her literary talents. Her memoirs are of a life spent in the village of St Kilda, the diplomatic and government house circle and the Ballarat gold fields. Her descriptions of a public hanging, Governor Hotham's 'beer ball' and her own Ball for the Victims of Crimea reveal her as a woman of great energy and wilful temperament.
During the course of the nineteenth century, a small group of women rose from impoverished obscurity to positions of great power, independence, and wealth. In doing so they took control of their lives -- and those of other people -- and made the world do their will. Extremely accomplished, well-educated, and unusually literate, courtesans exerted an incredible influence as leaders of society. They were not received at court, but inhabited their own parallel world -- the demimonde -- complete with its own hierarchies, etiquette, and protocol. They were queens of fashion, linguists, musicians, accomplished at political intrigue, and, of course, possessors of great erotic gifts. Even to be seen in public with one of the great courtesans was a much-envied achievement.