Download Free Odes Funambulesques Book in PDF and EPUB Free Download. You can read online Odes Funambulesques and write the review.

This volume analyses the nature of the mime art of Deburau and of the pantomime performances of the Théâtre des Funambules in Paris in the context of Romantic art, literature and socio-political thought. Deburau and the Théâtre des Funambules are characteristic of Romantic art in that they are closely associated with certain aspirations for social reform, even revolution. Deburau was an iconic figure for intellectuals such as George Sand who effectively considered him to be part of the ‘poète-maçon’ movement. Edward Nye examines this fascination as well as the myth which developed from it. With its unique framing in art, literature and politics, this book is a must read for undergraduates and postgraduates in theatre, literary studies and the Romantic period.
Music, the market, and the marvellous" examines 'féerie', the French fairy play, in the last third of the nineteenth century. It is among the first book-length studies on the genre, the first in a language other than French, and the first from a musicological perspective. Sabbatini demonstrates that, contrary to conventional wisdom, 'féerie' was still thriving during the fin de siècle, giving rise to innovations such as composerly 'féerie' and scientific 'féerie'. The plays, the theatre industry, and urban geography are discussed together, as befits a commercial genre where the marvellous was shaped by the market. Recovering this forgotten - but once hugely influential - repertoire provides an occasion to rethink generic taxonomies of Parisian theatre and the ontology of nineteenth-century 'popular' theatre.
Bodies abound in Rimbaud's poetry in a way that is nearly unprecedented in the nineteenth-century poetic canon: lazy, creative, rule-breaking bodies, queer bodies, marginalized and impoverished bodies, revolting and revolutionary, historical bodies. The question that Poetry, Politics, and the Body seeks to answer is: What does this corporeal density mean for reading Rimbaud? What kind of sense are we to make of this omnipresence of the body in the Rimbaldian corpus, from first to last–from the earliest poems in verse celebrating the sheer, simple delight of running away from wherever one is and stretching one's legs out under a table, to the ultimate flight away from poetry itself? In response, this book argues that the body appears–often literally–as a kind of gap, breach, or aperture through which Rimbaud's poems enter into contact with history and a larger body of other texts. Simply put, the body is privileged 'lyrical material' for Rimbaud: a figure for human beings in their exposed, finite creatureliness and in their unpredictable agency and interconnectedness. Its presence in the early work allows us not only to contemplate what a strange, sensuous thing it is to be embodied, to be both singular and part of a collective, it also allows the poet to diagnose, and the reader to perceive, a set of seemingly intractable, 'real' socio-economic, political, and symbolic problems. Rimbaud's bodies are, in other words, utopian bodies: sites where the historical and the lyrical, the ideal and the material, do not so much cancel each other out as become caught up in one another.
Theodore de Banville (1823-1891) was a prolific poet, dramatist, critic and prose fiction writer whose significant contribution to poetic and aesthetic debates in nineteenth-century France has long been overlooked. Despite his profound influence on major writers such as Baudelaire, Rimbaud, Verlaine and Mallarme, Banville polarised critical opinion throughout his fifty-year career. While supporters championed him as a virtuoso of French verse, many critics dismissed his formal pyrotechnics, effervescent rhythms and extravagant rhymes as mere clowning. This book explores how Banville's remarkably coherent body of verse theory and practice, full of provocative energy and mischievous humour, shaped debates about poetic value and how to identify it during a period of aesthetic uncertainty caused by diverse social, economic, political and artistic factors. It features a detailed new reading of Banville's most infamous and misunderstood text, the Petit Traitede poesie francaise, as well as extended analyses of verse collections such as Les Stalactites, Odes funambulesques, Les Exiles, Trente-six Ballades and Rondels, illuminated by wide reference to Banville's plays, fiction and journalism. Evans elucidates not only aesthetic tensions at the heart of nineteenth-century French verse, but also a centuries-old tension between verse mechanisms and an unquantifiable, mysterious and elusive poeticity which emerges as one of the defining narratives of poetic value from the Middle Ages, via the Grands Rhetoriqueurs and Dada, to the experiments of the OuLiPo and beyond.
By the 1850s, the expansion of printing and distribution technologies provided writers with more readers and literary outlets than ever before, while the ever-changing political contexts occasioned by the revolutions of 1830 and 1848 brought about differing degrees of political, social, and literary censure and pressure. Seth Whidden examines crises of literary authority in nineteenth-century French literature, both in response to the attempts of the Second Empire (1852-1870) to restore the unquestioned imperial authority that had been established by Napoleon I and in the aftermath of the bloody Paris Commune of 1871. In each of his chapters, Whidden offers a representative case study highlighting one of several phenomena-literary collaboration, parody, destabilized poetic form, the substitution of one poetic or narrative voice with that of the man-that enabled challenges to the traditional status of the writer and, by extension, the political authority that it reflected. Whidden focuses on the play Le Supplice d’une femme (1865); the Cercle Zutiste, a group of writers, musicians, and artists who met regularly in the fall of 1871, only months after the fall of the Second Empire; Arthur Rimbaud’s Commune-era poems; and Jules Verne’s 1851 ’Un voyage en ballon,’ later reprinted as ’Un drame dans les airs’ in 1874. Whidden concludes with a futuristic look at authority and auctority as it pertains to midcentury writers taking stock of the weakened authority still possible in a post-Second Empire France and envisioning what kind of auctority is still to come.
Accessories to Modernity explores the ways in which feminine fashion accessories, such as cashmere shawls, parasols, fans, and handbags, became essential instruments in the bourgeois idealization of womanhood in nineteenth-century France. Considering how these fashionable objects were portrayed in fashion journals and illustrations, as well as fiction, the book explores the histories and cultural weight of the objects themselves and offers fresh readings of works by Balzac, Flaubert, and Zola, some of the most widely read novels of the period. As social boundaries were becoming more and more fluid in the nineteenth century, one effort to impose order over the looming confusion came, in the case of women, through fashion, and the fashion accessory thus became an ever more crucial tool through which social distinction could be created, projected, and maintained. Looking through the lens of fashion, Susan Hiner explores the interplay of imperialist expansion and domestic rituals, the assertion of privilege in the face of increasing social mobility, gendering practices and their relation to social hierarchies, and the rise of commodity culture and woman's paradoxical status as both consumer and object within it. Through her close focus on these luxury objects, Hiner reframes the feminine fashion accessory as a key symbol of modernity that bridges the erotic and proper, the domestic and exotic, and mass production and the work of art while making a larger claim about the "accessory" status—in terms of both complicity and subordination—of bourgeois women in nineteenth-century France. Women were not simply passive bystanders but rather were themselves accessories to the work of modernity from which they were ostensibly excluded.