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French Studies: Faculty Books

 
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  • La Princesse de Clèves by Lafayette: A New Translation and Bilingual Pedagogical Edition for the Digital Age by Hélène E, Bilis; Jean-Vincent Blanchard; David Harrison; and Hélène Visentin

    La Princesse de Clèves by Lafayette: A New Translation and Bilingual Pedagogical Edition for the Digital Age

    Hélène E, Bilis; Jean-Vincent Blanchard; David Harrison; and Hélène Visentin

    La Princesse de Clèves, written in 1678 by Marie-Madeleine Pioche de La Vergne, countess of Lafayette, is widely known as the first modern French novel. This open-access pedagogical translation and edition draws on the digital format to offer a rich variety of materials for readers of French and English. Translator’s notes enhance the fresh and lively translation, actively comparing the current version with earlier editions to heighten awareness of linguistic nuance and complexity. Interactive paragraphs and lexical definitions encourage readers to move with ease between the French and English texts. Accompanying didactic essays empower readers to reflect on Lafayette’s vocabulary and on practices of translation more broadly.

    This ebook edition offers pedagogical dossiers and a variety of innovative resources influenced by the Digital Humanities, such as a mapping interface with georeferenced historical maps, word mining exercises, a digital timeline, and social network analyses. In addition to overviews of Lafayette’s milieu and adaptations of La Princesse de Clèves, the editors also include excerpts from rarely-translated letters published in an early modern gazette in response to the novel. These features enable a new generation of readers to grasp the seventeenth-century public’s reaction to Lafayette’s work.

    Drawing on the affordances of the digital format to promote multilingualism and humanistic inquiry, the edition simultaneously encourages active engagement with the specificities of a particular language and culture. This project results from a collaboration between four professors who teach at liberal arts colleges and argues for critical approaches to digital technologies to celebrate a classic text.

  • Robert de Reims: Songs and Motets by Eglal Doss-Quinby, Gaël Saint-Cricq, and Samuel N. Rosenberg

    Robert de Reims: Songs and Motets

    Eglal Doss-Quinby, Gaël Saint-Cricq, and Samuel N. Rosenberg

  • Les jeunesses en France: économie, culture, sociologie by Christiane Métral

    Les jeunesses en France: économie, culture, sociologie

    Christiane Métral

    Part of a collection of articles focusing on the issues facing contemporary France.

  • Machine Plays by Hélène Visentin

    Machine Plays

    Hélène Visentin

    This article focuses on the practice of machine theater that originated from courtly spectacles in Italy during the Renaissance and developed throughout Western and Central Europe during the seventeenth century. Defined by rapid scene changes and special effects, machine plays reflect the Baroque fascination with both mechanical devices and the law of optics—or scenery perspective—to produce wonder while displaying royal power and prestige. The aim of this article is threefold: to provide an overview of the origins and development of machine theater, to examine the transmission and dissemination of stagecraft knowledge, and to look at the changing nature of machine plays performed by public theater companies, which took advantage of stage machinery innovations to broaden their repertoire, attract a larger audience, and remain competitive.

  • Motets from the Chansonnier de Noailles by Gaël Saint-Cricq, Eglal Doss-Quinby, and Samuel N. Rosenberg

    Motets from the Chansonnier de Noailles

    Gaël Saint-Cricq, Eglal Doss-Quinby, and Samuel N. Rosenberg

  • « Sottes chansons contre Amours » : parodie et burlesque au Moyen Âge by Eglal Doss-Quinby, Marie-Geneviève Grossel, and Samuel N. Rosenberg

    « Sottes chansons contre Amours » : parodie et burlesque au Moyen Âge

    Eglal Doss-Quinby, Marie-Geneviève Grossel, and Samuel N. Rosenberg

  • Cultural Performances in Medieval France: Essays in Honor of Nancy Freeman Regalado by Eglal Doss-Quinby, Roberta L. Krueger, and E. Jane Burns

    Cultural Performances in Medieval France: Essays in Honor of Nancy Freeman Regalado

    Eglal Doss-Quinby, Roberta L. Krueger, and E. Jane Burns

  • French Ceremonial Entries in the Sixteenth-Century: Event, Image, Text by Nicolas Russell and Hélène Visentin

    French Ceremonial Entries in the Sixteenth-Century: Event, Image, Text

    Nicolas Russell and Hélène Visentin

    The articles included in this volume use a variety of disciplinary approaches to examine each in its own way the interpretation of texts and archival documents that give accounts of French ceremonial entries in the sixteenth century. By their very nature, ceremonial entries require an interdisciplinary approach: they bring together a number of artistic media such as music, architecture, and literature, as well as a range of political concerns including international diplomacy and the relations between urban and royal power. Few cultural constructs offer such rich and varied terrain to the student of sixteenth-century France.

  • Henri II as a Rex-Imperator in the Entry into Rouen (1550) by Hélène Visentin

    Henri II as a Rex-Imperator in the Entry into Rouen (1550)

    Hélène Visentin

  • The Old French Ballette: Oxford, Bodleian Library, MS Douce 308 by Eglal Doss-Quinby, Samuel N. Rosenberg, and Elizabeth Aubrey

    The Old French Ballette: Oxford, Bodleian Library, MS Douce 308

    Eglal Doss-Quinby, Samuel N. Rosenberg, and Elizabeth Aubrey

  • L’Invraisemblance du Pouvoir. Mises en scène de la souveraineté au XVIIe siècle en France by Jean-Vincent Blanchard and Hélène Visentin

    L’Invraisemblance du Pouvoir. Mises en scène de la souveraineté au XVIIe siècle en France

    Jean-Vincent Blanchard and Hélène Visentin

    Contents

    Introduction: la souveraineté est-elle une poétique de l’exception? / Jean-Vincent Blanchard et Hélène Visentin

    Le spectacle du sang, l’incapacité des rois et l’impuissance du public: représentation de la souveraineté et spectacle violent dans les tragédies du tout premier XVIIe siècle; Scédase d’Alexandre Hardy / Christian Biet

    La vérité tyrannique / John D. Lyons

    De l’invraisemblance du pouvoir au pouvoir de l’invraisemblance / Bénédicte Louvat-Molozay

    Reines, invraisemblables rois? Reines vierges et épouses célibataires dans le théâtre du XVIIe siècle / Derval Conroy

    Vraisemblance dramatique, invraisemblable homotexte? Bérénice de Racine / Ralph Heyndels

    Écrire le roi au seuil de l’âge classique: pouvoir et fiction des entrées royales; de quelques fausses entrées / Marie-France Wagner

    Pouvoir, police, récit: sur Clélie de Madeleine de Scudéry et Le Roman Bourgeois d’Antoine Furetière / Daniel Vaillancourt

  • Les Sosies, comédie (1638) by Hélène Visentin

    Les Sosies, comédie (1638)

    Hélène Visentin

  • La Descente d’Orphée aux Enfers, tragédie (1640) by François de Chapoton and Hélène Visentin

    La Descente d’Orphée aux Enfers, tragédie (1640)

    François de Chapoton and Hélène Visentin

    Créée en 1639 à l'Hôtel de Bourgogne, l'un des deux grands théâtres publics parisiens de l'époque, jamais rééditée depuis le XVIIe siècle, La Descente d'Orphée aux enfers de Chapoton remporta un vif succès, confirmé par la représentation d'une version remaniée en 1647 puis en 1662, toujours à Paris. Mais cette œuvre mythologique, qui s'apparente à la tragédie à machines, a connu le sort de ce genre dramatique : à l'exception notable des pièces à grand spectacle de Pierre Corneille (Andromède, La Conquête de la Toison d'or) ou de Molière (Amphitryon, Dom Juan, Psyché), qui ont gardé ou retrouvé les faveurs de la critique, des metteurs en scène et du public, ce genre a longtemps été délaissé, voire totalement ignoré, au profit de la tragédie unie rationnelle, à côté de laquelle pourtant il s'épanouit tout au long du siècle. Si Chapoton reste un auteur mineur, La Descente d'Orphée aux enfers témoigne, plus que bien d'autres œuvres du même genre, d'une évolution de la scénographie de plus en plus adaptée aux techniques de l'illusion théâtrale ; outre son intérêt propre, qui doit être aussi mesuré à l'aune du devenir de la tragédie mythologique contemporaine, elle mérite à ce titre une attention particulière. La présente édition entend ainsi contribuer aux travaux qui, depuis vingt-cinq ans, ont réhabilité la tragédie à machines au sein de la production dramatique du Grand Siècle, c'est-à-dire cherché à éclairer d'un jour plus nuancé l'esthétique théâtrale du XVIIe siècle dans son ensemble.

  • Songs of the Women Trouvères by Eglal Doss-Quinby, Joan Tasker Grimbert, Wendy Pfeffer, and Elizabeth Aubrey

    Songs of the Women Trouvères

    Eglal Doss-Quinby, Joan Tasker Grimbert, Wendy Pfeffer, and Elizabeth Aubrey

  • The Lyrics of the Trouvères: A Research Guide (1970–1990) by Eglal Doss-Quinby

    The Lyrics of the Trouvères: A Research Guide (1970–1990)

    Eglal Doss-Quinby

  • Les refrains chez les trouvères du XIIe siècle au début du XIVe by Eglal Doss-Quinby

    Les refrains chez les trouvères du XIIe siècle au début du XIVe

    Eglal Doss-Quinby

 
 
 

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