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The Oxford University Studies in the Enlightenment series, previously known as SVEC (Studies on Voltaire and the Eighteenth Century), has published over 500 peer-reviewed scholarly volumes since 1955 as part of the Voltaire Foundation at the University of Oxford. International in focus, Oxford University Studies in the Enlightenment volumes cover wide-ranging aspects of the eighteenth century and the Enlightenment, from gender studies to political theory, and from economics to visual arts and music, and are published in English or French.
The Oxford University Studies in the Enlightenment series, previously known as SVEC (Studies on Voltaire and the Eighteenth Century), has published over 500 peer-reviewed scholarly volumes since 1955 as part of the Voltaire Foundation at the University of Oxford. International in focus, Oxford University Studies in the Enlightenment volumes cover wide-ranging aspects of the eighteenth century and the Enlightenment, from gender studies to political theory, and from economics to visual arts and music, and are published in English or French.
Sans négliger l'insertion du phénomène utopique dans l'histoire, mais sans non plus privilégier les explications de type sociologique souvent adoptées, cet ouvrage analyse l'utopie en tant que genre littéraire dont le sens résulte peut-être moins des contenus sociaux ou institutionnels présentés que des techniques narratives utilisées, l'envisageant dans une perspective comparatiste à l'intérieur d'une période qui passe pour avoir été son âge d'or. Le cadre chronologique choisi délimite un corpus à la fois très diversifié et relativement homogène où se côtoient les 'grandes uvres' et les textes moins connus, voire obscurs. On peut à bon droit parler à cette époque d'une littérature utopique franco-anglaise, tant les courants d'échanges, attestés par l'abondance des traductions, des imitations et des réécritures, transcendent alors les frontières nationales. Prenant en compte l'ensemble de la production utopique de forme narrative dans les deux pays entre la fin de l'âge classique et l'apogée des Lumières, l'enquête s'étend des années 1675, où se fixent durablement les normes du genre avec l'apparition des premières grandes utopies françaises, jusqu'à la publication de La Nouvelle Héloïse de Rousseau (1761), avènement d'un modèle utopique nouveau, celui des 'petites sociétés', où l'on peut voir la première esquisse de l'utopie coopérative et phalanstérienne du XIXe siècle.
The Oxford University Studies in the Enlightenment series, previously known as SVEC (Studies on Voltaire and the Eighteenth Century), has published over 500 peer-reviewed scholarly volumes since 1955 as part of the Voltaire Foundation at the University of Oxford. International in focus, Oxford University Studies in the Enlightenment volumes cover wide-ranging aspects of the eighteenth century and the Enlightenment, from gender studies to political theory, and from economics to visual arts and music, and are published in English or French.
The Oxford University Studies in the Enlightenment series, previously known as SVEC (Studies on Voltaire and the Eighteenth Century), has published over 500 peer-reviewed scholarly volumes since 1955 as part of the Voltaire Foundation at the University of Oxford. International in focus, Oxford University Studies in the Enlightenment volumes cover wide-ranging aspects of the eighteenth century and the Enlightenment, from gender studies to political theory, and from economics to visual arts and music, and are published in English or French.
The Oxford University Studies in the Enlightenment series, previously known as SVEC (Studies on Voltaire and the Eighteenth Century), has published over 500 peer-reviewed scholarly volumes since 1955 as part of the Voltaire Foundation at the University of Oxford. International in focus, Oxford University Studies in the Enlightenment volumes cover wide-ranging aspects of the eighteenth century and the Enlightenment, from gender studies to political theory, and from economics to visual arts and music, and are published in English or French.
The Oxford University Studies in the Enlightenment series, previously known as SVEC (Studies on Voltaire and the Eighteenth Century), has published over 500 peer-reviewed scholarly volumes since 1955 as part of the Voltaire Foundation at the University of Oxford. International in focus, Oxford University Studies in the Enlightenment volumes cover wide-ranging aspects of the eighteenth century and the Enlightenment, from gender studies to political theory, and from economics to visual arts and music, and are published in English or French.
The Oxford University Studies in the Enlightenment series, previously known as SVEC (Studies on Voltaire and the Eighteenth Century), has published over 500 peer-reviewed scholarly volumes since 1955 as part of the Voltaire Foundation at the University of Oxford. International in focus, Oxford University Studies in the Enlightenment volumes cover wide-ranging aspects of the eighteenth century and the Enlightenment, from gender studies to political theory, and from economics to visual arts and music, and are published in English or French.
Les spécialistes réalisent de plus en plus que le dialogue a été un genre littéraire important au dix-huitième siècle en France. Sa souplesse et sa liberté par rapport aux sortes de règles régissant la tragédie ou l'épopée, par exemple, en firent un véhicule idéal pour explorer toute une gamme de sujets, littéraires, philosophiques, ou politiques. En même temps, étant essentiellement une forme qui se lit, le dialogue était à même de présenter des points de vues critiques et même satiriques sur des problèmes contemporains d'une manière qui aurait été dangereuse dans des productions théâtrales. Par la souplesse de sa forme, le dialogue était lié à d'autres genres littéraires, comme la comédie, ou le roman qui devenait de plus en plus populaire. Ceci est la première bibliographie consacrée au dialogue durant la période critique de son développement, un préalable essentiel pour comprendre l'utilisation de cette forme par des écrivains tels que Voltaire et Diderot. En plus d'une introduction détaillée couvrant la place du dialogue dans la culture française contemporaine, elle offre une description détaillée de près de 500 ouvrages, sur la base des collections de la BnF, de la British Library et autres institutions, présentant dans les grandes lignes les sujets dont ils traitent, et une indication sommaire de l'emplacement d'exemplaires autres que ceux décrits.
The Oxford University Studies in the Enlightenment series, previously known as SVEC (Studies on Voltaire and the Eighteenth Century), has published over 500 peer-reviewed scholarly volumes since 1955 as part of the Voltaire Foundation at the University of Oxford. International in focus, Oxford University Studies in the Enlightenment volumes cover wide-ranging aspects of the eighteenth century and the Enlightenment, from gender studies to political theory, and from economics to visual arts and music, and are published in English or French.
The Oxford University Studies in the Enlightenment series, previously known as SVEC (Studies on Voltaire and the Eighteenth Century), has published over 500 peer-reviewed scholarly volumes since 1955 as part of the Voltaire Foundation at the University of Oxford. International in focus, Oxford University Studies in the Enlightenment volumes cover wide-ranging aspects of the eighteenth century and the Enlightenment, from gender studies to political theory, and from economics to visual arts and music, and are published in English or French.
In order not to relinquish control over a vast category of books, the government decided to implement a new kind of printing and publishing permit - the 'permission simple'.
His concept of political liberty required an organisational structure founded on powerful local units for which he found a parallel in pre-Norman England, as well as the commitment to absolute intellectual liberty.
The Oxford University Studies in the Enlightenment series, previously known as SVEC (Studies on Voltaire and the Eighteenth Century), has published over 500 peer-reviewed scholarly volumes since 1955 as part of the Voltaire Foundation at the University of Oxford. International in focus, Oxford University Studies in the Enlightenment volumes cover wide-ranging aspects of the eighteenth century and the Enlightenment, from gender studies to political theory, and from economics to visual arts and music, and are published in English or French.
In the present work a group of scholars examine eleven notable general encyclopedias of the period, paying particular attention to their publishing history, editing, prose style, political and religious views, and contents as books of knowledge.
The Oxford University Studies in the Enlightenment series, previously known as SVEC (Studies on Voltaire and the Eighteenth Century), has published over 500 peer-reviewed scholarly volumes since 1955 as part of the Voltaire Foundation at the University of Oxford. International in focus, Oxford University Studies in the Enlightenment volumes cover wide-ranging aspects of the eighteenth century and the Enlightenment, from gender studies to political theory, and from economics to visual arts and music, and are published in English or French.
These intriguing questions are discussed in detail, special attention being given to Vernet's own essays of self-justification, the Lettre a Monsieur le Premier Sindic(1760) and Memoire a Mr. le Premier Sindic (1766, both of which are reproduced in appendices.
Ouvrage collectif realise par l'Equipe Rousseau (U.R.A. 96 de l'Universite de Paris IV) dirige par Tanguy L'Aminot
Scholarly understanding of the notion of public opinion in France has suffered, and suffers still, from some serious misconceptions. A second misreading of political language ignores the fact that in the French usage of this period, public opinion divided was no public opinion at all;
Pendant l'hiver 1731-32 a Paris, l'actrice Jeanne-Franoise Quinault reunit dans le plus grand secret un petit groupe de sept amis pour une serie de soupers fins accompagnes de representations theatrales.
Comment s'elabore une poetique et une pensee de la difference au dix-huitieme siecle, ou l'on situe generalement l'emergence de l'individu moderne, tel est l'enjeu de l'itineraire de L'Homme dissonant a travers romans, essais philosophiques, recits de voyages, articles encyclopediques.
L'échec de Piron fascine: homme de scène parmi les plus doués de son siècle, il fut l'un des trois premiers auteurs dramatiques de son temps, poète d'une virtuosité presque sans exemple depuis les rhétoriqueurs, si redoutable bretteur dans l'art de manier l'épigramme qu'il fut reconnu au moins aussi talentueux polémiste que Voltaire, dialoguiste de théâtre éblouissant particulièrement dans l'art si difficile du vers dramatique, Piron n'est plus, dans nos manuels de littérature, que le 'célèbre poète grivois' d'une Ode a Priape. Ce volume dans la tradition monographique française interroge ce cliché en présentant la vie et l'oeuvre d'Alexis Piron (1689-1773), auteur d'origine bourguignonne aujourd'hui relégué parmi les minores. Cette étude, en s'appuyant sur nombre de manuscrits, éditions rares et archives jusque-là inédites, dessine dans sa première partie une sociologie comparée fort éclairante de la vie littéraire parisienne dans les dernières décennies de l'Ancien Régime. Tel un Fréron qui aurait troqué une sévérité bas-bretonne pour le laisser-aller bachique du Bourguignon, Piron, chroniqueur littéraire et épistolier infatigable, évoque sans aménité le statut de l'écrivain de théâtre face aux Comédiens et aux libraires, et met en scène l'équivoque rapport que l'amuseur-poète, homme de lettres 'sans état ni condition', doit entretenir avec ses protecteurs, leur dédiant pièces de circonstance mais aussi bacchanales et autres hymnes ithyphalliques. Son oeuvre foraine, ensemble de pièce oxymoriques alliant réalisme et merveilleux et usant de tous les procèdes de ce genre protéiforme, lui permit de se faire connaître mais ce sont surtout ses comédies, dont la plus célèbre, La Métromanie ou le Poète, qui le rendirent célèbre. Ces pièces sont révélatrices d'une 'dramaturgie mêlée' qui tente de concilier, parfois avec succès, projets de renouvellement et forme soumise aux attentes du public. Quant à son oeuvre tragique, elle est significative d'un théâtre de transition aboutissant au drame historique du siècle suivant dont les tragédies hésitante de Gustave Wasa ou de Fernand Cortès ne sont que le ferment. De l'oeuvre se dégage une esthétique particulière, réhabilitation du baroque et du burlesque, du désordre, de l'irrégularité, que l'analyse a cherché à mettre en évidence. L'étude de cet auteur plus parisien que dijonnais, au style épistolaire et poétique si brillant à en rendre jaloux Voltaire, permet aussi de mieux appréhender ce qu'est 'un poète' au temps de la 'crise de la poésie française'.
Comparing the present volume with its predecessors, how has scholarship devoted to Gibbon changed in the intervening years?The dominant theme of Gibbon studies during this recent period has been 'disaggregation', and this can be understood in two senses.
Poison pour Platon et les pères de l'Eglise, catharsis pour Aristote, le théâtre occidental trouva plus facilement une place dans la vie quotidienne de la cité que dans la réflexion des élites intellectuelles. Pendant plus de deux mille ans, loin des applaudissements et des murmures des spectateurs, se noua ainsi une longue 'histoire des mots', solidaire d'une histoire de la pensée car le discours sur le théâtre fut aussi, tout au long des siècles, discours sur l'homme et sa place dans le monde, discours sur la mimesis, sur le savoir et le pouvoir des mots. Au cours de la première moitie du dix-huitième siècle, le débat sur la légitimité des spectacles fait apparaître les permanences, les ruptures, les ambiguïtés d'une époque partagée entre la vérité des théologiens et celle des philosophes, entre un modèle ascétique d'humanité et une aspiration a un solide bonheur terrestre, entre un savoir fonde sur les textes et une raison fille de l'expérience. Contempteur des sciences et des arts, Rousseau ajoute encore à la complexité de ce débat. Si, en Italie, la prudence a l'égard de l'Eglise et des valeurs chrétiennes fut plus grande qu'en France, cette polémique révèle néanmoins, dans les deux pays, un dix-huitième siècle bien-pensant, soucieux de théâtre moral et vertueux, ce que n'attestent pas, on le sait, d'autres textes de la même période. Querelles ou les mots règnent en maîtres, la querelle sur la légitimité du théâtre attire donc également l'attention sur l'opacité que pouvait avoir le document écrit a cette époque: opacité a l'égard des faits, des idées, mais aussi des interrogations étrangères a la culture rhétorique à laquelle il appartenait souvent.
The Oxford University Studies in the Enlightenment series, previously known as SVEC (Studies on Voltaire and the Eighteenth Century), has published over 500 peer-reviewed scholarly volumes since 1955 as part of the Voltaire Foundation at the University of Oxford. International in focus, Oxford University Studies in the Enlightenment volumes cover wide-ranging aspects of the eighteenth century and the Enlightenment, from gender studies to political theory, and from economics to visual arts and music, and are published in English or French.
The exhilarating brilliance of Diderot's ideas combined with the intractable difficulties we encounters in his writings place him among the most challenging and controversial of the philosophes. This book puts forward a clearer understanding of Diderot's perplexities by taking into account the dynamics of his thought processes, especially the mode, peculiar to him, of thinking via contrarieties. Uniquely among the philosophes, Diderot has the irregular habit of letting his ideas capsize and go into reverse, 'pro' turning into 'contra', 'yea' becoming 'nay' - without the author bothering to notice (much less to inform the reader) that he has completely changed his mind. The phenomenon is frequent; in a number of instances, it is impossible to 'make sense' of Diderot's writings unless we are alert to this even when it occurs, that is, alert the dynamics of contrariety. This feature of Diderot's mental processes has received little attention from scholars - for good reasons: contrarieties suggest that the movement of Diderot's thought is often neither logical nor even rational, that frequently his concepts do not remain fixed and stable, or add up along straight lines. The existence of contrarieties implies that, as Diderot wrote, his ideas proceed in discrete stages, creating an evolution of concepts whose values are not only changing, but often contradicting their previous meanings. Finally, contrarieties play against the principle, sacred to scholars of literature, that the ideas of work of art must have cogerence in order to be comprehensible. Accepting these challenges to tradition as the basis of his argument, Professor Rex proposes radically new analyses of almost all of Diderot's major works (the only significant omission, La Religieuse, has been extensively treated by Professor Rex elsewhere). In sum, this perception of the dynamics of Diderot's thought promises not only to alter fundamentally our understanding of his 'philosophy', but also to give a new sense of his importance in the Enlightenment.
By according a central place to the history of reading, Circles of learning radically rethinks the nature of first-person narrative during this period and reconsiders its relation to the autobiographical discourse. Jenny Mander argues that to understand better both the history of the novel and that of the autobiography we need first to examine the position of the modern reader. The study begins with a critical analysis of Genettian narratology in order to foreground a number of important presuppositions of twentieth-century reading practices, and it goes on to show how these have shaped modern criticism of past texts. Through a detailed examination of eighteenth-century prefactory discourse and Marivaux's concept of personal style as put forward in his journalistic writings, Jenny Mander demonstrates how twentieth-century interpretations can be brought into question by the eighteenth-century novel itself. Adducing models of good reading promoted by pedagogic literature and art as well as by specific scenes of reading within many novels, she is able to ground an alternative analysis of Marivaux's Paysan parvenu and Prevost's Memoires d'un homme de qualite in the practices of eighteenth-century readers, drawing further support from contemporary reviews. This challenging study concludes by showing not only how Prevost's writing sets these practices in yet clearer relief, but also how he points to and participates in their transformation. Offering a fresh perspective on first-person narrative at a formative moment in the history of the French novel, Circles of leaning will interest scholars and theorists of modern prise fiction and autobiography aas well as tose specialising in eighteenth-century literature.
Pourtant l'expression d' 'oeuvres completes' ne s'impose pas avant 1770, avant d'aboutir a ces grands mausolees que sont les oeuvres de Voltaire dans l'edition de Kehl, ou les oeuvres completes de Rousseau, de Condillac, de Montesquieu etc.
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