The Power of Tragedy: An Eighteenth-Century Debate on Theater and its Relevance to Literature Pedagogy Today

This article brings to light a debate on tragic fiction in eighteenth-century France, and more specifically, on whether or not tragedy has the power to transform individuals intellectually and emotionally. Through analysis of abbé Dubos’s Reflexions critiques sur la poésie et sur la peinture and Jean-Jacques Rousseau’s Lettre à d’Alembert sur les spectacles, I contend that Dubos’s overwhelmingly positive conception of fiction—and especially his contention that we learn through the emotions when we engage with tragic fiction—can serve as an admirable pedagogical model for today’s fiction-focused foreign language classrooms.

Three Strategies for Promoting Intellectual Engagement in Advanced Undergraduate Seminars

With the humanities increasingly contested, we must adopt pedagogical approaches that promote the integral role of humanistic inquiry in student academic achievement. Whether they explore the eighteenth-century novel, cultural artifacts of the Third Republic, or sociopolitical controversies in contemporary literature, the three models described in this article propose innovative learning strategies for advanced undergraduate French and Francophone Studies seminars that fulfill the humanistic goals of the American university. From directed close reading exercises to analysis of the historical archive to creative exploratory writing, these activities engage students intellectually with complex cultural and narrative materials from diverse traditions and periods.

'Initiators of Discursive Practices': Authorship, attribution, and intent in the debates between philosophes and anti-philosophes

This article focuses on the “social side” of pseudonymity—on how writers and readers compete to influence the critical destiny of a pseudonymous work. By analyzing pseudonymity and attribution in both the specific context of Voltaire’s 1760 staging of the play, Le café ou l’écossaise, and in larger debates in the emerging fields of anonymity, pseudonymity, and attribution studies, I hope to show how literary scholars at present can address the individuality of each pseudonymous case while not letting go of trans-historical, general problems of anonymous strategies. Voltaire’s use of multiple pseudonyms before and after releasing L’Ecossaise, a comédie sérieuse in which Voltaire attacks his enemy Elie-Cathérine Fréron, supports his philosophe friends at a crucial moment in history, and exemplifies his emerging taste for serious comedy and British drama calls into question traditional takes on pseudonymity, anonymity, and attribution by refusing to fit into the binary arguments of anonymous vs. attributed and authorial intent vs. the reader’s control.

'Le Siège de Calais' by Pierre-Laurent de Belloy

Le Siège de Calais, hailed by its author in 1765 as France’s ‘première tragédie nationale’, rolled into Paris like a storm. Pierre-Laurent de Belloy’s play about French bravery during the Hundred Years’ War (1337-1453) appeared on the heels of France’s defeat in the Seven Years’ War (1756-1763). Le Siège de Calais was performed throughout Europe and published numerous times during the second half of the eighteenth century. De Belloy emerged as a national hero, receiving prizes from Louis XV, accolades from the city of Calais, and membership to the prestigious Académie française. Since the French Revolution, however, the popularity of Le Siège de Calais has eclipsed, owing to its overt glorification of France’s royal machine. Several hundred years later, the play warrants a fresh look from a holistic perspective. De Belloy’s tragedy and the varied responses it provoked – many of which are included in this edition – offer complex representations of French political history and patriotic sentiment. Le Siège de Calais reveals conflicting images of gender roles, political debate and family values during the twilight of the Ancien régime; it also constituted one of the last moments when serious drama asserted its role as a popular force.

National Values and Theatrical Values. The Battle of the Siege de Calais (1765)

This article underscores the complex relationship between national concerns and dramatic criticism by interrogating the role of theatre in the creation of a 'national culture' during the last few decades of the Ancien regime. The author focuses more specifically on the forms of patriotism proposed by Pierre-Laurent De Belloy, author of Le Siege de Calais, France's "first tragedy in which the nation is given the pleasure to take an interest in itself," as well as by his adversaries and his allies. The version of patriotism proffered by De Belloy - a 'fatherland' that he defines as both bourgeois and monarchical - renders problematic several aesthetic and political norms in place in 1765. The author thus responds modestly to one of the most essential questions posed by research on eighteenth-century political and cultural history: how did patriotism operate before the French Revolution?

Eugene Onegin As A Bridge Between Worlds: Aleksandr Pushkin As Translator Of The 19Th-Century Russian Experience

In my thesis, I use literary criticism, knowledge of Russian, and elements of translation theory to study the seminal poet of the Russian literary tradition ¿ Aleksandr Pushkin. In his most famous work, Eugene Onegin, Pushkin explores the cultural and linguistic divide in place at the turn of the 19th century in Russia. Pushkin stands on the peripheries of several colliding worlds; never fully committing to any of them, he acts as a translator between various realms of the 19th-century Russian experience. Through his narrator, he adeptly occupies the voices, styles, and modes of expression of various characters, displaying competency in all realms of Russian life. In examining Tatiana, his heroine, the reader witnesses her development as analogous to the author¿s. At the center of the text stands the act of translation itself: as the narrator ¿translates¿ Tatiana¿s love letter from French to Russian, the author-narrator declares his function as a mediator, not only between languages, but also between cultures, literary canons, social classes, and identities. Tatiana, as both main character and the narrator¿s muse, emerges as the most complex figure in the novel, and her language manifests itself as the most direct and capable of sincerity in the novel. The elements of Russian folklore that are incorporated into her language speak to Pushkin¿s appreciation for the rich Russian folklore tradition. In his exaltation of language considered to be ¿common¿, ¿low¿ speech is juxtaposed with its lofty counterpart; along the way, he incorporates myriad foreign borrowings. An active creator of Russia¿s new literary language, Pushkin traverses linguistic boundaries to synthesize a fragmented Russia. In the process, he creates a work so thoroughly tied to language and entrenched in complex cultural traditions that many scholars have argued for its untranslatability.