"This is the first study of the relationship between French theater and war at a time of revolution and colonial violence. Drawing together theater and performance studies, literary close-reading, cultural, military and gender history, it provides holistic analysis of theater's engagement with military activity at a time of radical transformation"--
"This is the first study of the relationship between French theater and war at a time of revolution and colonial violence. Drawing together theater and performance studies, literary close-reading, cultural, military and gender history, it provides holistic analysis of theater's engagement with military activity at a time of radical transformation"--
Logan J. Connors is Professor and Chair of the Michele Bowman Underwood Department of Modern Languages and Literatures at the University of Miami, where he also serves as Co-convener of the Interdisciplinary Research Group in Theatre and Performance Studies and Cooper Fellow in the College of Arts and Sciences.
Inhaltsangabe
List of illustrations Acknowledgments List of abbreviations Introduction: performance, revolution, and the military-theatrical complex 1. From tragédie nationale to pièce militaire: Pierre-Laurent de Belloy's Le Siège de Calais 2. Military masculinities, dramaturgical manipulation, and the desertion play 3. Performing on the periphery: Military-theatrical experiences at the Théâtre de la Marine (Brest) and the Comédie du Cap (Cap-Français) 4. Total theater for total war: military dramas and performances of the French revolution 5. Femmes soldats and militarized domesticity: women at war in French revolutionary theater Conclusion: the military-theatrical complex of revolutionary Saint-Domingue Bibliography Index.
List of illustrations Acknowledgments List of abbreviations Introduction: performance, revolution, and the military-theatrical complex 1. From tragédie nationale to pièce militaire: Pierre-Laurent de Belloy's Le Siège de Calais 2. Military masculinities, dramaturgical manipulation, and the desertion play 3. Performing on the periphery: Military-theatrical experiences at the Théâtre de la Marine (Brest) and the Comédie du Cap (Cap-Français) 4. Total theater for total war: military dramas and performances of the French revolution 5. Femmes soldats and militarized domesticity: women at war in French revolutionary theater Conclusion: the military-theatrical complex of revolutionary Saint-Domingue Bibliography Index.
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