The Spectacular Past : : Popular History and the Novel in Nineteenth-Century France / / Maurice Samuels.

Struggling to make sense of the Revolution of 1789, the French in the nineteenth century increasingly turned to visual forms of historical representation in a variety of media. Maurice Samuels shows how new kinds of popular entertainment introduced during and after the Revolution transformed the pas...

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Superior document:Title is part of eBook package: De Gruyter Cornell University Press Backlist 2000-2013
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Place / Publishing House:Ithaca, NY : : Cornell University Press, , [2018]
©2004
Year of Publication:2018
Language:English
Online Access:
Physical Description:1 online resource (296 p.) :; 14 halftones
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100 1 |a Samuels, Maurice,   |e author.  |4 aut  |4 http://id.loc.gov/vocabulary/relators/aut 
245 1 4 |a The Spectacular Past :  |b Popular History and the Novel in Nineteenth-Century France /  |c Maurice Samuels. 
264 1 |a Ithaca, NY :   |b Cornell University Press,   |c [2018] 
264 4 |c ©2004 
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505 0 0 |t Frontmatter --   |t Contents --   |t List of Illustrations --   |t Acknowledgments --   |t Introduction --   |t One. Showing the Past --   |t Two. Spectacular Histories --   |t Three. Napoleon Takes the Stage --   |t Four. Scott Comes to France --   |t Five. Balzac's Spectacular Revolution --   |t Six. Stendhal's Historical Role --   |t Conclusion --   |t Appendix --   |t Index 
506 0 |a restricted access  |u http://purl.org/coar/access_right/c_16ec  |f online access with authorization  |2 star 
520 |a Struggling to make sense of the Revolution of 1789, the French in the nineteenth century increasingly turned to visual forms of historical representation in a variety of media. Maurice Samuels shows how new kinds of popular entertainment introduced during and after the Revolution transformed the past into a spectacle. The wax display (in which visitors circulated amid life-size statues of historical figures), the phantasmagoria show (in which images of historical personages were projected onto smoke or invisible screens), and the panorama (in which spectators viewed giant circular canvases depicting historical scenes) employed new optical technologies to entice crowds of spectators. Such entertainments, Samuels asserts, provided bourgeois audiences with an illusion of mastery over the past, allowing them to picture their new role as historical agents.Samuels demonstrates how the spectacular mode of historical representation pervaded historiography, drama, and the novel during the Romantic period. He then argues that the early Realist fiction of Balzac and Stendhal emerged as a critique of the spectacular historical imagination. By investigating how postrevolutionary France envisioned the past, Samuels illuminates a vital moment in the cultural history of modernity. 
530 |a Issued also in print. 
538 |a Mode of access: Internet via World Wide Web. 
546 |a In English. 
588 0 |a Description based on online resource; title from PDF title page (publisher's Web site, viewed 02. Mrz 2022) 
650 0 |a French fiction  |y 19th century  |x History and criticism. 
650 0 |a History in literature. 
650 4 |a Fiction & Short Stories. 
650 4 |a Literary Studies. 
650 4 |a West European History. 
650 7 |a LITERARY CRITICISM / European / French.  |2 bisacsh 
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776 0 |c print  |z 9780801442490 
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