The Emergence of a theatrical science of man in France, 1660-1740:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Liverpool
Liverpool University Press
2020
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| Schriftenreihe: | Oxford University studies in the Enlightenment
2020:01 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext Inhaltsverzeichnis Klappentext |
| Beschreibung: | Includes bibliographical references and index |
| Beschreibung: | xi, 284 pages 24 cm |
| ISBN: | 9781789620382 |
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Datensatz im Suchindex
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| adam_text | Contents Acknowledgments ix Introduction: theater, emotions, science of man 1 Diderot’s relational drama 10 From religious theaterphobia to theatrical innovation 23 Affect, intentionality, and the history of emotions 28 Chapter 1: Theaterphobia and the transformational power of performance Anti-theatrical criticism: goals and strategies 35 . 40 Corneille, Nicole, and the reality of emotions 48 Learning dangerously from the passions: Pierre Nicole’s Traité de la comédie 55 Debating theatrical emotions in the wake of Nicole’s Traité 62 Chapter 2: “Que sur la superficie de notre cœur”: Jean-Baptiste Dubos’s theatrical emotions 73 Emotional debates: past and present 76 A different path to aesthetic appreciation 85 The political case for pleasure 91 Dubos’s cognitive-affective sequences 95 vii
viii Contents Chapter 3: Beyond affect: from Dubos’s “passions superficielles to Houdar de La Motte’s “sentiments raisonnables” 107 La Motte, the Querelle, and the Regency 113 La Motte’s “sentiments raisonnables” 125 The dramaturgical power of intérêt 131 Chapter 4: From the page to the stage: La Motte’s theatrical inquiry into the emotions 141 Context and emotion in Les Macchabées (1721) 145 Intentionality and suspense in Romulus (1722) 153 Inès de Castro (1723) and the emotional politics of intérêt 160 Chapter 5: Strategic passions: Marivaux’s Moderne subjectivities 177 Marivaux’s trajectory from Moderne to bel esprit to scientist of man 181 Learning from the “organs”: Alarivaux’s intuitive ethics 186 Sentimental strategies: Marivaux’s theories of emotion in Le Triomphe de l’amour (1732) 195 Chapter 6: Learning through multiplicité·, emotion and distance in the comédie larmoyante 213 The decline and rebirth of Nivelle de La Chaussée’s emotional poetics 219 Meaning-making through the romanesque 225 The pièce-cadre, emotion, multiplicité, and spectatorship in La Fausse Antipathie (1733) 235 Conclusion: avant-gardes, emotion, and Enlightenment 257 Works cited 267 Index 281
The Emergence of a theatrical science of man in France, 1660-1740 highlights a radical departure from discussions of dramatic literature and its undergirding rules to a new, relational discourse oii the emotional power of theater. Through a diverse cast of religious theaterphobes, government officials, playwrights, art theorists, and protophilosophes, Connors shows the concerted effort in early Enlightenment France to use texts about theater to establish broader theories on emotion, on the enduring psychological and social ramifications of affective moments, and, more generally, on human interaction, motivation, and social behavior. This fundamentally anthropological assessment of theater emerged in the tvorks of anti-theatrical religious w riters, who argued that emotional response was theater’s raison d être and that it was an efficient venue to learn more about the depravity of human nature. A new generation of pro-theatrical writers shared the antitheatricalists’ intense focus on the emotions of theater, but, unlike religious theaterphobes, they did not view emotion as a conduit of sin or as a dangerous, uncontrollable process, seeing it rather as cognitive-affective moments of feeling and learning. Connors’s study explores this reassessment of the theatrical experience which empowered writers to use plays, critiques, and other cultural materials about the stage to establish a theatrical science of man— -an early Enlightenment project with aims to stuck· and “improve” the emotional, social, and political “health” of eighteenth-century France. Logan J, Connors is
Associate Professor of Modern Languages and Literatures at the University of Miami. His next research project investigates the connections between theater and the military in France and its colonies from 1680 to 1815.
Contents Acknowledgments Introduction: theater, emotions, science of man ix 1 Diderot’s relational drama 10 From religious theaterphobia to theatrical innovation 23 Affect, intentionality, and the history of emotions 28 Chapter 1: Theaterphobia and the transformational power of performance 35 Anti-theatrical criticism: goals and strategies 40 Corneille, Nicole, and the reality of emotions 48 Learning dangerously from the passions: Pierre Nicole’s Traité de la comédie 55 Debating theatrical emotions in the wake of Nicole’s Traité 62 Chapter 2: “Que sur la superficie de notre cœur”: Jean-Baptiste Dubos’s theatrical emotions 73 Emotional debates: past and present 76 A different path to aesthetic appreciation 85 The political case for pleasure 91 Dubos’s cognitive-affective sequences 95 vii
Contents viii Chapter 3: Beyond affect: from Dubos’s “passions superficielles” to Houdar de La Motte’s “sentiments raisonnables” 107 La Motte, the Querelle, and the Regency 113 La Motte’s “sentiments raisonnables” 125 The dramaturgical power of intérêt 131 Chapter 4: From the page to the stage: La Motte’s theatrical inquiry into the emotions 141 Context and emotion in Les Macchabées (1721) 145 Intentionality and suspense in Romulus (1722) 153 Inès de Castro (1723) and the emotional politics of intérêt 160 Chapter 5: Strategic passions: Marivaux’s Moderne subjectivities 177 Marivaux’s trajectory from Moderne to bel esprit to scientist of man 181 Learning from the “organs”: Marivaux’s intuitive ethics 186 Sentimental strategies: Marivaux’s theories of emotion in Le Triomphe de l’amour (1732) 195 Chapter 6: Learning through multiplicité: emotion and distance in the comédie larmoyante 213 The decline and rebirth of Nivelle de La Chaussée’s emotional poetics 219 Meaning-making through the romanesque 225 The pièce-cadre: emotion, multiplicité, and spectatorship in La Fausse Antipathie (1733) 235 Conclusion: avant-gardes, emotion, and Enlightenment 257 Works cited 267 Index 281
The Emergence of a theatrical science ofman in France, 1660-1740 highlights a radical departure from discussions of dramatic literature and its undergirding rules to a new, relational discourse on the emotional power of theater. Through a diverse cast of religious theaterphobes, government officials, playwrights, art theorists, and protophilosophes, Connors shows the concerted effort in early Enlightenment France to use texts about theater to establish broader theories on emotion, on the enduring psychological and social ramifications of affective moments, and, more generally, on human interaction, motivation, and social behavior. This fundamentally anthropological assessment of theater emerged in the works of anti-theatrical religious writers, who argued that emotional response was theater’s raison d’être and that it was an efficient venue to learn more about the depravity of human nature. A hew generation of pro-theatrical writers shared the antitheatricalists’ intense focus on the emotions of theater, but, unlike religious theaterphobes, they did not view emotion as a conduit of sin or as a dangerous, uncontrollable process, seeing it rather as cognitive-affective moments of feeling and learning. Connors’s study explores this reassessment of the theatrical experience which empowered writers to use plays, critiques, and other cultural materials about the stage to èstablish a theatrical science of man—an early Enlightenment project with aims to study and “improve” the emotional, social, and political “health” of eighteenth-century France. Logan J. Connors is Associate
Professor of Modern Languages and Literatures at the University of Miami. His next research project investigates the connections between theater and the military in France and its colonies from 1680 to 1815.
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