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The Juggler (La Jongleuse) is a "decadent" novel that was first published in 1900. Its author, Marguerite Eymery Vallette (1860-1953), who used the pseudonym Rachilde, was a prolific novelist (over sixty works of fiction), playwright, literary critic and reviewer, and a forceful presence in French literary society of her time. The protagonist of the novel, Eliante Donalger, is in some sense an exaggerated double for her creator--bizarre in appearance, clothing, and interests. Instinctively grasping a medical and psychological truth that the turn-of-the-century scientific world was only beginning to understand, Eliante maintains that there is nothing "natural" about human sexual expression. She claims to be in love with an inanimate (though anthropomorphic and sexually ambiguous) object, a Greek amphora, and the novel traces the rivalry between this faithful partner and an ardent human suitor, a young medical student. It is only through juggling, both literally and metaphorically, that Eliante is able to use her seductive power to maintain desire. The surprise ending challenges the limits of such power in a controversial and surprising twist. Although Rachilde's work has been neglected in the past, the women's movement and feminist criticism have stimulated renewed interest in her fiction. The Juggler is a major rediscovery.
The aim of this book is to explore the definition(s) of ‘theatre’ and ‘metatheatre’ that scholars use when studying the ancient Greek world. Although in modern languages their meaning is mostly straightforward, both concepts become problematical when applied to ancient reality. In fact, ‘theatre’ as well as ‘metatheatre’ are used in many different, sometimes even contradictory, ways by modern scholars. Through a series of papers examining questions related to ancient Greek theatre and dramatic performances of various genres the use of those two terms is problematized and put into question. Must ancient Greek theatre be reduced to what was performed in proper theatre-buildings? And is everything was performed within such buildings to be considered as ‘theatre’? How does the definition of what is considered as theatre evolve from one period to the other? As for ‘metatheatre’, the discussion revolves around the interaction between reality and fiction in dramatic pieces of all genres. The various definitions of ‘metatheatre’ are also explored and explicited by the papers gathered in this volume, as well as the question of the distinction between paratheatre (understood as paratragedy/comedy) and metatheatre. Readers will be encouraged by the diversity of approaches presented in this book to re-think their own understanding and use of ‘theatre’ and ‘metatheatre’ when examining ancient Greek reality.
This ambitious and vivid study in six volumes explores the journey of a single, electrifying story, from its first incarnation in a medieval French poem through its prolific rebirth in the nineteenth and twentieth centuries. The Juggler of Notre Dame tells how an entertainer abandons the world to join a monastery, but is suspected of blasphemy after dancing his devotion before a statue of the Madonna in the crypt; he is saved when the statue, delighted by his skill, miraculously comes to life. Jan Ziolkowski tracks the poem from its medieval roots to its rediscovery in late nineteenth-century Paris, before its translation into English in Britain and the United States. The visual influence of the tale on Gothic revivalism and vice versa in America is carefully documented with lavish and inventive illustrations, and Ziolkowski concludes with an examination of the explosion of interest in The Juggler of Notre Dame in the twentieth century and its place in mass culture today. Volume 2: Medieval Meets Medievalism deals with the influence of the tale in nineteenth- and early-twentieth-century Europe and America, and the development of literary medievalism at this time. The Juggler of Notre Dame and the Medievalizing of Modernity is a rich case study for the reception of the Middle Ages in modernity. Spanning centuries and continents, the medieval period is understood through the lens of its (post)modern reception in Europe and America. Profound connections between the verbal and the visual are illustrated by a rich trove of images, including book illustrations, stained glass, postage stamps, architecture, and Christmas cards. Presented with great clarity and simplicity, Ziolkowski's work is accessible to the general reader, while its many new discoveries will be valuable to academics in such fields and disciplines as medieval studies, medievalism, philology, literary history, art history, folklore, performance studies, and reception studies.
In the first third of the twentieth century, South America became the most important market for many European theatrical companies. When Italy found itself in various theatrical crises, Walter Mocchi created a transoceanic theatrical empire, using his business acumen to craft viable solutions. While his efforts were most visible in the sphere of opera, he played an extremely significant role in the promotion and circulation of popular forms of musical theatre (such as operetta) and staged world premieres of works by Italian superstars in Argentina (such as Mascagni's Isabeau), thus offering an early example of what Stephen Greenblatt calls 'cultural mobility'.
