In 1760, the French playwright Charles Palissot de Montenoy wrote Les Philosophes – a scandalous farcical comedy about a group of opportunistic self-styled philosophers. Les Philosophes emerged in the charged historical context of the pamphlet wars surrounding the publication of Diderot and d’Alembert’s Encyclopédie, and delivered an oblique but acerbic criticism of the intellectuals of the eighteenth-century Enlightenment, including the likes of Diderot and Rousseau. This book presents the first high-quality English translation of the play, including critical apparatus. The translation is based on Olivier Ferret’s edition, and renders the text into iambic pentameter to preserve the character of the original. Adaptations are further provided of Ferret’s introduction and notes. This masterful and highly accessible translation of Les Philosophes opens up this polemical text to a non-specialist audience. It will be a valuable resource to non-Francophone scholars and students working on the philosophical exchanges of the Enlightenment. Moreover, this translation – the result of a year-long project undertaken by Jessica Goodman with six of her undergraduate French students – expounds the value of collaboration between scholar and student, and, as such, provides a model for other language tutors embarking on translation projects with their students.

In 1760, the French playwright Charles Palissot de Montenoy wrote Les Philosophes - a scandalous farcical comedy about a group of opportunistic self-styled philosophers. Les Philosophes emerged in the charged historical context of the pamphlet wars surrounding the publication of Diderot and d'Alembert's Encyclopédie, and delivered an oblique but acerbic criticism of the intellectuals of the eighteenth-century Enlightenment, including the likes of Diderot and Rousseau. This book presents the first high-quality English translation of the play, including critical apparatus. The translation is based on Olivier Ferret's edition, and renders the text into iambic pentameter to preserve the character of the original. Adaptations are further provided of Ferret's introduction and notes. This masterful and highly accessible translation of Les Philosophes opens up this polemical text to a non-specialist audience. It will be a valuable resource to non-Francophone scholars and students working on the philosophical exchanges of the Enlightenment. Moreover, this translation - the result of a year-long project undertaken by Jessica Goodman with six of her undergraduate French students - expounds the value of collaboration between scholar and student, and, as such, provides a model for other language tutors embarking on translation projects with their students.

Identity: The Necessity of a Modern Idea is the first comprehensive history of the concept that answers the question "Who, or what, am I?" Gerald Izenberg contends that our most important identities, while historically conditioned, are rooted in permanent categories of human existence, such as sexuality, sociality, and labor. Book jacket.

Based on a sweeping range of archival, visual, and material evidence, Wild Frenchmen and Frenchified Indians examines perceptions of Indians in French colonial Louisiana and demonstrates that material culture—especially dress—was central to the elaboration of discourses about race. At the heart of France's seventeenth-century plans for colonizing New France was a formal policy—Frenchification. Intended to turn Indians into Catholic subjects of the king, it also carried with it the belief that Indians could become French through religion, language, and culture. This fluid and mutable conception of identity carried a risk: while Indians had the potential to become French, the French could themselves be transformed into Indians. French officials had effectively admitted defeat of their policy by the time Louisiana became a province of New France in 1682. But it was here, in Upper Louisiana, that proponents of French-Indian intermarriage finally claimed some success with Frenchification. For supporters, proof of the policy's success lay in the appearance and material possessions of Indian wives and daughters of Frenchmen. Through a sophisticated interdisciplinary approach to the material sources, Wild Frenchmen and Frenchified Indians offers a distinctive and original reading of the contours and chronology of racialization in early America. While focused on Louisiana, the methodological model offered in this innovative book shows that dress can take center stage in the investigation of colonial societies—for the process of colonization was built on encounters mediated by appearance.

This work provides analysis of how the war of enlightenment ideas between philosophes and anti-philosophes was fought through theatre productions and plays, how theatre productions operated and engendered reactions from theatre-goers, and how this gave rise to modern theories of reception and spectatorship.

For most of the seventeenth and eighteenth centuries, classical dogma and royal censorship worked together to prevent French plays from commenting on, or even worse, reenacting current political and judicial affairs. Criminal trials, meanwhile, were designed to be as untheatrical as possible, excluding from the courtroom live debates, trained orators, and spectators. According to Yann Robert, circumstances changed between 1750 and 1800 as parallel evolutions in theater and justice brought them closer together, causing lasting transformations in both. Robert contends that the gradual merging of theatrical and legal modes in eighteenth-century France has been largely overlooked because it challenges two widely accepted narratives: first, that French theater drifted toward entertainment and illusionism during this period and, second, that the French justice system abandoned any performative foundation it previously had in favor of a textual one. In Dramatic Justice, he demonstrates that the inverse of each was true. Robert traces the rise of a "judicial theater" in which plays denounced criminals by name, even forcing them, in some cases, to perform their transgressions anew before a jeering public. Likewise, he shows how legal reformers intentionally modeled trial proceedings on dramatic representations and went so far as to recommend that judges mimic the sentimental judgment of spectators and that lawyers seek private lessons from actors. This conflation of theatrical and legal performances provoked debates and anxieties in the eighteenth century that, according to Robert, continue to resonate with present concerns over lawsuit culture and judicial entertainment. Dramatic Justice offers an alternate history of French theater and judicial practice, one that advances new explanations for several pivotal moments in the French Revolution, including the trial of Louis XVI and the Terror, by showing the extent to which they were shaped by the period's conflicted relationship to theatrical justice.

The first modern translation of the complete texts of La Mettrie's pioneering L'Homme machine and L'Homme plante, first published in 1747 and 1748, respectively, this volume also includes translations of the advertisement and dedication to L'Homme machine. Justin Leiber's introduction illuminates the radical thinking and advocacy of the passionate La Mettrie and provides cogent analysis of La Mettrie's relationship to such important philosophical figures as Descartes, Malebranche, and Locke, and of his lasting influence on the development of materialism, cognitive studies, linguistics, and other areas of intellectual inquiry.