Victor Hugo's Theatrical Royalties during his Exile Years

1982 ◽  
Vol 7 (2) ◽  
pp. 132-137
Author(s):  
Pierre L. Horn
Keyword(s):  
Victor Hugo ◽  
Second Empire ◽  
Napoleon Iii ◽  
History Of

It is commonly known that Victor Hugo felt only contempt and hatred for Napoleon III and his Second Empire, so readers of Hugo's History of a Crime might easily expect that the Emperor's vengeful wrath would fall on the poet. However, far from trying to destroy Hugo financially, Napoleon not only allowed the sale of numerous of his masterpieces in France (with the exception of Châtiments and other writings considered insulting to the regime) but he did not interfere with the performance of the Hugolian repertoire on the stage of Parisian theatres.

scholarly journals La métaphore dans le poème Océan de Victor Hugo

2019 ◽  
Vol 3 ◽  
pp. 00009
Author(s):  
Bagas Anugrah Perdana ◽  
Myrna Laksman-Huntley
Keyword(s):  
Historical Context ◽  
Victor Hugo ◽  
Second Empire ◽  
Font Size ◽  
French Society ◽  
Poetic Structure ◽  
The Third ◽  
Romantic Poet ◽  
Napoleon Iii ◽  
Almost All

<p class="Abstract">Victor Hugo is one of the romantic poets who has experience in&nbsp;<span style="font-size: 1rem;">politics. He criticized the Second Empire and Napoleon III almost all&nbsp;</span><span style="font-size: 1rem;">his life and his criticism became the cause of his exile. The third series&nbsp;</span><span style="font-size: 1rem;">of La Légende des Sièclesis the last book of poetry published before the&nbsp;</span><span style="font-size: 1rem;">death of Victor Hugo. Océan is an example of a poem in the third series&nbsp;</span><span style="font-size: 1rem;">that presents a contradiction between small and large spaces,&nbsp;</span><span style="font-size: 1rem;">restrictions and extensions. This article will link the meaning and&nbsp;</span><span style="font-size: 1rem;">function of the metaphor and structure of the poem used by Victor&nbsp;</span><span style="font-size: 1rem;">Hugo in the poem Océan with his personal life and historical context.&nbsp;</span><span style="font-size: 1rem;">This study uses qualitative methods with techniques for the study of&nbsp;</span><span style="font-size: 1rem;">literature. Through the analysis of the metaphorical function of Camp&nbsp;</span><span style="font-size: 1rem;">(2003) and the poetic structure of Schmitt and Viala (1982), Océan&nbsp;</span><span style="font-size: 1rem;">reflects Hugo as an innovative romantic poet who differs from the&nbsp;</span><span style="font-size: 1rem;">rules of classicism and he has placed the ocean and humans in the&nbsp;</span><span style="font-size: 1rem;">poem as representatives of Napoleon III specifically and the monarchy&nbsp;</span><span style="font-size: 1rem;">in general and French society in those days. The metaphors are used&nbsp;</span><span style="font-size: 1rem;">to describe the nature of the French government at that time.</span></p>

Urban Contingency and the Problem of Representation in Second Empire Paris

1995 ◽  
Vol 54 (2) ◽  
pp. 138-174 ◽  
Author(s):  
Christopher Mead
Keyword(s):  
Continuous Process ◽  
State Institution ◽  
The State ◽  
Second Empire ◽  
Paris Opera ◽  
Napoleon Iii ◽  
History Of ◽  
A Chain ◽  
The City

Charles Garnier's Paris Opéra (1861-75) and Baron Haussmann's contemporary replanning of Paris (1853-70) supposedly represent the Second Empire of Napoléon III. But this case study of the Opéra within the context of its quarter of Paris contradicts the usual assumptions that the monument and the city were either the inevitable products or the characteristic political expressions of the state. First, a chain of events dating back to the seventeenth century is reconstructed in order to demonstrate that the decision reached in 1860 to site the Opéra on the Grands Boulevards at the end of a projected new avenue was less the consequence of an imperial plan than the pragmatic result of the often contingent urban history of Paris. Second, the parallel and equally pragmatic evolution of the characteristic Parisian façade of a giant order on an arcuated base is traced from the seventeenth to the nineteenth centuries in order to explain why Garnier's Opéra and Haussmann's surrounding buildings came to have the same form of elevation. Interpreted in light of both the Opéra's own ambiguous status as a state institution and the ambiguous nature of nineteenth-century bourgeois civil society, this evidence suggests that neither urban nor architectural forms are fixed in their meaning, but tend rather to adjust their meaning to the changing circumstances of their use. This article concludes that a city and its monuments find their meaning in the continuous process by which a city's inhabitants shape and experience their surroundings, rather than in the episodic political programs of the state.

scholarly journals Urban Transformation

1957 ◽  
Vol 2 (2) ◽  
pp. 259-265 ◽  
Author(s):  
H. J. Dyos
Keyword(s):  
Nineteenth Century ◽  
Town Planning ◽  
Urban Transformation ◽  
Second Empire ◽  
Early Approach ◽  
Napoleon Iii ◽  
History Of ◽  
Planning Problems

The gradual acceptance by politically influential people of the belief that deliberate control of town growth was both feasible and fruitful is a theme in the history of town planning which has many aspects. The transformation of nineteenth century cities by means of street improvement was one of these; and Mr. David Pinkney has recently made a mature assessment of the range of motives underlying the sweeping changes wrought in the configuration of Parisian streets under the Second Empire. By contrast with Paris under the prefecture of Baron Haussmann, the transformation of London was tentative, not to say hesitating, and not undertaken for all the same reasons. In Paris, Mr. Pinkney has shown that political and strategic aims were mixed with desires for aesthetic and social amelioration. “In London”, Napoleon III is reported as saying, “they are concerned only with giving the best possible satisfaction to the needs of traffic.” But were they? It is the purpose of this brief note to comment on the validity of this assertion, and in doing so to illustrate an early approach to matters of urban improvement which are still at the heart of some contemporary town-planning problems.

Zola, Pelletan, and La Tribune

PMLA ◽  
1964 ◽  
Vol 79 (4-Part1) ◽  
pp. 473-483
Author(s):  
Martin Kanes
Keyword(s):  
Victor Hugo ◽  
Second Empire ◽  
Criminal Courts ◽  
The Press ◽  
History Of ◽  
History Of Journalism

Victor Hugo, observing his unhappy homeland from exile in Guernsey, wrote, in Napoléon le petit: “Et la liberté de la presse! Qu'en dire? N'est il pas dérisoire seulement de prononcer ce mot?” The word and the thing had indeed been effectively muzzled by the decrees of 17 and 23 February 1852, which made of each editor the censor of his own publication and punished infractions in the criminal courts. The history of journalism under the Second Empire is sad indeed, and there is no need to retell it here; for a number of complex reasons, the press law of 1868 eventually eliminated the “censure préventive” and in response to pressures for a “liberal” empire established that “tout Français majeur et jouissant de ses droits civils et politiques peut, sans autorisation préalable, publier un journal ou écrit périodique.” Although it retained the requirements of prior declaration of ownership and staff, as well as the fiscal stamp, the new law was nevertheless a long step in the direction of freedom.

Clochards, Commercials, Cohabitation, Continuity, and Change, a Summary of Colloquia Held at the Institute of French Studies, New York University, Autumn 1986

1987 ◽  
Vol 8 (x) ◽  
pp. 341-352
Author(s):  
Melissa Clegg
Keyword(s):  
New York ◽  
Political Life ◽  
Professor Emeritus ◽  
Second Empire ◽  
New York University ◽  
Fifth Republic ◽  
French Studies ◽  
Continuity And Change ◽  
Napoleon Iii ◽  
The University

Since the founding of the Fifth Republic Paris has been rebuilt to an extent only the reconstructions of the Second Empire under Napoleon III could match. The story of its rebuilding—told by David Pinkney, Professor Emeritus of History at the University of Washington—could serve as a fable with a moral about the whole of French cultural and political life for the last twenty-five years. De Gaulle began the transformation of Paris by deregulating the building industry. The threats of that policy to the historical character of the city eventually provoked, under Giscard d’Estaing and Mitterrand, a return to the centrist practices of a state accustomed to regulation.

Romantic Monsters

2019 ◽  
pp. 21-53
Author(s):  
Maaheen Ahmed
Keyword(s):  
Visual Culture ◽  
Mary Shelley ◽  
William Blake ◽  
Visual Illusions ◽  
Victor Hugo ◽  
Freak Shows ◽  
History Of

The second chapter elaborates on the history of Romantic monsters and their connections to comics monsters as well as the medium of comics. It describes the context of the burgeoning romantic visual culture, including the perpetuation of imaginative prints by William Blake and Francesco de Goya as well as the increase in freak shows and other forms of entertainment based on visual illusions. This underscores the close ties between entertainment, 'spectacularity' (which combines theatricality and the spectacle while also alluding to specters) and monsters, while also showing how more rebellious, anti-Enlightenment strains crept in through the interest in the abnormal and the increasing space offered for unbridled emotionality at the ends of both production and reception. The inclinations towards ambiguity and even human-like renditions discernible in the literary monsters created by Mary Shelley and Victor Hugo are discussed. Three monsters with strong romantic inclinations—Frankenstein’s monster, Baudelairian ennui, and the trickster (included for his playful ambiguity and love for the spectacle)—are introduced which personify the different potentialities of the medium while having commonalities with comics monsters.

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