The Voltaire Foundation and Liverpool University Press.
Des ennemis, Voltaire n’en manque pas, comme on sait, et particulièrement chez ceux qu’on appelle les antiphilosophes.
Pierre-Joseph Amoreux of Montpellier was a Linnaean naturalist, agronomist and bibliographer whose adult life spanned the last decades of the ancien régime, the French Revolution, the age of Napoleon and the Restoration. Thanks to his many publications and contacts, he was a well-known figure in his own day, not just in the Midi but in Paris and beyond. His autobiography, published here for the first time along with a substantial introduction, provides the fullest first-person account of the life of a provincial man of science during this tumultuous period of France’s history.
It is for good reason that the Republic of Letters is often referred to as a social network.
The concepts of ‘crisis’ and ‘apocalypse’ have reappeared rather abruptly on our secularized horizons, yet they have never been completely absent.
As part of the Reading French Literature module I have been studying my first work by Voltaire, the satirical novella ‘L’Ingénu’, and have used Electronic Enlightenment to explore Voltaire’s correspondence.
The Voltaire Foundation at the annual meeting of the American Society for Eighteenth-Century Studies in Minneapolis.
This essential research work for Voltaire scholars reproduces Voltaire’s annotations written in the margins of books.
Contributors: Theodore Besterman, Jean Dagen, Ethel Groffier, Edouard Langille, Jean-Alexandre Perras, Gillian Pink, John Renwick, Alain Sandrier, Gerhardt Stenger, Gemma Tidman, David Williams, Irina Zaitseva
Following his opposition to the establishment of a theatre in Geneva, Jean-Jacques Rousseau is often considered an enemy of the stage. Yet he was fascinated by drama: he was a keen theatre-goer, his earliest writings were operas and comedies, his admiration for Italian lyric theatre ran through his career, he wrote one of the most successful operas of the day, Le Devin du village, and with his Pygmalion, he invented a new theatrical genre, the Scène lyrique (‘melodrama’).