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Journal articles on the topic 'Charlotte Corday'

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Author: Grafiati

Published: 10 March 2023

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1

Biard, Michel. "Charlotte Corday en 30 questions." Annales historiques de la Révolution française, no. 348 (June 1, 2007): 239–40. http://dx.doi.org/10.4000/ahrf.9693.

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2

Gelbart, Nina Rattner. "The Blonding of Charlotte Corday." Eighteenth-Century Studies 38, no. 1 (2004): 201–21. http://dx.doi.org/10.1353/ecs.2004.0058.

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3

Planté, Christine. "Du bon usage de Charlotte Corday." L Homme et la société 94, no. 4 (1989): 51–60. http://dx.doi.org/10.3406/homso.1989.2445.

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4

Duro, Paul. "Marat, Charlotte Corday and the Assassination of History." Australian Journal of Art 8, no. 1 (January 1989): 122–32. http://dx.doi.org/10.1080/03146464.1989.11432908.

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5

Mazeau, Guillaume. "Michel Onfray, La religion du poignard. Éloge de Charlotte Corday." Annales historiques de la Révolution française, no. 360 (June 1, 2010): 252–54. http://dx.doi.org/10.4000/ahrf.11822.

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6

Gullickson, Gay L. "Militant Women: representations of Charlotte Corday, Louise Michel and Emmeline Pankhurst." Women's History Review 23, no. 6 (May 8, 2014): 837–52. http://dx.doi.org/10.1080/09612025.2014.906843.

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7

Chamberlain, Timothy J. "A saint in the storm: Jean Paul's problematic tribute to Charlotte Corday." Neophilologus 75, no. 4 (October 1991): 562–72. http://dx.doi.org/10.1007/bf00209896.

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8

Mazeau, Guillaume. "Charlotte Corday et l’attentat contre Marat : événements, individus et écriture de l’histoire (1793-2007)." Annales historiques de la Révolution française, no. 354 (December 1, 2008): 155–62. http://dx.doi.org/10.4000/ahrf.11006.

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9

Guilhaumou, Jacques. "Guillaume Mazeau, Le bain de l’histoire. Charlotte Corday et l’attentat contre Marat (1793-2009)." Clio, no. 30 (December 15, 2009): 282–85. http://dx.doi.org/10.4000/clio.9518.

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10

Nielsen, Wendy C. "Edmund Eyre's The Maid of Normandy; or, Charlotte Corday in Anglo-Irish Docudrama." Comparative Drama 40, no. 2 (2006): 169–90. http://dx.doi.org/10.1353/cdr.2006.0011.

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11

Burdett, Sarah. "“Be Mine in Politics”: Charlotte Corday and Anti-Union Allegory in Matthew West’s Female Heroism, A Tragedy in Five Acts (1803)." Restoration and Eighteenth-Century Theatre Research 30, no. 1-2 (2015): 89–108. http://dx.doi.org/10.5325/rectr.30.1-2.0089.

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Abstract This essay draws attention to Irish playwright Matthew West’s rarely studied drama Female Heroism, A Tragedy in Five Acts (1803), performed at the Crow Street Theatre, Dublin, in 1804. The tragedy dramatizes republican woman Charlotte Corday’s murder of Jacobin leader Jean-Paul Marat, committed in July 1793. My paper contends that West’s tragedy blends an explicitly anti-Jacobin narrative, with a covertly embedded strain of Irish oppositional politics. Focusing centrally on West’s incorporation of a fabricated rape scene, which alludes strongly to contemporary allegories of the Act of Union, I hypothesize the possibility for Female Heroism to be interpreted by its Dublin theatre audience as a subtle rebuke of the union, which positions Corday as the personification of Irish independence, and Marat as the unlikely embodiment of tyrannical British rule.

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12

Kindleberger, Elizabeth R. "Charlotte Corday in Text and Image: A Case Study in the French Revolution and Women's History." French Historical Studies 18, no. 4 (1994): 969. http://dx.doi.org/10.2307/286725.

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13

Mazeau, Guillaume. "Écrire la vie de Charlotte Corday. Naissance d’un enjeu de mémoire dans le premier XIXe siècle." Revue d'histoire du XIXe siècle, no. 40 (July 15, 2013): 27–41. http://dx.doi.org/10.4000/rh19.3987.

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14

Mazeau, Guillaume. "Écrire la vie de Charlotte Corday. Naissance d’un enjeu de mémoire dans le premier XIXe siècle1." Revue d'histoire du XIXe siècle, no. 40 (July 15, 2010): 27–41. http://dx.doi.org/10.4000/rh19.3988.

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15

Wahnich, Sophie. "Guillaume Mazeau Le bain de l’histoire. Charlotte Corday et l’attentat contre Marat, 1793-2009 Seyssel, Champ Vallon, 2009,426p." Annales. Histoire, Sciences Sociales 66, no. 2 (June 2011): 581–83. http://dx.doi.org/10.1017/s0395264900006259.

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16

Andress, David. "Guillaume Mazeau . Le bain de l'histoire: Charlotte Corday et l'attentat contre Marat 1793–2009.Foreword by Jean‐ClémentMartin. (La chose publique.)Seyssel : Champ Vallon . 2009 . Pp. 426. €29.00." American Historical Review 115, no. 1 (February 2010): 303. http://dx.doi.org/10.1086/ahr.115.1.303.

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17

SORIA, ANA CAROLINA SOLIVA. "O Rubor de Corday e os Estudos da Irritabilidade e da Sensibilidade nos Séculos XVIII e XIX." Revista Interdisciplinar em Cultura e Sociedade, December 27, 2021, 31. http://dx.doi.org/10.18764/2447-6498.v7n2p31-41.

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Este artigo realiza uma breve retomada das ideias de alguns autores que discutiram se a sensibilidade e o pensamento persistiam nas cabeças decepadas dos condenados à guilhotina. Na controvérsia entre opiniões, os autores discutem a possibilidade de as partes do corpo, separadas do centro comum de sensibilidade, terem dor, ou se cabeça cortada permaneceria viva por alguns momentos após a decapitação, e se sofreria ou pensaria. Nessa retomada, discutiremos algumas questões relacionadas à irritabilidade, sensibilidade e unidade da consciência.Palavras-chave: Charlotte Corday. Guilhotina. Irritabilidade. Sensibilidade. Consciência. Corday's Flushing And The Studies Of Irritability And Sensitivity In The 18th And 19th CenturyABSTRACT This paper conducts a brief review of the ideas of some authors who discussed if sensibility and thought persisted in the severed heads of those condemned to the guillotine. In the controversy between opinions, the authors discuss the possibility that body parts, separated from the common center of sensibility, could have pain, or whether severed heads would remain alive for a few seconds after decapitation, and whether they would suffer or think. In this review, we will discuss some issues related to irritability, sensibility and the unity of consciousness.Keywords: Charlotte Corday. Guillotine. Irritability. Sensibility. Consciousness.

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18

Goodman, Jessica. "Talking Heads? Guillotined Women in the Revolutionary Afterlife." French Studies, May 12, 2022. http://dx.doi.org/10.1093/fs/knac112.

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Abstract During the early months of the Terror, five notable women were guillotined within months of one another. Charlotte Corday, Marie-Antoinette, Olympe de Gouges, Marie-Jeanne Roland, and Jeanne Du Barry are also among the handful of female voices featured in two turn-of-the-century collections of dialogues des morts (one anonymous; one by François Pagès); a genre which came to serve a commemorative and political function in the period, providing its authors with a means to articulate their vision of French history and national identity in the turbulent revolutionary years. This article examines the presence of women in these collections, considering what is at stake in giving them (imagined) voice and adopting (and adapting) their names and histories. It argues that these texts play on the trope of the silent or speaking woman to explore the notion of existence in posterity, and that it is through lost bodies, rather than attributed words, that these women ultimately come to signify most of all.

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19

Addison, Catherine. "The Maiden on the Battlefield: War and Estrangement in Southey’s Joan Of Arc1." Romanticism on the Net, no. 32-33 (October 19, 2004). http://dx.doi.org/10.7202/009262ar.

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Abstract Critical opinion on Southey’s Joan of Arc has tended to focus on the poem’s political function. This article acknowledges Joan’s symbolic connection with Charlotte Corday and revolutionary France, but sees the poem’s principle function as belonging to a wider context. Throughout the text, Southey’s Maid is pitted not simply against the misguided English enemy but against warfare per se. The article argues that she performs this main function by being out of place, as a young woman, on a battlefield—especially in the role of military leader. It does this by invoking Shklovsky’s theory that unfamiliarity revives human perception, whereas “habitualization” erodes it. In Joan of Arc, the Maid’s unfamiliarity, or perceived inappropriateness in context, is constantly emphasized. The reader is never allowed to forget Joan’s gender, inexperience and supernatural strangeness, for they are the cause of recurrent wonder and disgust in other characters. She is routinely named as a miracle or freak of nature and her presence hence throws everything in the largely military narrative into relief, highlighting war’s cruelties and absurdities. Joan, moreover, functions not only as a passive point of reference. She is frequently the narrator’s focalizer, her estranged viewpoint inviting the reader to substitute her spontaneous horror and compassion for epic’s usual triumphalism. The narrative is full of nauseating physical details of wounding and dismemberment, as well as exhaustive accounts of the progress of grief and starvation. In fact, as the article claims, this poem strives throughout to undo the strategies that Elaine Scarry in The Body in Pain sees everywhere working to make war’s purpose of injuring disappear. Joan, unlike more “habitualized” soldiers and leaders, never loses sight of injury in any of its forms and thus her vision forces the reader to consider all the repercussions of war, both physical and psychological.

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