The Triumph of Pleasure: Louis XIV and the Politics of Spectacle

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University of Chicago Press, 15 дек. 2008 г. - Всего страниц: 299
Prominent components of Louis XIV’s propaganda, the arts of spectacle also became sources of a potent resistance to the monarchy in late seventeenth-century France. With a particular focus on the court ballet, comedy-ballet, opera, and opera-ballet, Georgia J. Cowart tells the long-neglected story of how the festive arts deployed an intricate network of subversive satire to undermine the rhetoric of sovereign authority.

With bold revisionist strokes, Cowart traces this strain of artistic dissent through the comedy-ballets of Jean-Baptiste Lully and Molière, the late operatic works of Lully and the operas of his sons, the opera-ballets of André Campra and his contemporaries, and the related imagery of Antoine Watteau’s well-known painting The Pilgrimage to Cythera. She contends that through a variety of means, including the parody of old-fashioned court entertainments, these works reclaimed traditional allegories for new ideological aims, setting the tone for the Enlightenment. Exploring these arts from the perspective of spectacle as it emerged from the court into the Parisian public sphere, Cowart ultimately situates the ballet and related genres as the missing link between an imagery of propaganda and an imagery of political protest.

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Louis XIVs Early Court Ballet 16511660
Louis XIVs Late Court Ballet 16611669
Le bourgeois gentilhomme the Utopia of Spectacle
Reversals at the Paris Opéra 16711697
The Ballet at the Paris Opéra 17001713
The Ballet at the Paris Opéra 16991718
7 Watteaus Cythera the OpéraBallet the Staging of Pleasure
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Georgia J. Cowart is professor of music at Case Western Reserve University.

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