Julia Prest
Biographic Data
| ID | 3745868 |
|---|---|
| NAME | Julia Prest |
| GIVEN NAMES | Julia |
| FAMILY NAME | Prest |
| SIGNATURE | PREST J |
| AFFILIATIONS | University of St Andrews |
| ORCID | 0000-0002-3266-7390 |
| VERIFIED | Yes |
| TOTAL WORKS | 19 |
| TOTAL CITATIONS | 4 |
| WORKS AS AUTHOR | 19 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2000 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
Performing Disability in French Court Ballet
Coquettes, Wives and Widows
Coquettes, Wives, and Widows is both wide-ranging and narrow in scope. It is wide-ranging by virtue of encompassing both musical and spoken theatrical genres of the period—a welcome approach that challenges artificial boundaries between academic disciplines, while allowing Marcie Ray to provide a more complete account of eighteenth-century Parisian stages than is often achieved. It is still relatively rare to read a volume that is concerned with …
Pale imitations
This article offers an original and nuanced contribution to the larger discussion of dance in the colonial Caribbean. Its focus is on the largely neglected phenomenon of the colonial imitator, and specifically on white imitations of local slave dances in the public theatres of Saint-Domingue in the 1770s and 1780s. Colonial accounts of different types of slave dance (calenda, chica and vodou) are examined as an important point of reference for th…
Selected Poems
French poet and critic Nicolas Boileau-Despréaux (1636-1711) was by turns venerated (in the eighteenth century) and reviled (in the nineteenth century) as the lawgiver of French classicism. Today critics see his achievement as more varied and complex than the label of classicism generally allows. This selection of Boileau’s poems, translated with spirit and carefully annotated by Burton Raffel, brings the work of Boileau to English-speaking reade…
Controversy in French Drama
In 1664, Molière's Tartuffe was banned from public performance. This book provides a detailed, in-depth account of five-year struggle (1664-69) to have the ban lifted and, so doing, sheds important ne
The Struggle for Influence
We are concerned here with a portion of French history that sits between the two great crises of the ancien régime: the Wars of Religion and the Revolution. Or, to put it another way, our period falls between the Renaissance and the Enlightenment, at the time of the French Counterreformation when there was a powerful push in France to enforce the principles set out during the Council of Trent.1 Although the Tridentine decrees never gained officia…
Conclusion
In the course of this study, I have argued that the extraordinary controversy provoked by Molière’s Tartuffe turned on questions of content and, above all, context. While the content of the play was undoubtedly controversial in and of itself, it is the politico-religious context in which the play appeared that led to a full-blown controversy. I have also argued that what is commonly known as the Tartuffe controversy was brought about by a wish to…
What Is a Faux Dévot?
Molière’s Tartuffe was premiered on the evening of May 12, 1664, in a makeshift theatre at Versailles before Louis XIV and his court. It is commonly understood to be a play about religious hypocrisy, the controversy it provoked owing to the alleged possibility that its audience might subsequently be unable to distinguish off stage between a hypocrite and a true believer. The particular concern was that true believers might be mistaken for hypocri…
Elmire and the Erotics of the Ménage à Trois in Molière’s Tartuffe
Research Article| January 01 2011 Elmire and the Erotics of the Ménage à Trois in Molière’s Tartuffe Julia Prest Julia Prest University of St. Andrews Search for other works by this author on: This Site Google Romanic Review (2011) 102 (1-2): 129–144. https://doi.org/10.1215/26885220-102.1-2.129 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Julia Prest; Elmire and the Erotics of the Ménage à Tro…
Thomas Corneille (1625–1709)
In 1761, Voltaire wrote of Thomas Corneille: ‘si vous exceptez Racine, auquel il ne faut comparer personne, il etait le seul de son temps qui fut digne d’etre le premier au-dessous de son frere’. With characteristic wit and acuity, Voltaire neatly sets up the stakes of the debate by putting his finger right on the challenges that still accompany any attempt at evaluating the work of our playwright, even 300 years after his death. Of course, the c…
Theatre under Louis XIV
This book explores the fascinating phenomenon of cross-casting and related gender issues in different theatrical genres and different performance contexts during the heyday of French theatre. Although
Unattractive Women
Cross-casting in seventeenth-century French drama cannot be properly understood without first examining the rise of the actress on the French stage. Her story is the single most important reason behind the striking scarcity of cross-cast roles in this period in general, and the use of cross-casting only in comic drama. It also constitutes one of the primary reasons why the attitudes of the French toward both cross-casting and female actors differ…
Boys will be Girls
Although we have seen, cross-casting was only rarely a ughfeature of traditional theatre in seventeenth-century France, it persisted out of necessity in the school drama of the period. 1 Drawing on the great theatrical tradition of the Jesuits at the Collège de Clermont in Paris (which became the Collège Louisle-Grand in 1683) and on the performance history of Racine’s two plays written for Saint-Cyr, I shall examine how the question of cross-cas…
Cross-Casting and Gender Ambiguity in Opera
One of the most striking aspects of the early French operatic tradition as established by Jean-BaptisteLully in the 1670s and 1680s is its deliberate rejection of the figure of the castrato. In this chapter I shall explore the gender ambiguity exemplified by the castrato (who often performed cross-cast) and French responses to visiting castrati from Italy who performed in a number of court spectacles that took place between 1645 and 1662. I shall…
Les Fâcheux
Molière: Édition présentée, établie et annotée par Jean Serroy. (Folio Théâtre). Paris, Gallimard, 2005. 160 pp. Pb €4.10. Les Fâcheux was commissioned by Louis XIV's Minister of Finance, Nicolas Foucquet, as part of an elaborate court fête held at Vaux-le-Vicomte in the king's honour in August 1661. The play and its performance context mark an important turning point in Molière's career, and for this reason alone a separate edition of the play i…
Les Femmes au Grand Siècle — Le Baroque
Edited by David Wetsel and Frédéric Canovas. (Biblio 17, 144). Tübingen, Gunter Narr, 2003. 272 pp. The distinctly unwieldy title of this volume suggests that it contains three principal sections. And so it does, but not quite in the way one would expect. By far the greatest portion of the volume is taken up with Part i, on ‘Les femmes au Grand Siècle’. Parts ii and iii are entitled ‘Le Baroque: musique et littérature’ and ‘NASSCFL teaching Propo…
The People's Bread
Journal Article The People's Bread: A History of the Anti‐Corn Law League Get access John Prest John Prest Search for other works by this author on: Oxford Academic Google Scholar The English Historical Review, Volume 117, Issue 471, April 2002, Pages 412–414, https://doi.org/10.1093/ehr/117.471.412 Published: 01 April 2002
Dancing King
(2001). Dancing King: Louis XIV's Roles in Moliere's Comedies-ballets, from Court to Town. The Seventeenth Century: Vol. 16, No. 2, pp. 283-298
Lord John Russell Paul Scherer
Received
Pale imitations
This article offers an original and nuanced contribution to the larger discussion of dance in the colonial Caribbean. Its focus is on the largely neglected phenomenon of the colonial imitator, and specifically on white imitations of local slave dances in the public theatres of Saint-Domingue in the 1770s and 1780s. Colonial accounts of different types of slave dance (calenda, chica and vodou) are examined as an important point of reference for th…
Lord John Russell Paul Scherer
Received
Dancing King
(2001). Dancing King: Louis XIV's Roles in Moliere's Comedies-ballets, from Court to Town. The Seventeenth Century: Vol. 16, No. 2, pp. 283-298
The People's Bread
Journal Article The People's Bread: A History of the Anti‐Corn Law League Get access John Prest John Prest Search for other works by this author on: Oxford Academic Google Scholar The English Historical Review, Volume 117, Issue 471, April 2002, Pages 412–414, https://doi.org/10.1093/ehr/117.471.412 Published: 01 April 2002
Theatre under Louis XIV
This book explores the fascinating phenomenon of cross-casting and related gender issues in different theatrical genres and different performance contexts during the heyday of French theatre. Although
Unattractive Women
Cross-casting in seventeenth-century French drama cannot be properly understood without first examining the rise of the actress on the French stage. Her story is the single most important reason behind the striking scarcity of cross-cast roles in this period in general, and the use of cross-casting only in comic drama. It also constitutes one of the primary reasons why the attitudes of the French toward both cross-casting and female actors differ…
Boys will be Girls
Although we have seen, cross-casting was only rarely a ughfeature of traditional theatre in seventeenth-century France, it persisted out of necessity in the school drama of the period. 1 Drawing on the great theatrical tradition of the Jesuits at the Collège de Clermont in Paris (which became the Collège Louisle-Grand in 1683) and on the performance history of Racine’s two plays written for Saint-Cyr, I shall examine how the question of cross-cas…
Cross-Casting and Gender Ambiguity in Opera
One of the most striking aspects of the early French operatic tradition as established by Jean-BaptisteLully in the 1670s and 1680s is its deliberate rejection of the figure of the castrato. In this chapter I shall explore the gender ambiguity exemplified by the castrato (who often performed cross-cast) and French responses to visiting castrati from Italy who performed in a number of court spectacles that took place between 1645 and 1662. I shall…
Les Fâcheux
Molière: Édition présentée, établie et annotée par Jean Serroy. (Folio Théâtre). Paris, Gallimard, 2005. 160 pp. Pb €4.10. Les Fâcheux was commissioned by Louis XIV's Minister of Finance, Nicolas Foucquet, as part of an elaborate court fête held at Vaux-le-Vicomte in the king's honour in August 1661. The play and its performance context mark an important turning point in Molière's career, and for this reason alone a separate edition of the play i…
Les Femmes au Grand Siècle — Le Baroque
Edited by David Wetsel and Frédéric Canovas. (Biblio 17, 144). Tübingen, Gunter Narr, 2003. 272 pp. The distinctly unwieldy title of this volume suggests that it contains three principal sections. And so it does, but not quite in the way one would expect. By far the greatest portion of the volume is taken up with Part i, on ‘Les femmes au Grand Siècle’. Parts ii and iii are entitled ‘Le Baroque: musique et littérature’ and ‘NASSCFL teaching Propo…
Thomas Corneille (1625–1709)
In 1761, Voltaire wrote of Thomas Corneille: ‘si vous exceptez Racine, auquel il ne faut comparer personne, il etait le seul de son temps qui fut digne d’etre le premier au-dessous de son frere’. With characteristic wit and acuity, Voltaire neatly sets up the stakes of the debate by putting his finger right on the challenges that still accompany any attempt at evaluating the work of our playwright, even 300 years after his death. Of course, the c…
Elmire and the Erotics of the Ménage à Trois in Molière’s Tartuffe
Research Article| January 01 2011 Elmire and the Erotics of the Ménage à Trois in Molière’s Tartuffe Julia Prest Julia Prest University of St. Andrews Search for other works by this author on: This Site Google Romanic Review (2011) 102 (1-2): 129–144. https://doi.org/10.1215/26885220-102.1-2.129 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Julia Prest; Elmire and the Erotics of the Ménage à Tro…
Controversy in French Drama
In 1664, Molière's Tartuffe was banned from public performance. This book provides a detailed, in-depth account of five-year struggle (1664-69) to have the ban lifted and, so doing, sheds important ne
The Struggle for Influence
We are concerned here with a portion of French history that sits between the two great crises of the ancien régime: the Wars of Religion and the Revolution. Or, to put it another way, our period falls between the Renaissance and the Enlightenment, at the time of the French Counterreformation when there was a powerful push in France to enforce the principles set out during the Council of Trent.1 Although the Tridentine decrees never gained officia…
Conclusion
In the course of this study, I have argued that the extraordinary controversy provoked by Molière’s Tartuffe turned on questions of content and, above all, context. While the content of the play was undoubtedly controversial in and of itself, it is the politico-religious context in which the play appeared that led to a full-blown controversy. I have also argued that what is commonly known as the Tartuffe controversy was brought about by a wish to…
What Is a Faux Dévot?
Molière’s Tartuffe was premiered on the evening of May 12, 1664, in a makeshift theatre at Versailles before Louis XIV and his court. It is commonly understood to be a play about religious hypocrisy, the controversy it provoked owing to the alleged possibility that its audience might subsequently be unable to distinguish off stage between a hypocrite and a true believer. The particular concern was that true believers might be mistaken for hypocri…
Selected Poems
French poet and critic Nicolas Boileau-Despréaux (1636-1711) was by turns venerated (in the eighteenth century) and reviled (in the nineteenth century) as the lawgiver of French classicism. Today critics see his achievement as more varied and complex than the label of classicism generally allows. This selection of Boileau’s poems, translated with spirit and carefully annotated by Burton Raffel, brings the work of Boileau to English-speaking reade…
Pale imitations
This article offers an original and nuanced contribution to the larger discussion of dance in the colonial Caribbean. Its focus is on the largely neglected phenomenon of the colonial imitator, and specifically on white imitations of local slave dances in the public theatres of Saint-Domingue in the 1770s and 1780s. Colonial accounts of different types of slave dance (calenda, chica and vodou) are examined as an important point of reference for th…
Coquettes, Wives and Widows
Coquettes, Wives, and Widows is both wide-ranging and narrow in scope. It is wide-ranging by virtue of encompassing both musical and spoken theatrical genres of the period—a welcome approach that challenges artificial boundaries between academic disciplines, while allowing Marcie Ray to provide a more complete account of eighteenth-century Parisian stages than is often achieved. It is still relatively rare to read a volume that is concerned with …
Performing Disability in French Court Ballet
Art (17 works) · Historical and Literary Studies (14 works) · History (12 works) · Art history (10 works) · Historical and Literary Analyses (10 works) · Literature (10 works) · Philosophy (9 works) · Political science (9 works) · Law (8 works) · Aesthetics (7 works)