Comédien–Actor–Paradoxe: The Anglo-French Sources of Diderot’s Paradoxe sur le comédien
- Submitting institution
-
University of Newcastle upon Tyne
- Unit of assessment
- 27 - English Language and Literature
- Output identifier
- 215320-200619-1282
- Type
- D - Journal article
- DOI
-
10.1353/tj.2015.0004
- Title of journal
- Theatre Journal
- Article number
- -
- First page
- 83
- Volume
- 67
- Issue
- 1
- ISSN
- 0192-2882
- Open access status
- Compliant
- Month of publication
- March
- Year of publication
- 2015
- URL
-
http://dx.doi.org/10.1353/tj.2015.0004
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
0
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- Yes
- Additional information
- -
- Author contribution statement
- -
- Non-English
- Yes
- English abstract
- In de Staël’s novel, Shakespeare’s play, performed by the heroine and referenced elsewhere, appears with an emphasis on its Italian nature, intimacy, and destiny: three elements that each map the decline of Corinne and Oswald’s romance and of an ‘Italian spirit’ across this book. At novel’s end, Castel-Forte’s diptych of Corinne as Juliet and of her current state invite such a retrospective reading. At the same time, however, the manifest shortcomings of this man’s interpretative use of Juliet also indicates that this novel’s true interest lies in the limits of artistic work, be it Shakespeare’s or that of its heroine.