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  • 1.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Actualité des recherches dix-neuviémistes en Suède2013In: La lettre : les actualités dix-neuviémistes de la SERD, Vol. 9, no Juillet, p. 20-23Article in journal (Other academic)
  • 2.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Aparté2023In: Dictionnaire Victor Hugo / [ed] Claude Millet & David Charles, Paris: Classiques Garnier, 2023, p. 75-75Chapter in book (Refereed)
  • 3.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    A.Q.C.H.E.B.2023In: Dictionnaire Victor Hugo / [ed] Claude Millet & David Charles, Paris: Classiques Garnier, 2023, p. 77-77Chapter in book (Refereed)
  • 4.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Athélie ou les Scandinaves2023In: Dictionnaire Victor Hugo / [ed] Claude Millet & David Charles, Paris: Classiques Garnier, 2023, p. 100-100Chapter in book (Refereed)
  • 5.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Romance Languages.
    Balzac, Hugo et le théâtre: de Cromwell à Glapieu (Balzac, Hugo and drama: from Cromwell to Glapieu)1999In: Résonances de la recherche: festskrift till Sigbrit Swahn / [ed] Kerstin Jonasson ..., Uppsala: Acta Universitatis Upsaliensis , 1999, p. 355-365Chapter in book (Other academic)
  • 6.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Christine de Suède sous les tirs croisés de la critique théâtrale: quand la matière historique transforme l'écriture des recensions2022In: La Reine Christine et ses fictions / [ed] Florence Fix & Corinne François-Denève, Dijon: Éditions Universitaires de Dijon , 2022, p. 161-175Chapter in book (Refereed)
    Abstract [en]

    Initially considered original and then quickly perceived as worn out on the Parisian stages around the 1830s, the dramatisation of the life of Christina of Sweden gave rise to a number of chronicles in which it is not unusual for the historical account, often preliminary, to take precedence over the analysis of the play. The emergence and recurrence of Christina on the stage in France has also been accompanied by notable innovations in the writing and poetics of the theatrical review. The analysis of some sixty reviews covering the performances of four plays with a "Christinian" subject (by Louis Brault, Frédéric Soulié, Alexandre Dumas the elder and Paul de Musset), shows how, thanks in large part to the polemical character of Queen Christina and under the influence of the historical dimension of the plays devoted to her, theatrical criticism became more complex: Revisiting its own codes as it explored the issues of the new aesthetic order on the stage, it was enriched with new rhetorical tools and clearer page devices, signs of the new weapons it was sharpening and pointing at historical theatre, its backdrops and its leading characters. This discourse reveals, in passing, the way in which the Queen of Sweden and her history were apprehended in the nineteenth-century press, on the one hand, and, on the other, how theatrical reviews contributed to the dissemination and clarification in France of knowledge about the Swedish context and the life of Christina.

  • 7.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Ciceri, Pierre Luc Charles 1782-18682023In: Dictionnaire Victor Hugo / [ed] Claude Millet & David Charles, Paris: Classiques Garnier, 2023, p. 197-197Chapter in book (Refereed)
  • 8.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Costumes de théâtre2023In: Dictionnaire Victor Hugo / [ed] Claude Millet & David Charles, Paris: Classiques Garnier, 2023, p. 236-238Chapter in book (Refereed)
  • 9.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Den metateatraliska dimensionen i Victor Hugos dramatik2004In: Kungl. Humanistiska Vetenskaps-Samfundet i Uppsala: Annales Societatis Litterarum Humaniorum Regiae Upsaliensis, ISSN 0349-0416, p. 211-214Article in journal (Other academic)
  • 10.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Didascalie: / Stage directions2003Other (Other academic)
  • 11.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Didascalies2023In: Dictionnaire Victor Hugo / [ed] Claude Millet & David Charles, Paris: Classiques Garnier, 2023, p. 285-287Chapter in book (Refereed)
  • 12.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Dumas métathéâtral : réflexions dramatiques en contrebande2013In: Dumas critique / [ed] Julie Anselmini, Limoges: Presses Universitaires de Limoges , 2013, p. 97-111Chapter in book (Refereed)
  • 13.
    Robardey-Eppstein, Sylviane
    Stockholms universitet, Inst. för franska, italienska och klassiska språk.
    Décors et accessoires dans les didascalies de J.G.A. Cuvelier de Trie : écriture du spectaculaire et spectacle de l'écrit2010In: Costumes, décors et accessoires dans le théâtre de la Révolution et de l'Empire / [ed] Philippe Bourdin et Françoise Le Borgne, Clermont-Ferrand: Presses Universitaires Blaise-Pascal , 2010, p. 89-102Chapter in book (Refereed)
  • 14.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Emblèmes du pouvoir ou pouvoir scénique? - Drapeaux et étendards dans le grand spectacle historique au XIXe siècle2012In: Le Théâtre historique et ses objets : le magasin des accessoires / [ed] Florence Fix, Paris: Orizons , 2012, p. 81--95Chapter in book (Refereed)
  • 15.
    Robardey-Eppstein, Sylviane
    Inst. för franska, italienska och klassiska språk, Stockholms universitet.
    Ferdinand Laloue, "peintre à la manière large" au Cirque-Olympique (1827-1841)2010In: La Fabrique du théâtre: Avant la mise en scène (1650-1880) / [ed] Mara Fazio & Pierre Frantz, Paris: Desjonquères , 2010, p. 353-365Chapter in book (Refereed)
  • 16.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Formes et sens des variations finales dans les premiers (mélo)drames. Instabilités oubliées (1797-1843)2016In: Revoir la fin: Dénouements remaniés au théâtre (XVIIIe-XIXe siècles) / [ed] Sylviane Robardey-Eppstein & Florence Naugrette, PARIS: Classiques Garnier, 2016, p. 337-355Chapter in book (Refereed)
    Abstract [en]

    Several final versions of the same melodrama provide reference points for questioning the formation and definition of the genre in its moral and spectacular dimensions, particularly through the scenic fate of the character of the traitor, as in Hapdé, Pixerécourt, Hubert and Duval. The study of the final sequences, reworked according to the demands of the censors, the different theatres, the sensitivities of the public or the changing tastes of the author, allows us to re-evaluate the idea that melodrama would be a genre circumscribed in fixed forms based on an immutable model.

  • 17.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages.
    Foules belliqueuses pour foules sentimentales: le Théâtre du Cirque-Olympique comme école du peuple dans le discours critique : visions paradoxales2017In: Peuple et Théâtre: de Louis-Sébastien Mercier à Firmin Gémier / [ed] Olivier Bara, Paris: Classiques Garnier, 2017, p. 115-131Chapter in book (Refereed)
    Abstract [en]

    Often historical and military, always "eye-catching", the plays performed at the Cirque-Olympique Theatre have earned it the status of a "people's school", a notion laden with ideology and disrespect. The critical discourse of the time exacerbated the axiological divide between the literary and the spectacular and emphasised the didactic and social role of this theatre. This obscured its aesthetic contribution, as a precursor of modern stage renovation, which had made the people the first witness of the emerging theatrical romanticism.

  • 18.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Grotesque, sublime mélodrame : effets de style et faits de style d'un pur genre impur2021In: Cahiers de l'Association Internationale des Etudes Francaises, ISSN 0571-5865, E-ISSN 2076-8443, Vol. 73, p. 49-72Article in journal (Refereed)
    Abstract [en]

    Several misunderstandings, linked to the question of style, continue to distort the common perception of melodrama as a genre and hinder a fully objective critical approach. As soon as it is associated with melodrama, the notion of 'style' - by its very nature mutant and ambiguous - operates various types of blurring, on several levels, thus feeding a substratum of factual errors, formal confusions and contextual ignorance. The article seeks to re-establish some perspectives and proposes a reflection on the writing of the plays and on the questions it raises from the point of view of stylitics and its theories. The aim is to observe the complex relationship which, from the outset, was woven between the idea of melodrama (a genre often described as impure and grotesque) and the idea of style (which, according to the criteria of the time, was worth nothing if it was not pure and sublime). The article demonstrates the inoperability of both 'classical' and 'postmodern' stylistic "readings". Caught in the middle of a critical discourse where important literary and scenic stakes were crystallized, melodrama as a  dramatic genre deserves to be defended for its poetic honourability and its interest as an object of "style studies". This is what this article demonstrates by a few examples drawn from printed plays, manuscripts and theatrical reviews from the time.

  • 19.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Gueux (Les)2023In: Dictionnaire Victor Hugo / [ed] Claude Millet & David Charles, Paris: Classiques Garnier, 2023, p. 465-465Chapter in book (Refereed)
  • 20.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Gérard de Nerval, Léo Burckart (1838-1839). Textes établis, présentés et annotés par Sylvie Lécuyer. Paris, Honoré Champion, « Textes de littérature moderne et contemporaine », 2018. Un vol. de 624 p.2019In: Revue d'Histoire littéraire de la France, ISSN 0035-2411, no 3, p. 716-718Article, book review (Refereed)
  • 21.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Hors-scène2023In: Dictionnaire Victor Hugo / [ed] Claude Millet & David Charles, Paris: Classiques Garnier, 2023, p. 493-493Chapter in book (Refereed)
  • 22.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Introduction2018In: Sculpter l'espace, ou le théâtre d'Alexandre Dumas à la croisée des genres / [ed] Sylviane Robardey-Eppstein, Paris: Classiques Garnier, 2018, p. 7-25Chapter in book (Refereed)
  • 23.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Introduction2016In: Revoir la fin: Dénouements remaniés au théâtre (XVIIIe-XIXe siècles) / [ed] Sylviane Robardey-Eppstein & Florence Naugrette, PARIS: Classiques Garnier, 2016, p. 9-45Chapter in book (Refereed)
  • 24.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Irtamène2023In: Dictionnaire Victor Hugo / [ed] Claude Millet & David Charles, Paris: Classiques Garnier, 2023, p. 544-544Chapter in book (Refereed)
  • 25.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    La cacophonie du vide ou le comble didascalique dans le théâtre de Jean Tardieu2007In: La Didascalie dans le théâtre du XXe siècle: regarder l’impossible / [ed] Florence Fix & Frédérique Tudoire-Surlapierre, Dijon: Éditions Universitaires de Dijon , 2007, p. 223-235Chapter in book (Refereed)
  • 26.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    La Chapelle des bois ou le Témoin invisible, Mélodrame en trois actes, en prose et à spectacle [Présentation de la pièce, Texte établi et annoté, Variantes]2024In: Mélodrames, Tome VI, volume II - 1815-1818 [René-Charles Guilbert de Pixerécourt] / [ed] Roxane Martin, Paris: Classiques Garnier, 2024, p. 838-1130Chapter in book (Refereed)
  • 27.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages.
    La constellation de Thespis. Présence du théâtre et dimension métathéâtrale dans l'oeuvre dramatique de Victor Hugo2004 (ed. Ny utg.)Book (Other academic)
  • 28.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Romance Languages.
    La constellation de Thespis: Présence du théâtre et dimension métathéâtrale dans l’œuvre dramatique de Victor Hugo2003Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This thesis deals with the different aspects of metatheatricality in Victor Hugo’s dramatic works. Through a textual approach, it is shown how the author’s writing is marked by the presence of theatre within and about theatre, which is organized as a constellation of occurrences. The purpose here is to investigate its different modes of expression and its significations.

    Spotting both the lexical field of theatre and diverse devices intended to break the play’s illusionist frame makes it possible to understand how Hugo creates a double theatrical universe, operating on both the reader and the virtual spectator. This study goes through the scenic indications, the metadramatic discourse, the addresses to the receptor audience, the metatheatrical structures and the theatre thematics, which all bring to light strategies of distanciation, play between illusion and reality, and recalls of the very concrete play’s and life’s conditions. Hugo also inserts commentaries on his own writing or on general theatrical conventions, discusses more or less explicitly the essence of theatre and its paradoxes, and makes intertextual allusions assuring the intrusion of theatrical history.

    The topos of theatrum mundi supports the oscillation between the depreciation of life seen as a comedy where human beings play an absurd role, and the absolute belief in the presence of God, the all-knowing author and spectator who is however also helped by Satan. Most typically, the grotesque characters express disillusion and simultaneously mediate metatheatricality. By dramatising themselves in a self-conscious process, they denounce appearances, and their vain speech at the fictional level is efficient at the external communication level. By ways of metatheatricality, Hugo can put forwards the ideological and sociological questions which are of importance to him. Metatheatricality makes it possible to reorientate denouements and to reverse the tragic onto more positive values.

    These strategies all work in a coherent way: they merge and complete each other. When appearances and theatre are present as a theme, the text programs the showing of the theatrical situation, and the focus is set on the stage and performance. Hugo’s theatre turns to itself, and the author’s use of metatheatricality can be seen as the expression of a structure of his imagination, which is both spectacular and specular.

    This thesis deals with the different aspects of metatheatricality in Victor Hugo’s dramatic works. Through a textual approach, it is shown how the author’s writing is marked by the presence of theatre within and about theatre, which is organized as a constellation of occurrences. The purpose here is to investigate its different modes of expression and its significations.

    Spotting both the lexical field of theatre and diverse devices intended to break the play’s illusionist frame makes it possible to understand how Hugo creates a double theatrical universe, operating on both the reader and the virtual spectator. This study goes through the scenic indications, the metadramatic discourse, the addresses to the receptor audience, the metatheatrical structures and the theatre thematics, which all bring to light strategies of distanciation, play between illusion and reality, and recalls of the very concrete play’s and life’s conditions. Hugo also inserts commentaries on his own writing or on general theatrical conventions, discusses more or less explicitly the essence of theatre and its paradoxes, and makes intertextual allusions assuring the intrusion of theatrical history.

    The topos of theatrum mundi supports the oscillation between the depreciation of life seen as a comedy where human beings play an absurd role, and the absolute belief in the presence of God, the all-knowing author and spectator who is however also helped by Satan. Most typically, the grotesque characters express disillusion and simultaneously mediate metatheatricality. By dramatising themselves in a self-conscious process, they denounce appearances, and their vain speech at the fictional level is efficient at the external communication level. By ways of metatheatricality, Hugo can put forwards the ideological and sociological questions which are of importance to him. Metatheatricality makes it possible to reorientate denouements and to reverse the tragic onto more positive values.

    These strategies all work in a coherent way: they merge and complete each other. When appearances and theatre are present as a theme, the text programs the showing of the theatrical situation, and the focus is set on the stage and performance. Hugo’s theatre turns to itself, and the author’s use of metatheatricality can be seen as the expression of a structure of his imagination, which is both spectacular and specular.

  • 29.
    Robardey-Eppstein, Sylviane
    Stockholms universitet, Inst. för franska, italienska och klassiska språk.
    La distanciation dans le Théâtre en liberté de Victor Hugo : ludisme et étrangeté ou l’autre versant du texte2009In: La Revue des Lettres Modernes, ISSN 0035-2136, Vol. Série Victor Hugo, no 7 Le théâtre et l'exil, p. 137-157Article in journal (Refereed)
  • 30.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    La Jérusalem délivrée au Cirque-Olympique (1836): le manuscrit du souffleur et le spectaculaire retracé2011In: Les Arts de la scène à l’épreuve de l’histoire: Les objets et les méthodes de l’historiographie des spectacles produits sur la scène française (1635-1906) / [ed] Roxane Martin & Marina Nordera, Paris: Honoré Champion , 2011, p. 27-40Chapter in book (Refereed)
  • 31.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    La réception de Victor Hugo en Suède: Premiers déboisements2005In: Skrifter fra forskningsprojektet Den franske realisme i Norden, no 5, p. 3-59Article in journal (Other academic)
  • 32.
    Robardey-Eppstein, Sylviane
    Inst. för franska, italienska och klassiska språk, Stockholms universitet.
    La réécriture théâtrale au miroir du roman: va-et-vient transmodaux de Dumas père (de Lorenzino à Une nuit à Florence... et l'inverse)2010In: Roman et théâtre: Une rencontre intergénérique dans la littérature française / [ed] Aphrodite Sivetidou & Maria Litsardaki, Paris: Classiques Garnier , 2010, p. 407-423Chapter in book (Refereed)
  • 33.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    La survivance du théâtre romantique2010In: Les Spectacles sous le Second Empire / [ed] Jean-Claude Yon, Paris: Armand Colin , 2010, p. 149-158Chapter in book (Refereed)
  • 34.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    L’Ange tutélaire, ou le Démon femelle, Mélodrame en trois actes, en prose et à grand spectacle [Présentation de la pièce, Texte établi et annoté, Variantes]2016In: René-Charles Guilbert de Pixerécourt, Mélodrames, Tome III - 1804-1808 / [ed] Roxane Martin, PARIS: Classiques Garnier, 2016, p. 715-1030-[+ variantes 1149-1197]Chapter in book (Refereed)
  • 35.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Le Fanal de Messine, Mélodrame en trois actes, à grand spectacle [Présentation de la pièce, Texte établi et annoté, Variantes]2021In: René-Charles Guilbert de Pixerécourt, Mélodrames, Tome V, volume I - 1811-1814 / [ed] Roxane Martin, Paris: Classiques Garnier, 2021, p. 297-468Chapter in book (Refereed)
  • 36.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Le grotesque est en haut: verticalité et surélévation du grotesque dans la dramaturgie romantique2012In: Grotesque et spatialité dans les arts du spectacle et de l’image en Europe (XVIe-XXIe siècles): / [ed] Aline Le Berre, Florent Gabaude & Philippe Wellnitz, Bern: Peter Lang Publishing Group, 2012, p. 149-162Chapter in book (Refereed)
  • 37.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Le Nord, motif du renouveau théâtral au temps du romantisme : Harald, ou les Scandinaves et sa préface (1824-1825)2020In: Revue nordique des études francophones / Nordic Journal of Francophone Studies, E-ISSN 2003-0401, Vol. 3, no 1, p. 112-132Article in journal (Refereed)
    Abstract [en]

    This article brings to light the significance of a previously unexplored encounter between the­atrical creation and knowledge of the North in the Romantic era. In 1824, the tragedy Harald, ou les Scandinaves proposed, for the first time on a French stage, a subject drawn from Viking history. The play was accompanied by an extensive paratext (preface and endnotes) that was widely discussed at the time but has since been forgotten. With the benefit of hindsight, this published play now appears to be a major document in the history of theatrical Romanticism and in the history of knowledge transmission concerning the North. Well versed in Scandinavian culture, Lerebours draws upon that knowledge to support his theory of a revived dramatic art, although divorced from the Romantics’ preoccupation with medievalism. While allowing for the preservation of some neoclassical values, Nordic “local colour” also allows him to assert a need for boldness and daring in dialogical and scenic composition. Via the study of this exceptional publication, we seek to refine and supplement our knowledge of the history and chronology of theatrical Romanticism. The rediscovery of this text also offers us an invaluable means to measure Nordic imagination and scholarship during the French Restoration.

  • 38.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Le Nord vu par Dumas père dans Voyage en Russie: Entre critique et cliché : rhétorique de l'équivalence et poétique de l'unicité2007In: L'Image du Nord chez Stendhal et les Romantiques, IV, Örebro: Örebro University , 2007, p. 169-188Chapter in book (Refereed)
  • 39.
    Robardey-Eppstein, Sylviane
    Stockholms universitet, Inst. för franska, italienska och klassiska språk.
    Le réalisme "sans le style" de Paul de Kock : du succès à l'oubli, du "simple" au complexe2010In: Le Rocambole / Naissances du roman populaire, ISSN 1253-5885, no 50, p. 41-56Article in journal (Refereed)
  • 40.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Le surnaturel sur la scène romantique : la ‘baguette magique’ de Dumas père (l’exemple du Don Juan de Marana)2012In: Magie et Magies dans la littérature et les arts du XIXe siècle français / [ed] Simone Bernard-Griffiths & Céline Bricault, Clermont-Ferrand: Presses Universitaires Blaise Pascal , 2012, p. 271-284Chapter in book (Refereed)
  • 41.
    Robardey-Eppstein, Sylviane
    Mälardalen, Inst för Humaniora.
    Les didascalies en regard des cahiers de mise en scène : l’exemple de Lucrèce Borgia de Victor Hugo2007In: Le Texte didascalique à l’épreuve de la lecture et de la représentation, Sud Éditions, Tunis / Presses Universitaires de Bordeaux, Pessac , 2007, p. 225-238Chapter in book (Refereed)
  • 42.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Les hyperdidascalies des pantomimes comme traces du jeu mélodramatique (1792-1804)2017In: Revue d'Histoire du Théâtre, ISSN 1291-2530, Vol. 2, no 274, p. 9-20Article in journal (Refereed)
    Abstract [en]

    Hyper-developed stage directions in pantomime plays as traces of melodramatic acting (1792-1804)

    The scripts of pantomime plays and early melodramas are dominated by hyper-developed or invasive stage directions that can be read as the textual traces of the acting conditions. In these texts of narrative nature, action story-telling is combined with scenographic indications and descriptions of the characters’ (future actors’) movements and physical reactions. As « talking » modalities appeared, writers and actors had to rethink and reconfigure the gestural score, as it got split and redistributed between dialogues and stage directions. The exaggerated expressivity that was perceived in melodrama may therefore be explained by a difficult juncture between substitutive and speech-accompanying gestures, and by the tension between « natural » dialogues and stylised acting in « tableaux », all beyond the typical novel-like phraseology of the time. Texts of “spoken pantomimes” as a genre let us “see” separate but coexistent codes that shed light on the origins of the melodramatic double way of acting, and allow us to redraw the established definitions.

  • 43.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Les images du réalisme français : esthétique, réception et traductions en Scandinavie2002In: Le Courrier balzacien, ISSN 0249-6844, no 87, p. 44-48Article, book review (Other academic)
  • 44.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Les Maures d’Espagne, ou le Pouvoir de l’enfance, Mélodrame en trois actes, en prose et à grand spectacle [Présentation de la pièce, Texte établi et annoté, Variantes]2016In: René-Charles Guilbert de Pixerécourt, Mélodrames, Tome III - 1804-1808 / [ed] Roxane Martin, PARIS: Classiques Garnier, 2016, p. 27-151-[+ variantes 1031-1066]Chapter in book (Refereed)
  • 45.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Les mises en scène sur papier-journal: espace interactionnel et publicité réciproque entre presse et monde théâtral (1828-1865)2012In: Presse et scène au XIXe siècle: RELAIS MÉDIATIQUES DES PHÉNOMÈNES DRAMATIQUES / [ed] Olivier Bara & Marie-Ève Thérenty, Médias 19 , 2012Chapter in book (Refereed)
  • 46.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    “Les péripéties du boulevard et les magnificences de l’Opéra”: le spectacle fantastique dumasien et son écriture entre mélodrame et féerie2018In: Le Théâtre de Dumas père, entre héritage et renouvellement / [ed] Anne-Marie Callet-Bianco et Sylvain Ledda, Rennes: Presses Universitaires de Rennes, 2018, p. 199-214Chapter in book (Refereed)
    Abstract [fr]

    Le « grand spectacle » à la Dumas ne saurait se réduire à celui mis en œuvre dans les drames historiques. Le dramaturge s’est laissé plus d’une fois tenter par des formes spectaculaires qui relevaient moins de la fresque en action que de la machinerie huilée. L’article s’attache à démontrer que dans les pièces issues de l’esthétique gothique, dans lesquelles le surnaturel occupe une place de choix, c’est bien l’écriture spectaculaire du mélodrame « primitif » et de la féerie qui articule le traitement du scénique à l’action dramatique. Deux drames servent de base à l’analyse : Don Juan de Maraña (versions de 1836 et 1863) et Le Vampire (1851). Les thèmes et les cadres du (mélo)drame et de la féerie induisent des stratégies scéniques – repérables autant dans les dialogues que dans les didascalies – qui servent la tension frénétique, l’espace-temps précipité et la symbolique d’ordre métaphysique (fût-elle manichéenne). La présence scénique ou thématique  de la peinture et de la sculpture, mises à contribution  pour les « trucs » ou les « clous », participe de stratégies de mise en abyme prisées sur les scènes des boulevards ; au passage, se font jour les liens qui se tissent avec l’esthétique du « grand opéra ». L’analyse oblige à déplacer le regard et à réévaluer la formule péjorative qui à l’époque a frappé le théâtre spectaculaire (« Tout pour les yeux, rien pour l’esprit »). Dans ses drames fantastiques, Dumas tente une fusion du visuel et du spirituel. En puisant dans l’héritage des pratiques scéniques des théâtres populaires, il propose de nouvelles alchimies génériques, pour un renouvellement du romantisme théâtral.  

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  • 47.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    L'écritoire2019In: Juliette Drouet épistolière: Actes du colloque de Paris 16-17 septembre 2017 / [ed] Florence Naugrette; Françoise Simonet-Tenant, Paris: EURÉDIT , 2019, p. 165-180Chapter in book (Refereed)
    Abstract [en]

    Her particular relationship to the writing materials (paper, quills, inkwells, blotters, etc.) - which is reflected in the letters - can tell us more about Juliette Drouet's epistolary practice and posture. It can also shed light on her imagination and on the nature of an unusual love affair, (self)fed by the rhythm of the "restitus". Without the material, there are no letters, and no fantasised communication with the beloved. Hence the interest in first looking at some of the material and functional characteristics of these objects, which are often defective but highly effective in producing an imagined metascriptural discourse. Then we look at the 'vivid', even 'obsessive' metaphor that the evocation of these objects brings to bear in the letter writer's pen, a means for her to claim the thing and the discourse of love. The study thus brings to light the fetish and symbolic functions of the writing desk, a potential love workshop and a vector as well as a medium for a playful style with ritualised allusions.

  • 48.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    L'écriture scénique et la question générique dans le dernier Delavigne : l'épreuve de la reprise de Charles VI2012In: Casimir Delavigne en son temps. Vie culturelle - Théâtre - Réception : Actes du colloque de Rouen 24-25 octobre 2011 / [ed] Sylvain Ledda & Florence Naugrette, Paris: Eurédit , 2012, p. 241-252Chapter in book (Refereed)
  • 49.
    Robardey-Eppstein, Sylviane
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, Romance Languages.
    Maglia2023In: Dictionnaire Victor Hugo / [ed] Claude Millet & David Charles, Paris: Classiques Garnier, 2023, p. 627-628Chapter in book (Refereed)
  • 50.
    Robardey-Eppstein, Sylviane
    Stockholms universitet, Inst. för franska, italienska och klassiska språk.
    Meurice et Dumas père. Mystères d'une collaboration et flottements de la critique2009In: Victor Hugo et Paul Meurice, allumeurs d'étoiles: Textes réunis et présentés par Danièle Gasiglia-Laster et Arnaud Laster, numéro hors série de L'Écho Hugo, Société des Amis de Victor Hugo , 2009, p. 44-53Chapter in book (Refereed)
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