Julie Candler Hayes explores the contributions of seventeenth and eighteenth-century French women philosophers and intellectuals to moralist writing, a genre focusing on dispassionate observations on the human condition and traditionally viewed through its best-known male writers. This study, the first of its kind, includes both famous thinkers--such as Émilie Du Châtelet and Germaine de Staël--and nearly two dozen of their contemporaries. Hayes demonstrates how, through their critique of institutions and practices, their valorization of introspection and self-expression, and their engagement with philosophical issues, women moralists carved out an important space for the public exercise of their reason.
Her book is a sustained reflection on the aims and methods of contemporary translation studies and the most complete account available of the role of translation during a critical period in European history."--BOOK JACKET.
In this 1999 book, Julie Candler Hayes offers an ambitious reinterpretation of a crucial aspect of Enlightenment thought, the rationalizing and classifying impulse. Taking issue both with traditional liberal and contemporary critical accounts of the Enlightenment, she analyses the writings of Denis Diderot, Emilie Du Châtelet, the Abbé de Condillac, Buffon, d'Alembert and numerous others, to argue for a new understanding of 'systematic reason' as complex, paradoxical and ultimately liberating. Hayes examines the tensions between freedom and constraint, abstraction and materialism, linear and synoptic order, that pervade not only philosophic and scientific discourse, but also epistolary writing, fiction and criticism. Drawing on the insights of a wide range of theorists from Adorno, Habermas and Foucault to Deleuze and Derrida, she offers a dialogue between the eighteenth century and our own, an ongoing exploration of the question, 'what is Enlightenment?'.
Early modern women writers left their mark in multiple domains--novels, translations, letters, history, and science. Although recent scholarship in literary and cultural studies has enriched our understanding of these accomplishments, less attention has been paid to other forms of women's writing. Women Moralists in Early Modern France explores the contributions of seventeenth and eighteenth-century French women philosophers and intellectuals to moralist writing, the observation of human motives and behavior. This distinctively French genre draws on philosophical and literary traditions extending back to classical antiquity. Moralist short forms such as the maxim, dialogue, character portrait, and essay engage social and political questions, epistemology, moral psychology, and virtue ethics. Although moralist writing was closely associated with the salon culture in which women played a major role, women's contributions to the genre have received scant scholarly attention. Julie Candler Hayes examines major moralist writers such as Madeleine de Scud?ry, Anne-Th?r?se de Lambert, ?milie Du Ch?telet, and Germaine de Sta?l, as well as nearly two dozen of their contemporaries. Their reflections range from traditional topics such as the nature of the self, friendship, happiness, and old age, to issues that were very much part of their own lifeworld, such as the institution of marriage and women's nature and capabilities. Each chapter traces the evolution of women's moralist thought on a given topic from the late seventeenth century to the Enlightenment and the decades immediately following the French Revolution, a period of tremendous change in the horizon of possibilities for women as public figures and intellectuals. Hayes demonstrates how, through their critique of institutions and practices, their valorization of introspection and self-expression, and their engagement with philosophical issues, women moralists carved out an important space for the public exercise of their reason.
In a study drawing on contemporary and 18th-century literary theory and philosophy, social history and history of the theatre, Hayes presents a reading of the dramas of Diderot and Sade and argues for a new understanding of the genre as a whole.
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