The purpose of this study is to examine the presentation of Joan of Arc's life in two lyric works, Jules Barbier and Charles Gounod's Jeanne d'Arc (1873) and Auguste Mermet's Jeanne d'Arc (1876), that premiered in Paris following the upheaval of the Franco-Prussian War and Paris Commune. Relying on Parisian journals of the day, I follow two trends: some critics called for a historically-informed presentation of Joan's life and others appealed to retain certain supernatural elements, specifically the Fairy Tree and the Voices, of Joan's story. In addition to these trends, I consider an article printed shortly before the premiere of Mermet's opera and discuss the political and religious implications of the final scene (Charles VII Coronation in Reims or Joan's execution in Rouen) in these two stage works. After an introductory chapter and a chapter tracing the geneses of the melodrama and the opera, the remaining chapters each deal specifically with one of the three above-mentioned lines of inquiry as they relate to Joan of Arc's story. Chapter III discusses historical characters (Charles, duc d'Orléans, King René, and Agnès Sorel), historical music (minuet and Vexilla regis), and music believed to have been sung in the presence of Joan of Arc (Veni Creator Spiritus and Orate pro ea). Chapter IV addresses the continuing presence of legendary, supernatural elements--specifically the Fairy Tree and the Voices--and how these elements have changed in nineteenth-century stage works about Joan. In Chapter V, the difficulty of adapting Joan's life on the stage is examined. A closer look reveals that differing views existed during the 1870s as to exactly what her mission entailed. The two works reflect the changing attitudes on this topic. As a whole, this dissertation offers an examination of two rarely discussed stage works that reveal the political, religious, and musical climate surrounding the figure of Joan of Arc in the 1870s.

Thesis (M.A.)--University of Wisconsin--Madison, 1972. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

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Who was Joan of Arc? That was the first question in my mind before I began my journey of studying this remarkable young woman. I had no idea how special she was. I thought she was just another historical figure that gets lost in history books. All I really knew about her was that she was burned at the stake. What I didn't know was that she led a country's army into battle at the age of seventeen.The adaptation of Mark Twain's novel, Personal Recollections of Joan of Arc into a full length play involves in-depth research into French and English society, religion, war strategy, The Hundred Years War and many other aspects that affected the young Jehanne d'Arc. Research also included in-depth study of the life of Mark Twain. After months of research, the playwriting process began. The process ending with new knowledge in playwriting, dramatic structure and a work that reflects how Joan of Arc can inspire an individual as a true heroine. A staged reading of the play, Personal Recollections of Joan of Arc, was presented on Monday, December 3rd, 2012 at the Next Door in Johnson City, Tennessee.

This study shows in Twain's Joan a mosaic work of French history and American folk humor. It points to Twain as an unacknowledged historian and scholar who, despite his biases and misgivings from his previous books and from his sources, fashioned Joan's story for an American audience while he stayed abroad in Florence and Paris with his family. The study focuses upon the historical and literary merits of Twain's Joan through a detailed analysis of Twain's notations in his French and English sources (Berkeley). It shows that Twain as Louis de Conte, chronicler and minstrel, faithfully retold Joan's story from his sources. Twain's Joan of Arc represents the literary, historical, and religious achievement of an unacknowledged American scholar who showed an outstanding youth of character, integrity, and purity.Throughout the narrative in his book, Twain reflected Joan's page and secretary Louis de Conte as his persona in the dual role of chronicler and minstrel. Twain extended another dual role to his second narrator, the Paladin as entertainer and troubadour. Early in the story, Twain as Conte brought out the events of the Hundred Years' War which led to the betrayal of the French nation and the exile of the French Dauphin by the Treaty of Troyes. Conte retold these events as chronicler and minstrel from Gower and Sepet, notations at Berkeley. Other sources such as Fabre, Sepet, Wallon among others were either used or consulted. The study points and according to his notations in these sources. It is in his dual role that Conte narrated Joan's mission from her household to Vaucouleurs, Chinon, Orleans, Rheims, and St. Denis--covering Books I and II, from Chabannes's book and occasionally from Sepet's with key episodes from Michelet's Joan, according to Twain's notations at Berkeley.Conte retold the events at Chinon, Orleans, Patay, and Paris among others as a chronicler of history, but as minstrel he interwove the narrative with humor or sorrow in a rhythmic pattern of repetitions that imitated the style of the Chansons de Geste. The pattern is noticeable in the narration of the battle scenes at Orleans, Jargeau, and Patay, including the repetition of Joan's wounds in each encounter. Moreover, Twain as the Paladin reflected the minstrel of the Chansons de Geste who entertained the townspeople of Orleans with yarns substituted for the boastful French "gabs" used by knights to boost up their morale on the eve of battles. Twain later raised the role of the Paladin to a troubadour of Joan's era who praised the heroine in a lyrical poem, or Rondeaux, in the style of Charles d'Orleans, a poet of that era.This study shows that Twain used several French and English sources for Book III in which he dealt chiefly with the trial and death of Joan. Twain used three significant sources for the trial at Rouen; namely, Gower, Msgr. Ricard, and Michelet--according to the out Michelet's biases and misgivings. Hence the study mentions the out, however, that when there seemed to be a debatable viewpoint between Msgr. Ricard and Michelet, Twain favored Michelet as the final arbitrator. The study refers the serious reader or scholar to the critic Gustave Rudler who in his works on Michelet's Joan has pointed two different versions of Michelet's Joan, one written when Michelet was sympathetic towards the Church and the other (1873) as he turned anticlerical. Twain used the 1873 edition with its biases!The study points out that at the outset of the trial at Rouen Twain did not condemn the whole Catholic Hierarchy. Twain as Conte, chronicler and minstrel, merely caricatured evil men in Church positions who sought power and wealth first even at the expense of an innocent young girl. Conte showed that Joan at Rouen was a victim in the hands of the unscrupulous Pierre Cauchon, Bishop of Beauvais, who--according to Gower--had been bribed with the office of Archbishop of Rouen by Cardinal Winchester of England with the stipulation that Cauchon obtained from the trial Joan's excommunication as a witch and her death at the stake. Twain as Conte reflected well established traditions in French history and official documents in which Pierre Cauchon has been held as the main culprit, for he alone had the power to save or condemn Joan, according to Regine Pernoud-a reputable modern French historian. Conte as minstrel could hardly miss the opportunity of inventing puns based upon the French connotation of the man's name, because Cauchon indeed had shown himself an evil man. Moreover, ever since the Trial of Rehabilitation or retrial of Joan of Arc, Bishop Cauchon has been upheld by at least two Popes in their condemnation of that man. Instead, the Popes have honored Joan as a saint!The study shows that Twain held in contempt the French King and his courtiers, the French Clergy, and the French nation for having abandoned their national heroine to the enemy without even attempting to raise a ransom for her deliverance! Twain as Conte also questioned the "real motives" for the King's endeavors towards the Retrial of Joan since he had forgotten the maid for twenty years. Despite Twain's biases in several parts of the book, the study shows Twain's Joan as a serious work of an unacknowledged scholar for a virtuous youth--St. Joan of Arc!

A vida da moça, que ainda criança começara a ouvir vozes lhe revelando a missão de libertar a França dos invasores ingleses, que liderou um exército, coroou o seu rei e teve um destino trágico, sendo queimada viva como herege, parece saída de uma obra literária, mas como bem lembra Colette Beaune Joana dArc é provavelmente, a figura de mulher mais documentada de toda a História. Atualmente contam-se 20.000 estátuas públicas, centenas de biografias e peças de teatro, dezenas de filmes, óperas e músicas. Seria possível desvendar as razões para tamanho sucesso? Essa popularidade foi alcançada ao longo de um processo contínuo e homogêneo, ou houve rupturas, sobressaltos e novas atribuições à heroína que possam ser verificados ao longo do tempo? Essa tese discute a importância da primeira metade do século XIX para esse fenômeno. Nesse período a historiografia francesa se esforçou para enquadrar Joana dArc, heroína há muito honrada pelo reino da França, nos padrões da sociedade pósrevolucionária. Longe de desqualificá-la como figura incompatível com a modernidade pretendida por aquele país, tal como proposto no contexto revolucionário, Joana foi alçada ao panteão dos heróis nacionais tendo sua imagem amalgamada aos ideais de 1789. Buscamos desvendar o processo que tornou possível a popularização de uma nova Joana dArc naquele período, processo intimamente ligado aos valores burgueses então difundidos: a nação, o povo, a pátria, o indivíduo. As novas características atribuídas à Joana correspondiam às expectativas burguesas a partir de um discurso ligado a uma nova visão da História que passou a ser considerada como potencial produtora de verdades e justificativas que embasassem a configuração social que se anunciava. / The life of the young lady whose childhood was haunted by the hearing of voices which revealed to her a mission to free France from English invaders, who led an army, crowned her king had a tragic fate and was burned at the stake as a heretic seems to be taken from a literature work. But as Colette Beaune has rightly pointed out Joan of Arc is probably the most documented woman figure in all World History. It can be numbered about 20,000 public statues, hundreds of biographies and plays, dozens of films, operas and other pieces of music. Would it be possible to unfold the reasons for such an interest in her? The question lies, however, in how quite high popularity was gained. Was it the result of a continuous and homogeneous process or were there interruptions, surprises and new attributions assigned to the heroine that can be verified over time? This thesis discusses the importance of the former half of the nineteenth century to this phenomenon. Throughout this period French historiography struggled to fit Joan of Arc, the heroine overly honored by the kingdom of France, in the patterns of a post-revolutionary society. Far from discrediting her reputation as a figure incompatible with modernity desired by that country, as proposed in the revolutionary context, Joan was elevated to the national pantheon of heroes and had her image amalgamated to the ideals of 1789. Its sought to disclose the process that led to a substantial popularization of a new Joan of Arc at that time, and is intimately connected to bourgeois values disseminated then: nation, people, homeland and individual. New features attributed to Joan met the bourgeoisie expectations through a discourse on a new way of looking at History that turned out to be regarded as a potential producer of truths and justifications to support the social setting that was being announced.

A vida da moça, que ainda criança começara a ouvir vozes lhe revelando a missão de libertar a França dos invasores ingleses, que liderou um exército, coroou o seu rei e teve um destino trágico, sendo queimada viva como herege, parece saída de uma obra literária, mas como bem lembra Colette Beaune Joana dArc é provavelmente, a figura de mulher mais documentada de toda a História. Atualmente contam-se 20.000 estátuas públicas, centenas de biografias e peças de teatro, dezenas de filmes, óperas e músicas. Seria possível desvendar as razões para tamanho sucesso? Essa popularidade foi alcançada ao longo de um processo contínuo e homogêneo, ou houve rupturas, sobressaltos e novas atribuições à heroína que possam ser verificados ao longo do tempo? Essa tese discute a importância da primeira metade do século XIX para esse fenômeno. Nesse período a historiografia francesa se esforçou para enquadrar Joana dArc, heroína há muito honrada pelo reino da França, nos padrões da sociedade pósrevolucionária. Longe de desqualificá-la como figura incompatível com a modernidade pretendida por aquele país, tal como proposto no contexto revolucionário, Joana foi alçada ao panteão dos heróis nacionais tendo sua imagem amalgamada aos ideais de 1789. Buscamos desvendar o processo que tornou possível a popularização de uma nova Joana dArc naquele período, processo intimamente ligado aos valores burgueses então difundidos: a nação, o povo, a pátria, o indivíduo. As novas características atribuídas à Joana correspondiam às expectativas burguesas a partir de um discurso ligado a uma nova visão da História que passou a ser considerada como potencial produtora de verdades e justificativas que embasassem a configuração social que se anunciava. / The life of the young lady whose childhood was haunted by the hearing of voices which revealed to her a mission to free France from English invaders, who led an army, crowned her king had a tragic fate and was burned at the stake as a heretic seems to be taken from a literature work. But as Colette Beaune has rightly pointed out Joan of Arc is probably the most documented woman figure in all World History. It can be numbered about 20,000 public statues, hundreds of biographies and plays, dozens of films, operas and other pieces of music. Would it be possible to unfold the reasons for such an interest in her? The question lies, however, in how quite high popularity was gained. Was it the result of a continuous and homogeneous process or were there interruptions, surprises and new attributions assigned to the heroine that can be verified over time? This thesis discusses the importance of the former half of the nineteenth century to this phenomenon. Throughout this period French historiography struggled to fit Joan of Arc, the heroine overly honored by the kingdom of France, in the patterns of a post-revolutionary society. Far from discrediting her reputation as a figure incompatible with modernity desired by that country, as proposed in the revolutionary context, Joan was elevated to the national pantheon of heroes and had her image amalgamated to the ideals of 1789. Its sought to disclose the process that led to a substantial popularization of a new Joan of Arc at that time, and is intimately connected to bourgeois values disseminated then: nation, people, homeland and individual. New features attributed to Joan met the bourgeoisie expectations through a discourse on a new way of looking at History that turned out to be regarded as a potential producer of truths and justifications to support the social setting that was being announced.

This exhibition is a direct response to my own religious upbringing. I chose to explore the oppression upon women, gays and people of color by religious intolerance. The Church dictates social and political mores that affect our society and culture and the way we are treated and governed. The use of the bible and conservative belief structures to defend the ill manner in which we are treated should not be ordained in today’s social construct. In the Name of god addresses issues from the Inquisition to the current war for control over women’s bodies and our reproductive systems. By revisiting the past and illustrating earlier evidence of religious corruption, I intend to demonstrate this countries lack of understanding of anything other.

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This thesis offers a different concept of Mark Twain, who worshiped Joan of Arc and considered her the ideal of womanhood.