Paris in the 17th century: discourses, spectacles and propaganda - AFRVEU112

• Title: Paris in the 17th century: discourses, spectacles and propaganda
• Guaranteed by: Institute of Romance Studies (21-URS)
• Faculty: Faculty of Arts
• Actual: from 2025
• Semester: winter
• Points: 0
• E-Credits: 5
• Examination process: winter s.:
• Hours per week, examination: winter s.:0/2, Ex [HT]
• Capacity: unknown / unlimited (unknown)
• Min. number of students: unlimited
• 4EU+: yes
• Virtual mobility / capacity: yes / unlimited
• Key competences: 4EU+ Flagship 2
• State of the course: taught
• Language: English
• Teaching methods: distance
• Note: course can be enrolled in outside the study plan; enabled for web enrollment
• Guarantor: Sophie Bouvier, DEA; doc. Mgr. Radka Mudrochová, Ph.D.
• Teacher(s): Sophie Bouvier, DEA; doc. Mgr. Radka Mudrochová, Ph.D.

Annotation

This course explores the 17th century doctrine of neo-classical drama and the relevance of its rules to playwriting. We will contextualize the reform in order to grasp its political nature, and the relation between literary norms and soft propaganda.

Last update: Mudrochová Radka, doc. Mgr., Ph.D. (05.08.2025)

Teaching methods

• Synchronous online lectures via video conferencing (e.g. Zoom or MS Teams).

• Student presentations delivered live or as pre-recorded videos with follow-up discussion.

• Assigned readings and asynchronous discussion forums to deepen understanding.

• Primary source analysis through shared digital materials (texts, images, videos).

• Ongoing feedback from the instructor on written work and participation.

• Final assessment based on a written essay or project submitted electronically.

Last update: Mudrochová Radka, doc. Mgr., Ph.D. (05.08.2025)

Requirements to the exam

Continuous assessment (oral presentation and essay)

Last update: Mudrochová Radka, doc. Mgr., Ph.D. (05.08.2025)

Syllabus

This course explores the 17^th century doctrine of neo-classical drama and the relevance of its rules to playwriting. We will contextualize the reform in order to grasp its political nature, and the relation between literary norms and soft propaganda.

 

PART 1: DISCOURSES on the neoclassical doctrine

 

1- General introduction

Presentation of the course and list of topics for student presentations. 

General definition of neo-classical drama, and authors representing neo-classical aesthetics: d’Aubignac, La Mesnardière, Chapelain. What was their background and on what was their authority grounded?

 

2- General lines of the neo-classical doctrine

Immorality of theatres: condemnation by the church and the purists. Moral and religious reasoning behind the ban. Reform of theatres as a means of rehabilitation. Neoclassical doctrine applied to certain genres and theatre companies only: the birth of a State-sponsored theatre.

Presentation: Corneille, Racine and Molière. 

 

3- Cartesian doctrine in arts and in science

Doctrine versus observation:  political choices behind representations of the world.

Visual translation of neo-classical doctrine: perspectives in urban planning and gardens. Maps versus detailed scenes: How do these choices translate in playwriting?

 

PART 2: DOCTRINE IN CONTEXT

 

4- Political context and status of the writer

Richelieu and the problem of circulating pamphlets. Domestication of literature. System of gratification and financial dependency.

Presentation: Alain Viala, The birth of the writer

 

5- Literary life in 17^th-century in Paris

On literary salons, academies theatres and church sermons. Staging of power and aristocracy

Presentation: an Englishman in 17^th-century Paris

 

6- Life in Parisian playhouses 1: the stage

configuration and material reality of the théâtre de Bourgogne. 

Reading: Mémoires de Mahelot, an inventory of the théatre de Bourgogne’s decorations. Comparison with publicity engravings and descriptions.

Presentation: film Molière, from Ariane Mnouchkine

 

7- Life in Parisian playhouses 2: the room

Comedians, public of the pit, scholars and aristocrats: organization of space and dynamics at work. Police records of the time: an atmosphere of chaos and crime.

Reading: plays from d’Aubignac in context, description by the author of a public humiliation

 

PART 3: ACCESSING THE MINDS THROUGH PUBLIC ENTERTAINMENT

 

8- On the rules of decorum

Misunderstandings on the definition of decorum. Introducing politics through entertainment. The concept of golden chains. 

 

9- Representation of history 

Building a national identity, modeling collective memory through national myths. 

Presentation: La Pucelle d’Orléans - Johan of Arc and the concept of martyrdom

 

10- Touching the soul through storytelling

Molding the collective mind through emotions: imitation, emulation, desire and fear. 

Presentation: Corneille and the figure of tragic hero

 

11 –Neoclassical doctrine, then and now

How was the doctrine presented during the following centuries? How is it perceived today, and what motivates ‘anti-classical’ readings?

Presentation: Roland Barthes and the deconstruction of a doctrine 

 

12- Neoclassical dogma and Hollywood movies

Commonplaces of the neoclassical dogma found in classical Hollywood movies: on structure and morals. 

Presentation: the death of a hero in Hollywood movies. 

 

11- GENERAL CONCLUSION

On the social and political aspect of the neo-classical doctrine. Understanding plays in their context.
Discussion: the relative truth of universal art.

Last update: Mudrochová Radka, doc. Mgr., Ph.D. (05.08.2025)

Learning outcomes

By the end of this course, students will be able to:

1. Explain the core principles of neo-classical drama and their historical context.

2. Analyze the political and ideological functions of theatrical rules in 17th-century France.

3. Understand the role of writers, institutions, and power structures in shaping literature.

4. Interpret primary sources related to stage practice, audience, and performance spaces.

5. Examine how theatre shaped national identity and collective memory.

6. Assess the legacy of neo-classical doctrine in modern and contemporary media.

7. Reflect critically on the idea of universal art and its historical constructions.

Last update: Mudrochová Radka, doc. Mgr., Ph.D. (05.08.2025)

Entry requirements

• The course is open to students of literature, theatre, history, or related fields.

• A good command of English is required for reading and discussion.

• Prior knowledge of early modern European history or literary theory is recommended but not mandatory.

• Active participation, including a presentation, is expected from all enrolled students.

Last update: Mudrochová Radka, doc. Mgr., Ph.D. (05.08.2025)