![]() ![]() Resets the crop region to its original position and size. origin is an optional argument that specifies the origin point (in ratio) to resize from in the format of. Resizes the crop region to the specified size. Corry Cropper Professor of French at Brigham Young University Provo, Utah, United States500+ connections Join to connect Brigham Young University University of Illinois at Urbana-Champaign Activity. resizeTo(width: number, height: number, origin?: Array) Moves the crop region to the specified coordinates. setImage(src: string)Ĭhanges the image src. getValue ( ) // data = destroy()ĭestroys the Croppr instance and restores the original img element. This highly enjoyable volume is recommended to both scholars and students interested in the topic.Var data = cropInstance. An instructor could have students act out scenes from these plays, followed by a discussion about gender and social norms. LLC 19th-Century French MS Opera and Musical Performance Recent Commons Activity. All the plays are easily accessible and entertaining. Profile Activity Sites 0 CORE deposits 0 Following 1 Followers 0 Groups 2 Discussions Docs Academic Interests. With a vulgar reference to Diderot’s Les bijoux indiscrets (1748), Stephana’s Jewel ( Le bijou de Stephana) provides the most Orientalist depiction of Mormons. A marriage broker features prominently in one of the plays, Japheth’s Twelve Wives, and Cropper and Flood remind us that at the time, 25% of marriages in France were arranged by marriage brokers. While the plays end with traditional bourgeois values being reinstated, the plays bring up issues about gender roles and divorce that were being hotly debated in France at the time. The central comparison made in all the performances is between a foreign religion that practices polygamy and respectable French society where men both marry and maintain mistresses. All four plays focus heavily on marriage. ![]() The plays exoticize the Mormons, at one point comparing their practices with those of Muslims ( Stephana’s Jewel). Facebook gives people the power to share and makes the. The authors suggest some intriguing connections between France’s longstanding attraction to Orientalism and the Otherness of Mormon polygamists. Join Facebook to connect with Corry Cropper and others you may know. Cropper and Flood draw a sharp distinction between the ways Mormons were represented on the stage in America, where they were objects of outrage and scorn, and representations on the French stage, where, despite some outlandish mischaracterizations, there is a certain bonhomie. Their primary sources range from the social theorist Hippolyte Taine, who worried that this religious experience was contributing to the erosion of Enlightenment rationalism, to Jules Verne’s Le tour du monde en quatre-vingts jours (1873), which includes a brief visit to Salt Lake City. First, Cropper and Flood provide helpful background information on French perceptions of Mormonism. Readers are first treated to a well-researched introduction that situates nineteenth-century Mormonism in the context of France and the French. They bring to the plays a critical apparatus that is both targeted and judicious, a welcome contrast to editions where the critical apparatus utterly overwhelms the primary text(s). Cropper and Flood treat us to lively translations of four such musical comedies. France’s fascination made its way to the stage in the form of vaudeville comedies, a popular nineteenth-century genre that focused on ménages à trois and farcical reversals. This practice, more than anything else, defined this upstart religion in the period. In the second half of the nineteenth century, French society was quite interested in the curious, exotic-sounding religious movement dubbed Mormonism, with a particular prurient interest in polygamy. This delightful volume brings to light a phenomenon that most of us likely had no idea existed. As odd as it seems to describe an academic book as fun, this is the first word that comes to mind in describing this work. ![]()
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