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Acknowledgments Iwas able to undertake the initial research for this book in Paris thanks to a Bourse Chateaubriand given by the French government, a Harvard University Term-Time award, and a Krupp Foundation grant given by the Center for European Studies at Harvard University. A Packard Fellowship provided time to begin writing, and research funds given by the University of Pennsylvania allowed me to return to Paris for three additional summers to complete the book. I thank these various institutions for their generous support. I had the good fortune to work with remarkable scholars in the Department of Romance Languages and Literatures at Harvard University. My thanks go first to the late Naomi Schor, mentor and friend, whose brilliant scholarship has been a continual source of inspiration. I could not have written this book without the help of Jann Matlock, who offered guidance at every stage, from original conception to final revision. Susan Suleiman has provided encouragement since my undergraduate days, and I thank her for her careful reading. Tom Conley was generous with his editing and enthusiasm. I also thank Patrice Higonnet, Alice Jardine, Barbara Johnson , Christie McDonald, and Per Nykrog for their help. This book benefited enormously from the readings it received at Cornell University Press, especially those by Catherine Nesci and Vanessa Schwartz, whose perceptive criticisms sharpened many of my ideas. I owe a huge debt to Richard Terdiman for providing comments on the entire book, as well as to those colleagues who helped me refine one or more chapters: Diane Brown, Margaret Cohen, Ghita Schwarz, Mary Sheriff, x Acknowledgments Daniel Sherman, and Susan Weiner. Frank Bowman kindly proofread the final version and offered many valuable suggestions. Gerald Prince and Caroline Weber read multiple drafts and have made work a pleasure. I thank my other colleagues in the French section of the Department of Romance Languages at the University of Pennsylvania for their advice and encouragement: Kevin Brownlee, Joan DeJean, Lance Donaldson-Evans, Philippe Met, Lydie Moudileno, Michele Richman, and my chair, Carlos J. Alonso. I'm also grateful to colleagues in different areas of the university who lent their expertise: Roger Chartier, Barbara Fuchs, Ignacio Lopez, Millicent Marcus, Kevin Platt, Peter Stallybrass, and Emily Steiner. Jerome Singerman and Liliane Weissberg deserve special thanks for their friendship and support. I learned a great deal from the students in my graduate seminars on Realism and Literature and Spectacle at the University of Pennsylvania, who engaged with the issues in this book in intelligent ways. Many colleagues have provided feedback on papers I have delivered from this material at conferences. I thank especially the participants at the Nineteenth-Century French Studies Colloquium for welcoming me into their ranks. The members of the History of the Material Text seminar at the University of Pennsylvania, as well as the members of the Department of French and Italian at Miami University of Ohio, made very useful comments. Colleagues here and in France have been a wonderful source of research suggestions : Haskell Block, Marshall Brown, Barbara Cooper, Judith Dolkart, Mary Donaldson-Evans, Priscilla Ferguson, Odile Krakovitch, Lawrence Kritzman, Sandy Petrey, Stephen Pinson, Jean-Marie Roulin, Jacob Soli, and Margaret Waller. I am grateful to Antoine de Baecque for sponsoring my Bourse Chateaubriand. I thank all those who helped me at the Bibliotheque Nationale de France, the Archives Nationales, the Bibliotheque de !'Arsenal, the Bibliotheque Historique de la Ville de Paris, the Bibliotheque de l'Opera, and the Bibliotheque Marmottan, as well as at the libraries of Harvard University and the University of Pennsylvania. Erin Kearney provided expert research assistance. Bernhard Kendler, my editor at Cornell University Press, has been very supportive throughout the entire publishing process. I also thank Teresa Jesionowski and Julie Nemer for shepherding the book through the final stages of production. I am very lucky to have so many friends who are great scholars and writers. Margaret Flinn, Seth Graebner, Elisabeth Hodges, and Jenny Lefcourt have been vital interlocutors since I began this project. David Geller, Valerie Steiker, and Elliot Thomson provided editorial advice and moral Acknowledgments XI support all along the way. My other friends helped in ways that cannot be measured. My stepmother, Barbara Samuels, has been a constant inspiration , and my father, Richard Samuels, has made everything possible. I dedicate this book to the memories of my mother, Virginia Samuels; my grandmother, Edith Samuels; and my aunt, Judith Samuels. M.S. THE SPECTACULAR PAST ...


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