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Ozouf uses the woman's portrait, traditionally a male genre, to portray ten French women of letters whose lives span the period from the eve of the French Revolution to the resurgence of the feminist movement in the late 20th century. She studies the letters and memoirs of Mme du Deffand, Mme de Charriere, Mme Roland, Mme de Stael, Mme de Remusat, George Sand, Hubertine Auclert, Colette, Simone Weil and Simone de Beauvoir. Rejecting the male constructions of femininity typical of this genre, Ozouf restores these women's voices in order to study their own often-conflicting attitudes toward education, marriage, motherhood, sex, and work, as well as the dilemma of writing in a literary world that did not support women's work. The author claims that a uniquely-French feminism informed these women's lives, one that stems from the great egalitarian spirit of the French Revolution and is more tolerant of difference than its American counterparts. 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Every history of the period includes some mention of festivals, although most historians have been content either to ridicule them as ineffectual or to bemoan them as repugnant examples of a sterile, official culture. Mona Ozouf shows us that they were much more than bizarre marginalia to the revolutionary process. Festivals offer critical insights into the meaning of the French Revolution; they show a society in the process of creating itself anew.\u003c\/p\u003e\u003cp\u003eHistorians have recognized the importance of the revolutionary festival as a symbol of the Revolution. But they have differed widely in their interpretations of what that symbol meant and have considered the festivals as diverse as the rival political groups that conceived and organized them. Against this older vision, Ozouf argues for the fundamental coherence and profound unity of the festival as both event and register of reference and attitude. By comparing the most ideologically opposed festivals (those of Reason and the Supreme Being, for instance), she shows that they clearly share a common aim, which finds expression in a mutual ceremonial and symbolic vocabulary. Through a brilliant discussion of the construction, ordering, and conduct of the festival Ozouf demonstrates how the continuity of the images, allegories, ceremonials, and explicit functions can be seen as the Revolution's own commentary on itself.\u003c\/p\u003e\u003cp\u003eA second and important aim of this book is to show that this system of festivals, often seen as destructive, was an immensely creative force. 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