On soupconnait cet artiste d'avoir travaille entre Bordeaux et Paris entre 1785 et 1796 en raison de miniatures trouvees dans ces deux villes, simplement signees d'un discret monogramme forme des deux lettres DM entrelacees. Son identite qui a longtemps intrigue les chercheurs, est devoilee dans cet article qui s'efforce d'eclaircir les raisons de pareille discretion et de reconstituer sa carriere. Issu d’une famille de fermiers generaux enrichis en deux generations, Jean-Louis-Dominique Duvaucel (Paris, 1749 - Paris, 1830) se declara sieur de Marsoeuvre lors de son mariage, pretention sans fondement car cette seigneurie pres de Bourges avait ete revendue par son pere. Apres la faillite familiale, Duvaucel de Marsoeuvre gomma le patronyme terni de Duvaucel et s’etablit sous le pseudonyme de Marsoeuvre comme peintre en miniature a Bordeaux. Il y lia amitie notamment avec le peintre Pierre Lacour. Enrole dans l’armee pendant la Revolution, puis dans la garde nationale, il fut incarcere sur denonciation pendant la Terreur. La periode revolutionnaire fut neanmoins l’une des plus fecondes dans sa production artistique. Un peu plus d’une trentaine de miniatures sont connues de lui, finement executees, non denuees d’un charme naif, dont deux au musee Lambinet a Versailles et au musee des arts decoratifs et du design de Bordeaux.
我们怀疑这位艺术家在1785年至1796年间在波尔多和巴黎之间工作，因为在这两个城市都发现了微型画，简单地用两个交错字母DM的离散花押字签名。他的身份长期以来一直吸引着研究人员，这篇文章旨在阐明这种判断的原因，并重建他的职业生涯。让-路易·多米尼克·杜瓦塞尔（Jean-Louis Dominique Duvaucel，1749年，巴黎-1830年，巴黎）出生于一个由两代人富裕的普通农民家庭，在结婚时宣布自己是Sieur de Marsouvre，这是毫无根据的，因为布尔日附近的这座领主领地被他的父亲转售。家族破产后，杜瓦塞尔·德·马尔索夫尔（Duvaucel de Marsoeuvre）放弃了姓氏特尼·德·杜瓦塞尔（Terni de Duvaucel），并以笔名马尔索夫勒（Marsoeuvre）在波尔多建立了自己的微型画家地位。他与画家皮埃尔·拉库尔（Pierre Lacour）建立了友谊。他在革命期间参军，然后在国民警卫队服役，在恐怖期间被判入狱。革命时期仍然是他艺术创作中最狂热的时期之一。他知道30多幅微缩画，精心制作，没有天真的魅力，其中两幅在凡尔赛的兰比内特博物馆和波尔多的装饰艺术与设计博物馆。
{"title":"Le monogramme « DM » pour toute signature : un mystérieux miniaturiste de la fin du XVIIIe siècle enfin démasqué.","authors":"Nathalie Lemoine-Bouchard","doi":"10.4000/episteme.5472","DOIUrl":"https://doi.org/10.4000/episteme.5472","url":null,"abstract":"On soupconnait cet artiste d'avoir travaille entre Bordeaux et Paris entre 1785 et 1796 en raison de miniatures trouvees dans ces deux villes, simplement signees d'un discret monogramme forme des deux lettres DM entrelacees. Son identite qui a longtemps intrigue les chercheurs, est devoilee dans cet article qui s'efforce d'eclaircir les raisons de pareille discretion et de reconstituer sa carriere. Issu d’une famille de fermiers generaux enrichis en deux generations, Jean-Louis-Dominique Duvaucel (Paris, 1749 - Paris, 1830) se declara sieur de Marsoeuvre lors de son mariage, pretention sans fondement car cette seigneurie pres de Bourges avait ete revendue par son pere. Apres la faillite familiale, Duvaucel de Marsoeuvre gomma le patronyme terni de Duvaucel et s’etablit sous le pseudonyme de Marsoeuvre comme peintre en miniature a Bordeaux. Il y lia amitie notamment avec le peintre Pierre Lacour. Enrole dans l’armee pendant la Revolution, puis dans la garde nationale, il fut incarcere sur denonciation pendant la Terreur. La periode revolutionnaire fut neanmoins l’une des plus fecondes dans sa production artistique. Un peu plus d’une trentaine de miniatures sont connues de lui, finement executees, non denuees d’un charme naif, dont deux au musee Lambinet a Versailles et au musee des arts decoratifs et du design de Bordeaux.","PeriodicalId":40360,"journal":{"name":"Etudes Episteme","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48158059","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Printed in 1600, probably at the same period of time when Nicholas Hilliard was writing The Arte of Limning, the anonymous play, The Wisdome of Doctor Dodypoll, was performed at Saint Paul’s where many plays featuring painters and using paintings as stage properties had been produced. According to Marguerite Tassi, this seldom-studied comedy hinges upon the “paragone between jeweller and painter” (The Scandal of Images, 123), between the noble Lassingbergh who disguises as a painter to woo Lucilia, and the latter’s father, Flores, who is a jeweller and a miniaturist. This essay seeks to explore the aesthetic role played by miniatures as stage properties and objects in this comedy which confronts different works of art and artistic techniques, such as antique works, miniatures, goldsmithery and even embroidery. The comparison between the painter who produces counterfeits and the miniaturist who sets his pictures in gems and works on agate stones gives a new turn to the traditional neo-Platonist debate on shadows and substance, dramatized in William Shakespeare’s The Two Gentlemen of Verona. This set of oppositions gives way to another paragone between the art of picturing and the art of drama, highlighting the connection between miniature-making and dramatic performance. The integration of miniatures on stage verges on interartistic contamination in act 3: using the power of verbal artefacts and visual objects such as gems and jewels to move and manipulate the beholders, the character of the Enchanter creates the vision of an actual miniature within the dramatic performance.
这本书印刷于1600年，大概是在尼古拉斯·希利亚德写《利宁的艺术》的同一时期，这部匿名戏剧《多迪波尔医生的智慧》在圣保罗剧院上演，在那里有许多以画家为主角的戏剧，也有许多用绘画作为舞台布景的戏剧。根据玛格丽特·塔西的说法，这部很少被研究的喜剧取决于“珠宝商和画家之间的典范”(《图像的丑闻》，123)，在贵族拉辛伯格伪装成画家来追求露西莉亚，后者的父亲弗洛雷斯，一个珠宝商和一个细密画家之间。本文试图探讨微雕作为舞台属性和对象在这部喜剧中所扮演的美学角色，它面对不同的艺术作品和艺术技巧，如古董作品，微雕，金工甚至刺绣。制作赝品的画家和把画放在宝石上、把作品放在玛瑙上的微雕画家之间的对比，给传统的新柏拉图主义关于阴影和实质的辩论带来了新的转向，威廉·莎士比亚的《维罗纳两位绅士》(The Two Gentlemen of Verona)戏剧化了这一点。这组对立让位于绘画艺术与戏剧艺术之间的另一个典范，突出了微缩制作与戏剧表演之间的联系。在第三幕中，舞台上的微缩模型的融合接近于艺术间的污染:使用语言人工制品和视觉对象(如宝石和珠宝)的力量来移动和操纵眼魔，魔法师的角色在戏剧表演中创造了一个真实的微缩视觉。
{"title":"Envisioning the Miniaturist’s Art on Stage: the Case of The Wisdome of Doctor Dodypoll (Anonymous, 1600)","authors":"Armelle Sabatier","doi":"10.4000/episteme.5446","DOIUrl":"https://doi.org/10.4000/episteme.5446","url":null,"abstract":"Printed in 1600, probably at the same period of time when Nicholas Hilliard was writing The Arte of Limning, the anonymous play, The Wisdome of Doctor Dodypoll, was performed at Saint Paul’s where many plays featuring painters and using paintings as stage properties had been produced. According to Marguerite Tassi, this seldom-studied comedy hinges upon the “paragone between jeweller and painter” (The Scandal of Images, 123), between the noble Lassingbergh who disguises as a painter to woo Lucilia, and the latter’s father, Flores, who is a jeweller and a miniaturist. This essay seeks to explore the aesthetic role played by miniatures as stage properties and objects in this comedy which confronts different works of art and artistic techniques, such as antique works, miniatures, goldsmithery and even embroidery. The comparison between the painter who produces counterfeits and the miniaturist who sets his pictures in gems and works on agate stones gives a new turn to the traditional neo-Platonist debate on shadows and substance, dramatized in William Shakespeare’s The Two Gentlemen of Verona. This set of oppositions gives way to another paragone between the art of picturing and the art of drama, highlighting the connection between miniature-making and dramatic performance. The integration of miniatures on stage verges on interartistic contamination in act 3: using the power of verbal artefacts and visual objects such as gems and jewels to move and manipulate the beholders, the character of the Enchanter creates the vision of an actual miniature within the dramatic performance.","PeriodicalId":40360,"journal":{"name":"Etudes Episteme","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43766190","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Malgre son importance en tant que siege europeen d’un grand empire transatlantique entre le XVe et le XIXe siecles, le Portugal reste relativement mal connu, notamment en ce qui concerne la peinture en miniature. Quelques temoignages prouvent cependant qu’elle se pratiquait des la Renaissance. Apres une periode sous domination espagnole, pendant laquelle predominent les « petits portraits » sur cuivre, sous l’influence de l’Espagne et des Flandres, la miniature sur ivoire devient a la mode au Portugal pendant le dernier tiers du XVIIIe siecle, sous influence italienne et francaise, et grâce aux Portugais, arrive jusqu’en Amerique du Sud. Cet essor se poursuivra au Bresil entre 1808 et 1821, periode pendant laquelle la cour de Lisbonne, fuyant les armees de Napoleon, s’installe a Rio de Janeiro.
{"title":"De la miniature au Portugal : peintres et objets voyageurs, entre l’Europe et l’Amérique ","authors":"P. Telles","doi":"10.4000/episteme.5277","DOIUrl":"https://doi.org/10.4000/episteme.5277","url":null,"abstract":"Malgre son importance en tant que siege europeen d’un grand empire transatlantique entre le XVe et le XIXe siecles, le Portugal reste relativement mal connu, notamment en ce qui concerne la peinture en miniature. Quelques temoignages prouvent cependant qu’elle se pratiquait des la Renaissance. Apres une periode sous domination espagnole, pendant laquelle predominent les « petits portraits » sur cuivre, sous l’influence de l’Espagne et des Flandres, la miniature sur ivoire devient a la mode au Portugal pendant le dernier tiers du XVIIIe siecle, sous influence italienne et francaise, et grâce aux Portugais, arrive jusqu’en Amerique du Sud. Cet essor se poursuivra au Bresil entre 1808 et 1821, periode pendant laquelle la cour de Lisbonne, fuyant les armees de Napoleon, s’installe a Rio de Janeiro.","PeriodicalId":40360,"journal":{"name":"Etudes Episteme","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47980593","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In recent scholarship, the portrait miniature has been seen as a symptom of privacy in Elizabethan culture. Nicholas Hilliard’s miniatures in particular are seen as promising to reveal the “Elizabethan self” while simultaneously concealing it behind layers of rooms, cases and intricate painted ornament. Meanwhile, Hilliard’s comment that “all painting imitateth nature, or the life in every thing” is set at odds with characterisations of his style, which is often seen as “anti-naturalistic” and symbolic rather than realistic. This paper offers a new approach to these issues, arguing that miniatures were not viewed as anti-naturalistic or private, but vividly realistic and socially-orientated.
{"title":"“it seemeth to be the thing itsefe”: Directness and Intimacy in Nicholas Hilliard’s Portrait Miniatures","authors":"Christine Faraday","doi":"10.4000/episteme.5292","DOIUrl":"https://doi.org/10.4000/episteme.5292","url":null,"abstract":"In recent scholarship, the portrait miniature has been seen as a symptom of privacy in Elizabethan culture. Nicholas Hilliard’s miniatures in particular are seen as promising to reveal the “Elizabethan self” while simultaneously concealing it behind layers of rooms, cases and intricate painted ornament. Meanwhile, Hilliard’s comment that “all painting imitateth nature, or the life in every thing” is set at odds with characterisations of his style, which is often seen as “anti-naturalistic” and symbolic rather than realistic. This paper offers a new approach to these issues, arguing that miniatures were not viewed as anti-naturalistic or private, but vividly realistic and socially-orientated.","PeriodicalId":40360,"journal":{"name":"Etudes Episteme","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47281937","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This study argues that ceramic and metal vessels used to house spices and aromatics in the fifteenth century are best approached as composite objects, pursuing the multiple ways travel could be literally and metaphorically embedded in these objects: through motifs, function, contents, techniques, and materials. Building on studies that understand travel and movement as part of an object’s meaning, as well as a category of value in itself, this study proposes the term composite objects or “objets croises” to reflect the criss-crossed nature of many early modern objects. Taking drug jars (albarelli) and associated metal and ceramic vessels as a case study, it follows the mobility of these objects from the pharmacy (spezieria) to the elite Italian Renaissance interior; central to their value and function was their composite nature and their associative multisensorial and social practices. The decorations on these vessels reveal complex patterns of imitation, borrowing, and translation, underscoring how persons, practices, and objects are intertwined, affected by, and contribute to intercultural dialogues and processes. Certain types of early modern objects such as ceramics and metalware are particularly useful examples of how travel and movement were intrinsically part of an object’s value, but these artefacts often deny a fixed category of geographic origin. The contemporary language used to describe the provenance of these objects can often be just as misleading as informative, underscoring a need for a close scrutiny of the objects themselves in combination with archival documents and the social exchanges they engendered within and beyond the pharmacy.
{"title":"Objets croisés: Albarelli as Vessels of Mediation Within and Beyond the Spezieria","authors":"L. Clark","doi":"10.4000/episteme.6292","DOIUrl":"https://doi.org/10.4000/episteme.6292","url":null,"abstract":"This study argues that ceramic and metal vessels used to house spices and aromatics in the fifteenth century are best approached as composite objects, pursuing the multiple ways travel could be literally and metaphorically embedded in these objects: through motifs, function, contents, techniques, and materials. Building on studies that understand travel and movement as part of an object’s meaning, as well as a category of value in itself, this study proposes the term composite objects or “objets croises” to reflect the criss-crossed nature of many early modern objects. Taking drug jars (albarelli) and associated metal and ceramic vessels as a case study, it follows the mobility of these objects from the pharmacy (spezieria) to the elite Italian Renaissance interior; central to their value and function was their composite nature and their associative multisensorial and social practices. The decorations on these vessels reveal complex patterns of imitation, borrowing, and translation, underscoring how persons, practices, and objects are intertwined, affected by, and contribute to intercultural dialogues and processes. Certain types of early modern objects such as ceramics and metalware are particularly useful examples of how travel and movement were intrinsically part of an object’s value, but these artefacts often deny a fixed category of geographic origin. The contemporary language used to describe the provenance of these objects can often be just as misleading as informative, underscoring a need for a close scrutiny of the objects themselves in combination with archival documents and the social exchanges they engendered within and beyond the pharmacy.","PeriodicalId":40360,"journal":{"name":"Etudes Episteme","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44090460","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Miniatures were a popular medium of early modern material court culture and representation, symbolising social, dynastic or political affiliation while, at the same time, evoking a special bond between wearer and object. They were used as diplomatic gifts, as commemorative tokens of highly emotional events such as births, marriages and deaths, as substitutes for absent or deceased persons as well as proxy in marriage negotiations and betrothal ceremonies. By integrating these small objects – as a picture in a picture – into large-scale portraits, they were directly contextualised with the sitter, publicly conveying personal or political messages, thus becoming interactive telling objects. Set in sumptuous jewellery, as pendants, brooches or bracelets, they were worn as symbols of luxury and status as well as badges of sentiment, loyalty or propaganda. As objects of virtue, like souvenirs or snuffboxes, they were shown and perceived as items of economic, material and symbolic value but could also operate as hidden clues or dynastic emblems. In addition, the allusion to their origins as gifts or heirlooms, i.e. to the process of giving and receiving, as well as the open display of wearing, handling or regarding not only constituted a relation between sitter and object but also implemented a narrative structure. This essay would like to open the discourse on this specific interactive potential of miniatures by analysing different modes of display and context based on selected eighteenth-century female European court portraits.
{"title":"‘Telling Objects’ – Miniatures as an Interactive Medium in Eighteenth-Century Female European Court Portraits","authors":"Karin Schrader","doi":"10.4000/episteme.5399","DOIUrl":"https://doi.org/10.4000/episteme.5399","url":null,"abstract":"Miniatures were a popular medium of early modern material court culture and representation, symbolising social, dynastic or political affiliation while, at the same time, evoking a special bond between wearer and object. They were used as diplomatic gifts, as commemorative tokens of highly emotional events such as births, marriages and deaths, as substitutes for absent or deceased persons as well as proxy in marriage negotiations and betrothal ceremonies. By integrating these small objects – as a picture in a picture – into large-scale portraits, they were directly contextualised with the sitter, publicly conveying personal or political messages, thus becoming interactive telling objects. Set in sumptuous jewellery, as pendants, brooches or bracelets, they were worn as symbols of luxury and status as well as badges of sentiment, loyalty or propaganda. As objects of virtue, like souvenirs or snuffboxes, they were shown and perceived as items of economic, material and symbolic value but could also operate as hidden clues or dynastic emblems. In addition, the allusion to their origins as gifts or heirlooms, i.e. to the process of giving and receiving, as well as the open display of wearing, handling or regarding not only constituted a relation between sitter and object but also implemented a narrative structure. This essay would like to open the discourse on this specific interactive potential of miniatures by analysing different modes of display and context based on selected eighteenth-century female European court portraits.","PeriodicalId":40360,"journal":{"name":"Etudes Episteme","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47127429","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Cet article examine les discours qui sont tenus en France sur l’art de la miniature, depuis la fondation de l’Academie royale de peinture et de sculpture en 1648 jusqu’a la fin de la Monarchie de Juillet en 1848. Sous l’Ancien Regime, les peintres en miniature, quelle que fut leur reputation, ont le plus souvent ete cantonnes aux marges des milieux artistiques officiels et a l’ecart de la reconnaissance publique, faute d’une legitimation pleine et entiere de leur pratique. Sous la Revolution francaise, les choses evoluent toutefois en faveur des specialistes du petit format. L’affaiblissement du dogme de la hierarchie des genres, la suppression de l’Academie et l’ouverture, a partir de 1791, du Salon de peinture et de sculpture a tous les artistes – et non plus aux seuls academiciens – permet aux miniaturistes d’acquerir la reconnaissance inedite du plus grand nombre. Cette ouverture se produit a une periode ou la demande croissante de portraits cree les conditions de developpement d’un marche qui permet a de nombreux peintres en miniature de vivre de leur travail, mais aussi d’acceder a une legitimite artistique avant tout fondee sur le suffrage du public et de la critique. Si cette situation avantageuse se renforce sous le Directoire et l’Empire, la fondation de l’Academie des beaux-arts sous la Restauration viendra toutefois entamer cette ambition soudaine en rappelant aux specialistes du petit leur position subalterne dans la hierarchie des merites.
{"title":"Quelle légitimité pour les peintres en miniature ? Le petit format à l’épreuve des discours académiques","authors":"C. Lécosse","doi":"10.4000/episteme.5384","DOIUrl":"https://doi.org/10.4000/episteme.5384","url":null,"abstract":"Cet article examine les discours qui sont tenus en France sur l’art de la miniature, depuis la fondation de l’Academie royale de peinture et de sculpture en 1648 jusqu’a la fin de la Monarchie de Juillet en 1848. Sous l’Ancien Regime, les peintres en miniature, quelle que fut leur reputation, ont le plus souvent ete cantonnes aux marges des milieux artistiques officiels et a l’ecart de la reconnaissance publique, faute d’une legitimation pleine et entiere de leur pratique. Sous la Revolution francaise, les choses evoluent toutefois en faveur des specialistes du petit format. L’affaiblissement du dogme de la hierarchie des genres, la suppression de l’Academie et l’ouverture, a partir de 1791, du Salon de peinture et de sculpture a tous les artistes – et non plus aux seuls academiciens – permet aux miniaturistes d’acquerir la reconnaissance inedite du plus grand nombre. Cette ouverture se produit a une periode ou la demande croissante de portraits cree les conditions de developpement d’un marche qui permet a de nombreux peintres en miniature de vivre de leur travail, mais aussi d’acceder a une legitimite artistique avant tout fondee sur le suffrage du public et de la critique. Si cette situation avantageuse se renforce sous le Directoire et l’Empire, la fondation de l’Academie des beaux-arts sous la Restauration viendra toutefois entamer cette ambition soudaine en rappelant aux specialistes du petit leur position subalterne dans la hierarchie des merites.","PeriodicalId":40360,"journal":{"name":"Etudes Episteme","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41505757","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Il est communement admis que Daniel Defoe, en sa qualite d’ecrivain dissident, n’etait guere familier du renouveau des debats sur la tragedie qui marquerent l’Angleterre du debut du XVIIIe siecle. Cependant, son recours strategique au mot « tragedie » a la fin de son dernier roman Roxana (1724) pour rendre compte de la nature de son denouement pourrait bien etre redevable a The Complete Art of Poetry (1718) du critique et romancier rival Charles Gildon (1665 ?-1724), ecrivain que Defoe avait lu et cite en d’autres occasions au cours des annees 1720. En usant du mot tragedie pour renvoyer a la catastrophe de son dernier roman, Defoe pourrait tres bien avoir voulu rendre hommage a la figure euripidienne de Medee, personnage qui avait ete recemment porte sur la scene georgienne et qui semble avoir faconne les sentiments ambivalents de Roxana pour sa descendance. La participation de Roxana a l’assassinat probable de sa propre fille l’assimile a une Medee moderne, figure familiere a bien des lecteurs de Defoe et de Gildon. Dans cette perspective, Medee, qui est presentee dans le traite de Gildon comme l’exemple meme de l’heroisme tragique, est un modele bien plus probable que les paradigmes communement retenus de la tragedie de la damnation que sont Doctor Faustus (1592) de Marlowe ou Macbeth (vers 1606) de Shakespeare, traditionnellement presentees depuis les Romantiques et tout au long de la seconde moitie du XXe siecle, comme les modeles tragiques de Roxana.
{"title":"Le tragique dans Roxana : Defoe avait-il lu The Complete Art of Poetry (1718) de Charles Gildon ?","authors":"B. Millet","doi":"10.4000/episteme.5174","DOIUrl":"https://doi.org/10.4000/episteme.5174","url":null,"abstract":"Il est communement admis que Daniel Defoe, en sa qualite d’ecrivain dissident, n’etait guere familier du renouveau des debats sur la tragedie qui marquerent l’Angleterre du debut du XVIIIe siecle. Cependant, son recours strategique au mot « tragedie » a la fin de son dernier roman Roxana (1724) pour rendre compte de la nature de son denouement pourrait bien etre redevable a The Complete Art of Poetry (1718) du critique et romancier rival Charles Gildon (1665 ?-1724), ecrivain que Defoe avait lu et cite en d’autres occasions au cours des annees 1720. En usant du mot tragedie pour renvoyer a la catastrophe de son dernier roman, Defoe pourrait tres bien avoir voulu rendre hommage a la figure euripidienne de Medee, personnage qui avait ete recemment porte sur la scene georgienne et qui semble avoir faconne les sentiments ambivalents de Roxana pour sa descendance. La participation de Roxana a l’assassinat probable de sa propre fille l’assimile a une Medee moderne, figure familiere a bien des lecteurs de Defoe et de Gildon. Dans cette perspective, Medee, qui est presentee dans le traite de Gildon comme l’exemple meme de l’heroisme tragique, est un modele bien plus probable que les paradigmes communement retenus de la tragedie de la damnation que sont Doctor Faustus (1592) de Marlowe ou Macbeth (vers 1606) de Shakespeare, traditionnellement presentees depuis les Romantiques et tout au long de la seconde moitie du XXe siecle, comme les modeles tragiques de Roxana.","PeriodicalId":40360,"journal":{"name":"Etudes Episteme","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47488603","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Les miniatures, figurant souvent des petits portraits de souverains, firent l’objet de nombreux cadeaux diplomatiques, notamment a l’occasion de ceremonies de mariages. Cependant, ce type de present fut offert avec davantage de parcimonie entre les representants du pape, les nonces, et les souverains etrangers. La relation speciale qu’entretenait le pape avec l’image, et son role particulier au sein de la Chretiente, oscillant entre representant spirituel de la religion et souverain politique, entraina un rapport specifique a la miniature, qui ne fut offerte qu’a de rares occasions. Il s’agira de montrer a quelles occasions specifiques la miniature etait offerte aux ambassadeurs du pape, ou offerte par le pape lui-meme au souverain etranger, et quelle etait la valeur materielle et spirituelle qui lui etait accordee par les contemporains. Enfin, l’efficacite reelle de la miniature au sein des echanges entre les grandes puissances europeennes – France, Angleterre, Espagne et Empire – avec le Saint-Siege sera questionnee.
{"title":"La place des miniatures dans les échanges diplomatiques entre les grandes puissances européennes et la Papauté (XVIIe siècle – XVIIIe siècle)","authors":"M. Chauvin","doi":"10.4000/episteme.5276","DOIUrl":"https://doi.org/10.4000/episteme.5276","url":null,"abstract":"Les miniatures, figurant souvent des petits portraits de souverains, firent l’objet de nombreux cadeaux diplomatiques, notamment a l’occasion de ceremonies de mariages. Cependant, ce type de present fut offert avec davantage de parcimonie entre les representants du pape, les nonces, et les souverains etrangers. La relation speciale qu’entretenait le pape avec l’image, et son role particulier au sein de la Chretiente, oscillant entre representant spirituel de la religion et souverain politique, entraina un rapport specifique a la miniature, qui ne fut offerte qu’a de rares occasions. Il s’agira de montrer a quelles occasions specifiques la miniature etait offerte aux ambassadeurs du pape, ou offerte par le pape lui-meme au souverain etranger, et quelle etait la valeur materielle et spirituelle qui lui etait accordee par les contemporains. Enfin, l’efficacite reelle de la miniature au sein des echanges entre les grandes puissances europeennes – France, Angleterre, Espagne et Empire – avec le Saint-Siege sera questionnee.","PeriodicalId":40360,"journal":{"name":"Etudes Episteme","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43334493","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
For Catholic polemicists, the Break with Rome and the establishment of the Church of England did not signal the arrival of religious truth and renewal, with a clear start date and a point of completion; rather it was a schism, a breaking from the true church. Its dating and origins were intimately connected with the moral failings and lust of Henry VIII. Marian authors were able to reflect on this scenario from the position of an England restored to Catholicism, but they were bookended by those in the reigns of Henry VIII and Elizabeth I, whose explanations of the English Reformation were shaped by their own experience of displacement and dispossession. This article outlines the ways in which the ‘losers’ of the Reformation portrayed the timing and origins of England’s schism to their fellow English Catholics, and to the wider Catholic world. The potential of their narrative to puncture the myth of inevitable Protestant triumph was such that Protestant regimes in England were eager to take action against writers and their work. For contemporaries, this was not just an academic exercise in history writing; this Catholic version of the Reformation story was intended to spur on action against an illegitimate and heretical regime. Discussion of the timing and reasons for the Break with Rome could thus also be a call to arms.
{"title":"When did the Schism begin, and why? Views on the English Reformation amongst Catholic polemicists","authors":"K. Gibbons","doi":"10.4000/episteme.1809","DOIUrl":"https://doi.org/10.4000/episteme.1809","url":null,"abstract":"For Catholic polemicists, the Break with Rome and the establishment of the Church of England did not signal the arrival of religious truth and renewal, with a clear start date and a point of completion; rather it was a schism, a breaking from the true church. Its dating and origins were intimately connected with the moral failings and lust of Henry VIII. Marian authors were able to reflect on this scenario from the position of an England restored to Catholicism, but they were bookended by those in the reigns of Henry VIII and Elizabeth I, whose explanations of the English Reformation were shaped by their own experience of displacement and dispossession. This article outlines the ways in which the ‘losers’ of the Reformation portrayed the timing and origins of England’s schism to their fellow English Catholics, and to the wider Catholic world. The potential of their narrative to puncture the myth of inevitable Protestant triumph was such that Protestant regimes in England were eager to take action against writers and their work. For contemporaries, this was not just an academic exercise in history writing; this Catholic version of the Reformation story was intended to spur on action against an illegitimate and heretical regime. Discussion of the timing and reasons for the Break with Rome could thus also be a call to arms.","PeriodicalId":40360,"journal":{"name":"Etudes Episteme","volume":"32 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2017-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44422706","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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