Pub Date : 2019-01-02DOI: 10.1080/20563035.2019.1612566
N. Hammond
The central thesis of this article is that Louis XIV’s reign, which has tended to be considered from an exclusively visual perspective, warrants re-evaluation from a sonic angle. Voice and sound assume a particular intensity at the time of the king’s final illness and after his death in 1715: not only do those closest to Louis, including Mme de Maintenon and his two servants, the Antoine brothers, take care to record the monarch’s final words and the sound of his voice, but the voices of others commemorate and question the legacy of a king who in his later years presided over military defeats, crippling taxes and widespread hardship. The words of preachers, such as Quiqueran de Beaujeu and Massillon, take inspiration from criticism of the monarch on the street, just as the thriving song culture around the Pont-Neuf gives a socially diverse populace the opportunity to hear about the king’s funeral and to express different responses to their king’s demise. Web-links to performances of the songs on http://parisiansoundscapes.org give readers the chance to listen to the sound of songs which until now have only been considered for their textual content.
这篇文章的中心论点是路易十四的统治，这往往是从一个专门的视觉角度来考虑，保证从声音的角度重新评估。在国王最后一次生病期间以及他于1715年去世后，声音和声音呈现出一种特别强烈的感觉:不仅那些与路易最亲近的人，包括德曼特侬夫人和他的两个仆人安托万兄弟，小心翼翼地记录了国王的最后话语和他的声音，而且其他人的声音也在纪念和质疑这位国王的遗产，他在晚年领导了军事失败，严重的税收和广泛的困难。像Quiqueran de Beaujeu和Massillon这样的传教士，从街头对君主的批评中获得灵感，就像新桥周围蓬勃发展的歌曲文化让社会多样化的民众有机会听到国王的葬礼，并对国王的死亡表达不同的反应一样。在http://parisiansoundscapes.org网站上，这些歌曲的表演链接让读者有机会听到歌曲的声音，而到目前为止，人们只考虑歌曲的文本内容。
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Pub Date : 2019-01-02DOI: 10.1080/20563035.2019.1612567
M. Darlow
Although Louis-Sébastien Mercier’s Tableau de Paris and Le Nouveau Paris are framed in visual terms, the attention to types of sound in these works is sustained and detailed. Tracing Mercier’s descriptions of different types of sound, for instance noise, human voices, or music, I argue that Mercier offers us a soundscape of pre-Revolutionary and Revolutionary Paris. Sound is used by Mercier as a means of mapping the various topographies of Paris, whether social, cultural, or moral. Through its soundscape, Le Nouveau Paris insists on how much Paris had changed by 1798, and Mercier’s depictions of chaos and cacophony suggest a world out of tune; they also allow us to trace his nostalgia for the Paris which had been swept away by the Revolutionary events.
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Pub Date : 2019-01-02DOI: 10.1080/20563035.2019.1612563
John Romey
The Fronde generated vast amounts of ephemeral printed media that circulated polemical information and shaped public discourse. Pamphlets, street songs, and placards, known as mazarinades, survive as artefacts of performances that jostled for attention in chaotic urban public spaces. In this article I analyse three placards produced during the Fronde to demonstrate their utilitarian function as a tool of mass communication that sometimes incorporated songs drawn from the repertoires of literary elites and street singers. When a placard was read à haute voix or an inscribed song was sung, these objects engendered performances that filled Paris’s public spaces with political propaganda. Because songs printed on placards set new texts to pre-existing tunes, the layering of songs fostered webs of intertextual and intermusical references. By determining the significance of a particular tune to contemporary audiences, we can enrich textual and visual analyses and begin to determine how different social groups might have responded to the mazarinades. Through song, individuals participated in communal social acts that memorialized contemporary events and forged connections with events in living memory. Placards, then, illustrate how effective political messaging in early modern Paris in part translated to controlling the urban soundscape.
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Pub Date : 2019-01-02DOI: 10.1080/20563035.2019.1612552
Timothy Chesters
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Pub Date : 2018-07-03DOI: 10.1080/20563035.2018.1539334
A. Mckenna
Cette étude porte sur le réseau des relations de Bayle en Angleterre tel qu’il apparaît dans sa correspondance, dont l'édition critique est désormais complète (Oxford, The Voltaire Foundation, 1999-2017, 15 vols). Bayle ne parle pas l’anglais mais il suit avec attention les nouvelles politiques, littéraires et scientifiques anglaises: son monde est la République des Lettres, qui ne connaît pas de frontières nationales. Il entretient des relations suivies avec de nombreux exilés au Refuge britannique et il apporte son aide à plusieurs candidats à l’exil. Il fréquente le milieu des plénipotentiaires des négociations de Ryswick. Une lettre de James Vernon révèle l’excellente réputation de Bayle auprès des hommes politiques britanniques – qui envoient leurs enfants suivre ses cours à Rotterdam, qui cherchent à le faire venir en Angleterre comme précepteur et qui rivalisent pour obtenir la dédicace du Dictionnaire. Bayle entretient une correspondance suivie avec la Royal Society et avec Robert Boyle en particulier. A Rotterdam même, il reçoit la visite de plusieurs voyageurs anglais au retour de leur Grand Tour. Etant proche de Benjamin Furly, il rencontre chez lui Locke et Shaftesbury, et maintient une correspondance avec ces deux philosophes, comme aussi avec Pierre Coste, le traducteur de Locke. Il a certainement rencontré Toland et a entretenu avec lui une correspondance aujourd’hui perdue.
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Pub Date : 2018-07-03DOI: 10.1080/20563035.2018.1539328
Lisa Zeller
Cet article contribue à réévaluer la référence possible au jésuite Juan de Mariana dans La Mariane de Tristan L’Hermite. À cette fin, je ré-analyse la réception de la question du tyrannicide et de la légitimité de l’opposition au pouvoir tyrannique par Nicolas Caussin dans ‘Le Politique malheureux’, l’une des sources de Tristan. Une telle réévaluation semble nécessaire si l’on prend en compte un maillon négligé de la chaîne de réception, à savoir l’Antimariana, dans lequel Michel Roussel défend la doctrine de la soumission absolue. Le récit du jésuite Caussin semble donner raison à Roussel, mais Caussin a recours à une rhétorique de l’exemple que Roussel avait condamnée chez Mariana au profit d’un discours juridique non-équivoque. À partir de cette analyse, j’avance la thèse que Tristan défend Mariana et célèbre le nom de celui dont les idées avaient dû être réduites au silence au profit du système absolutiste. Il fait survivre son nom qui devient ainsi l’indice d’une politique alternative, alternative qu’avait tenté de représenter le dédicataire de la pièce, Gaston d’Orléans, qui avait endossé le rôle de protecteur du peuple lors de sa révolte en 1631. En s’identifiant à Mariane/Mariana, Gaston peut voir sa défaite réinterprétée comme sacrifice de fondation et célébrer sa victoire morale.
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Pub Date : 2018-07-03DOI: 10.1080/20563035.2018.1539329
Judith Sribnai
Le premier discours du Débat de Folie et d’Amour peut être lu comme un seuil textuel, paradoxal et parodique, des Œuvres de Louise Labé. Alors que la voix auctoriale de l’Épître dédicatoire à Clémence de Bourges plaide pour un élargissement du territoire intellectuel et littéraire des femmes, l’incipit du Débat ramasse en effet l’action dans un périmètre frontalier, celui du ‘guichet’, ni dans le Palais de Jupiter, ni à l’extérieur. C’est la construction et la signification de ce petit espace scénique qui est analysée ici, sa fonction de seuil géographique et textuel, à la fois marqueur programmatique et énonciatif des Œuvres.
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Pub Date : 2018-07-03DOI: 10.1080/20563035.2018.1539357
Robin Howells
This study, both structuralist and diachronic, compares two sets of fictional dialogues which mark the beginning and the end of the Enlightenment. These are the Entretiens sur la pluralité des mondes of Fontenelle (1686-7), and – far less well-known – the ‘Entretiens sur les arbres, les fleurs et les fruits’ of Bernardin de Saint-Pierre (a segment within his Voyage à l’île de France, 1773). The debt of Bernardin’s dialogues to their predecessor has been asserted in general terms, but here the relationship is examined systematically. The first part of the article offers a comparison between the two works in terms of genre, target readership, internal structure, speakers (male and female), topic and theme. The second part sets out a series of close similarities on the textual level, confirming beyond doubt the influence of Fontenelle’s work on Bernardin. But the dialogues of 1773 can also be perceived as re-writing those of 1686-7. Fontenelle’s Entretiens declare for a ‘scientific’ universe that works like a machine, and for elite sociable pleasures which are equally Modernist. Bernardin’s ‘Entretiens’, anticipating his Études de la nature (1784), repudiate the mechanical in favour of an organic world of nature infused with spirit, foreshadowing Romanticism and also the French Revolution.
本研究从结构主义和历时性两方面比较了标志着启蒙运动开始和结束的两组虚构对话。这些是丰特奈尔(1686- 1687)的“复数世界的旅行”，以及远不为人所知的圣皮埃尔(1773年他的“法国航行”中的一段)的“树木，花朵和水果的旅行”。伯纳丁的对话对其前辈的贡献已经被笼统地断言，但在这里，这种关系被系统地考察了。文章的第一部分从体裁、目标读者群、内部结构、说话人(男女)、话题和主题等方面对两部作品进行了比较。第二部分列出了一系列文本层面上的相似之处，毫无疑问地证实了丰特奈尔的作品对伯纳丹的影响。但1773年的对话录也可以被看作是对1686- 1687年对话录的重写。Fontenelle的enttiens主张一个像机器一样工作的“科学”宇宙，以及同样现代主义的精英社交乐趣。伯纳丹的《恳求者》，预示着他的Études de la nature(1784)，否定了机械，赞成一个充满精神的有机自然世界，为浪漫主义和法国大革命埋下了伏笔。
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Pub Date : 2018-07-03DOI: 10.1080/20563035.2018.1539372
Anton Bruder
Our current paradigm of sixteenth-century French vernacular discourse can be epitomized on the one hand by the classically inspired poetics of translatio propounded by the Pléiade, and on the other, by the scholarly efforts to establish a noble genealogy for the French language by writers such as the printer and Hellenist Henri Estienne. This picture, however, merely constitutes one of several sixteenth-century narratives regarding the French vernacular. Claude Fauchet’s Recueil de l’origine de la langue et poesie françoise (1581) provides evidence of a lively and appreciative interest in medieval French poetry among a group of Parisian jurist-humanists whose valorization of medieval French textual and material culture was developed in direct opposition to the dominant tenor of contemporary vernacular discourse which sought to break away from France’s medieval past. Fauchet in particular is notable for his seminal contribution to French literary history, his keen awareness of the role of vernaculars in history, and his sensitivity towards the material aspects of France’s native past.
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Pub Date : 2018-07-03DOI: 10.1080/20563035.2018.1539370
Timothy Chesters
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