Pub Date : 2021-01-02DOI: 10.1080/20563035.2021.1924012
Derval Conroy
This introduction aims to briefly outline some of the ways in which women have been historically excluded from the history of philosophy, and the ways in which recent developments are addressing that neglect and exclusion. It also outlines ways in which women were in fact included in the historiography of philosophy in the 17th century itself, the period in question.
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Pub Date : 2020-11-24DOI: 10.1080/20563035.2020.1835111
P. Scott
Madame d’Aulnoy’s two fairy tales featuring central characters named Belle, La Belle aux cheveux d’or (1697) and Belle-Belle ou le chevalier Fortuné (1698) share similar themes and share many parallels and convergences in addition to sources in common. However, an overlooked and significant element in both stories is the depiction of same-sex desire on the part of central male characters. Ultimately, these characters conform to the heteronormative conventional ending of the majority of early modern fairy tales, but not before a process of detachment from their homoerotic desires and homosocial world. This process involves their intellectual and physical intimacy with women with whom they ‘become men’ in the sense of healthy and happy individuals. The tales therefore present a flouting of patriarchal imperatives both through their depiction of feminine parity, and indeed, superiority and in their strident critique of male society that excludes women, be it homosocial or homosexual in nature.
奥尔诺伊夫人的两个以贝儿为中心人物的童话故事，La Belle aux cheveux d'or（1697年）和Belle Belle ou le chevalier Fortuné（1698年）有着相似的主题，除了共同的来源之外，还有许多相似之处和趋同之处。然而，在这两个故事中，一个被忽视的重要元素是中心男性角色对同性欲望的描述。最终，这些角色符合大多数早期现代童话的非规范传统结局，但在脱离同性恋欲望和同性恋社会世界之前。这一过程涉及到他们与女性在智力和身体上的亲密关系，在健康快乐的意义上，他们与女性“成为男人”。因此，这些故事通过对女性平等、事实上的优越感的描述，以及对排斥女性的男性社会的尖锐批评，无论是同性恋社会还是本质上的同性恋社会，都体现了对父权制要求的蔑视。
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Pub Date : 2020-07-02DOI: 10.1080/20563035.2020.1856574
Joseph Harris
This article explores Corneille's ‘prison monologues’ – soliloquies uttered by imprisoned characters contemplating their own forthcoming execution. Unable to engage materially with the world, Corneille's prisoners are effectively reduced to voices; although objectively powerless, they are subjectively able to wield language as a tool to engage with and symbolically triumph over death. Refusing to condemn the potential fallibility or illegitimacy of the legal power that has condemned them, prisoners like the eponymous tragicomic hero of Clitandre and Clindor in L’Illusion comique devise creative, poetic accounts to justify and explain their imprisonment on a symbolic level, in an attempt to reconcile themselves to – or even to transcend – the degraded reality of their current situation and their upcoming fate. Corneille's prison monologues dramatize the tension between the prisoners’ abstract trust in justice and their physical, embodied experience of imprisonment, thus unearthing a new side to these early Cornelian heroes.
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Pub Date : 2020-07-02DOI: 10.1080/20563035.2020.1856572
Corinne Noirot
Les Corrivaus de Jean de la Taille (1573) dramatise la souveraineté royale comme source de justice et de concorde. Une double tentative d'enlèvement demeure impunie dans cette comédie humaniste. Le pardon des pères s'exerce au mépris apparent de l'institution judiciaire, entre éthique nobiliaire, royalisme pacificateur et morale évangélique. Le discours figuratif investit les thèmes de l'union et du rapt, alors que le mécontentement et la satisfaction nobiliaires redéfinissent le crime des fils. La justice des pères apaise le conflit, entre autorité patriarcale et acte de charité. Ressort un homologue de ‘justice d'exception' (Agamben), acte justifié par une menace imminente et visant le rétablissement de l'harmonie collective. A l'inverse d'appels polémiques à l'expurgation violente, durant les premières guerres de religion, la perspective est anti-machiavélienne et conciliatrice. La Taille représente l'aristocratie comme un pilier d'une monarchie elle-même justifiée par un paternalisme bienveillant rendant possible une France réunifiée où chacun soit ‘satisfait’.
让·德·拉泰尔（Jean de la Taille，1573）的《科里沃》（Corrivaus）将皇家主权戏剧化为正义与和谐的源泉。在这部人道主义喜剧中，双重绑架企图仍然逍遥法外。父亲的宽恕是在明显无视司法机构的情况下行使的，介于贵族伦理、和平君主制和福音道德之间。比喻性的话语涉及结合和绑架的主题，而贵族的不满和满足重新定义了儿子的罪行。父亲的正义平息了父权制权威和慈善行为之间的冲突。出现了“例外正义”（Agamben）的对应物，这一行为以迫在眉睫的威胁为理由，旨在恢复集体和谐。与有争议的暴力清洗呼吁相反，在第一次宗教战争期间，这种观点是反马基雅维利和和解的。规模代表着贵族作为君主制的支柱，君主制本身以仁慈的家长式作风为理由，使统一的法国成为可能，每个人都“满意”。
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Pub Date : 2020-07-02DOI: 10.1080/20563035.2020.1856577
Y. Robert
This article examines the many rewritings of a single story: the adventures of a brigand vigilante, first told in Schiller's Die Raüber, adapted by Lamartelière into the 1792 hit Robert, chef de brigands, and updated over the next decade through new endings and sequels. The evolving nature of this vigilante – from noble brigand to popular insurrectionist to merciful judge to Terrorist – reflects the anxieties produced by the shift from a conception of justice as a transcendental force, originating in God's will and flowing through the king and his courts, to an immanent model resting on the notion that all humans possess an innate sense of right and wrong and thus the ability to judge. The manifold revisions of Schiller's story open a window onto the shifting sands of Revolutionary justice, revealing the impact of such events as the September Massacres, Louis XVI's trial, and the institution of the Revolutionary Tribunal.
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Pub Date : 2020-07-02DOI: 10.1080/20563035.2020.1856570
Annelle Curulla
This article considers French theatrical adaptations of George Lillo’s 1731 tragedy, The London Merchant, or, The History of George Barnwell. It asks how authors engaged with concepts of crime and punishment in the process of translation across cultures, genres and theatrical traditions. Following analysis of Lillo’s play, itself adapted from a seventeenth-century ballad, the article focuses on French rewritings of the George Barnwell story in the years following Diderot’s theorization of the drame. I suggest that by the 1760s and 1770s, the more French playwrights attempted to humanize Barnwell’s crime, the harder it became to preserve the meaning of the executions that conclude Lillo’s play. The ways in which the meanings of the scaffold shifted in these theatrical adaptations suggest broader changes in discourses of punishment in 1760s and 1770s France.
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Pub Date : 2020-07-02DOI: 10.1080/20563035.2020.1856571
H. Bilis
On 21 November 1670, Parisian spectators could watch Racine's Bérénice at the Hôtel de Bourgogne and, a week later, attend the premiere of Corneille's Tite et Bérénice at the Palais Royal, as the playwrights and their troupes vied for box office success. Despite Racine's victory, scholarship on the playwrights has minimized the importance of this duel as just one among many guerres comiques. This essay argues that the comedy, Tite et Titus ou Critique sur les Bérénices, published anonymously in 1673, enables a better understanding of how the duelling plays were a defining experience for both playwrights. The comedy stages Racine's Titus and Corneille's Tite, who come before the god Apollon in judgment, accusing one another of impersonation. Understanding the allegory of the Parnasse trial renders visible the stakes of the Bérénice duel and illustrates the changing reception of the tragic genre in the last quarter of seventeenth-century France.
1670年11月21日，巴黎的观众们可以在Hôtel de Bourgogne剧院观看拉辛的《bacry - bacry - sise》，一周后，在皇家宫殿观看高奈依的《Tite et bacry - sise》的首演，因为剧作家们和他们的剧团都在争夺票房的成功。尽管拉辛取得了胜利，但关于剧作家的学术研究将这场决斗的重要性降到最低，认为它只是众多喜剧斗争中的一次。本文认为，1673年匿名出版的喜剧《蒂特和提图斯，你的批评》使我们能够更好地理解决斗戏剧是如何成为两位剧作家的决定性经历的。这部喜剧上演了拉辛饰演的提图斯和高乃依饰演的提特，他们来到阿波罗神面前接受审判，互相指责对方冒充神。通过理解帕纳斯审判的寓言，我们可以看到巴姆萨姆斯决斗的风险，并说明17世纪最后25年法国对悲剧类型接受程度的变化。
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Pub Date : 2020-07-02DOI: 10.1080/20563035.2020.1869656
M. Meere
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Pub Date : 2020-07-02DOI: 10.1080/20563035.2020.1856576
Valérie M. Dionne
L’Antigone de Jean-Antoine de Baïf est la première pièce de Sophocle traduite en français et l’unique tragédie que le poète ait publiée. Souvent considérée comme une simple traduction, cette pièce a longtemps été ignorée du répertoire des Antigones françaises. Toutefois, Baïf procède à une réécriture en adaptant le texte au contexte de la fin du XVIe siècle qui fait écho aux guerres de Religion et à la Saint-Barthélemy. C’est en questionnant le rôle de la dikè ou de la Justice dans le texte de Sophocle et dans l’Antigone de Baïf, en comparant le texte grec à la traduction que se saisissent la pensée politique de l’auteur-traducteur et son rôle de courtisan sous Charles IX, époque où se marient les arts et le pouvoir dans le but d’harmoniser comme de pacifier les relations civiles.
让·安托万·德·巴伊夫（Jean-Antoine de Baïf）的《安提戈涅》（L'Antigone）是索福克勒斯第一部被翻译成法语的戏剧，也是诗人出版的唯一悲剧。这首曲子通常被认为是一个简单的翻译，长期以来一直被法国安提戈涅剧目忽略。然而，拜夫进行了重写，使文本适应16世纪末的背景，这与宗教战争和圣巴塞洛缪相呼应。正是通过质疑索福克勒斯文本和拜夫的《安提戈涅》中的迪克或正义的作用，通过将希腊文本与翻译进行比较，作者翻译家的政治思想和他在查理九世时期作为朝臣的角色被抓住，当时艺术和权力结合在一起，目的是协调和安抚公民关系。
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