Pub Date : 2014-11-07DOI: 10.1179/0265106814Z.00000000043
Jean-Vincent Blanchard
Abstract Corneille’s theater exemplifies how violence founded the State of Louis XIII and Cardinal Richelieu as an embodied, affective, and lived reality. Through the lens of vivid Catholic representations of martyrdom, such as those ‘spiritual exercises’ proposed by the Jesuit Louis Richeome in La Peinture spirituelle (1611), and in the highly prescriptive context of classical dramaturgy and theatrical aesthetics of seventeenth-century France, this article shows how Corneille’s Polyeucte (1641) produced performative effects that corporealised those subjects of the French monarch’s sovereign power, locating them in a historicized understanding of religious revelation and salvation.
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Pub Date : 2014-11-07DOI: 10.1179/0265106814Z.00000000047
Pierre Zoberman
Abstract This article explores the implications of Scarron’s intercalation of a novella by María de Zayas, El juez de su causa (1637), in Part II of the Roman comique (1657), in terms of the overall structure of the novel, and, more specifically, in terms of gender construction. Following the original, Scarron narrates the adventures of a cross-dressing heroine who becomes a trusted aide-de-camp to the emperor, but eventually gives up all her (male) titles and military rewards to marry the man she loves. Upon marrying her, the latter in turn replaces her as viceroy of Valencia. The main narrator ostensibly delegates the function of translator and narrator to one of his male characters, whereas in Part One (1651), he asserted, through metaleptic devices, that he was the actual author of the tale as the reader read it. Scarron, who, as a translator, was familiar with Zayas as well as other early seventeenth-century Spanish novella writers, introduced changes which ultimately contribute to the containment of the potential threat posed by powerful female characters. In the process, he effectively restores the male-dominated hierarchy the protagonist risked undermining. Whereas cross-dressing and the connection with the Orient of the protagonist, abducted to Fez before she returns to Spain in man’s clothing, seem to point to unstable identities, the insertion of Le Juge de sa propre cause ultimately promotes a return to the norm.
摘要本文从小说的整体结构，更具体地说，从性别建构的角度，探讨了斯卡隆在《罗马漫画》(1657)第二部中插入María de Zayas的中篇小说《El juez de su causa》(1637)的含义。在原著的基础上，斯卡隆讲述了一个变装女主人公的冒险经历，她成为了皇帝信任的副官，但最终放弃了她所有的(男性)头衔和军事奖励，嫁给了她所爱的男人。在与她结婚后，后者反过来取代她成为瓦伦西亚总督。主叙述者表面上把翻译和叙述者的功能委托给了他的一个男性角色，然而在第一部(1651年)中，他通过修辞手段宣称，当读者读到故事时，他才是故事的真正作者。作为一名翻译，斯卡隆对扎亚斯和其他17世纪早期的西班牙中篇小说作家都很熟悉，他引入了一些变化，这些变化最终有助于遏制强大的女性角色带来的潜在威胁。在这个过程中，他有效地恢复了男性主导的等级制度，主人公冒着破坏的风险。在主人公穿着男装返回西班牙之前，她被绑架到非斯，与东方的联系似乎指向了不稳定的身份，而Le Juge de sa proprecause的插入最终促进了对规范的回归。
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Pub Date : 2014-11-07DOI: 10.1179/0265106814Z.00000000045
Stéphane Natan
Abstract Le présent article se propose d’étudier les questions directes du personnage éponyme de la pièce de Racine Andromaque. Au travers des questions posées par l’héroïne de la pièce, rhétoriques ou non, nous tenterons de redéfinir son portrait en mettant l’accent sur sa complexité et son pragmatisme, tout en questionnant les dires de l’exégèse racinienne qui a esquissé de la veuve d’Hector un portrait pour le moins contradictoire. En effet, à la lecture des commentateurs de Racine, l’on ne peut que rester perplexe face à l’image antithétique qui émerge de l’héroïne de la pièce, décrite tour à tour comme une bonne mère ou une mauvaise mère; une femme déconnectée de la réalité qui vit dans le passé ou un être rusé; la veuve fidèle d’Hector ou une coquette, voire une amoureuse (secrète) de Pyrrhus. Pour nous, les questions d’Andromaque représentent une des clefs pour éclairer la réalité du personnage qui en fait un être parfaitement à sa place dans l’univers racinien de ‘la démolition du héros’.
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Pub Date : 2014-11-07DOI: 10.1179/0265106814Z.00000000046
Paul Hammond
Abstract This essay explores the ways in which Racine defines the physical and conceptual spaces which his characters inhabit in Bérénice, and illustrates the semantic complexity of some of the play’s principal terms.
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Pub Date : 2014-11-07DOI: 10.1179/0265106814Z.00000000044
V. Grégoire
Abstract Le premier ‘contingent’ de sœurs enseignantes conduit par l’ursuline Marie Guyart dite de l’Incarnation arrive à Québec en août 1639. Le but des religieuses est originellement d’instruire les Amérindiennes pour en faire de bonnes Françaises catholiques. Dès leur arrivée, cette clientèle autochtone va s’enrichir de celle des jeunes filles de colons. Ces deux populations d’élèves vont présenter aux religieuses des problèmes de nature bien différente au fil des années. Nous allons, dans cette étude, nous pencher sur quelques difficultés majeures rencontrées par les ursulines dans leur œuvre éducative. Certaines difficultés découlent de la nature de leur mission, le fait par exemple qu’elles soient cloîtrées dans un pays encore essentiellement inexploré. D’autres trouvent leur origine dans la méconnaissance par les sœurs des mœurs amérindiennes et de la psychologie autochtone. Une difficulté supplémentaire découle du fait que les religieuses ne comprennent pas bien l’esprit des filles des colons, des jeunes filles qu’elles vont rapidement trouver très déniaisées et libertines. En réalité, beaucoup des difficultés rencontrées par les ursulines vont reposer sur des malentendus culturels et, en particulier, un malentendu linguistique en ce qui concerne la communication avec les autochtones, un malentendu linguistique qui va compliquer l’effort d’évangélisation.
1639年8月，由乌尔苏琳·玛丽·盖亚特(ursuline Marie Guyart)领导的第一批修女教师抵达魁北克市。修女们最初的目的是教育美洲印第安人成为优秀的法国天主教徒。一到这里，这些土著客户就会从定居者的年轻女孩那里得到丰富。随着时间的推移，这两种学生群体会给修女们带来不同性质的问题。在本研究中，我们将考察乌尔苏林人在教育工作中遇到的一些主要困难。有些困难是由于它们的任务性质造成的，例如，它们被限制在一个基本上尚未开发的国家。另一些则源于修女们对土著习俗和心理的无知。另一个困难是，修女们不了解殖民者女儿的精神，她们很快就会发现这些女孩非常放荡不羁。事实上，乌尔苏林人遇到的许多困难都是由于文化上的误解，特别是关于与当地人交流的语言上的误解，这种语言上的误解将使传福音的工作复杂化。
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Pub Date : 2014-06-01DOI: 10.1179/0265106814Z.00000000040
Harriet Stone
Abstract A commemorative fan marking the death of Turenne in 1675 is striking for its presentation of the general’s dead body. In addition to the fan, I consider Turenne as eulogized by Fléchier, along with depictions of the death of Louis XIV by Dangeau, Saint-Simon, and in the official autopsy report. The experience of death disrupts the classical ideal. Playing out tensions between the body, the mind, and the soul, representations of death complicate Descartes’s binarism and, in particular, the philosopher’s concept of the mechanical body.
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Pub Date : 2014-06-01DOI: 10.1179/0265106814Z.00000000038
E. Goldsmith
Abstract In this article I consider the ‘Judgment of Paris’ story that decorates the leaf of a fan made in the late seventeenth century. I review the popularity of this legend in seventeenth-century painting, music, and literature and explore how the concept of female beauty in competition was reflected in the practice of female portraiture in the period, particularly in the collections known as ‘beauties series’. I examine how some women (Elisabeth Charlotte d’Orléans, Sophia of Hanover, Marie Mancini Colonna and Hortense Mancini Mazarin) both resisted and participated in these early modern beauty contests, in their written commentary and in their activities as subjects and patrons of art.
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Pub Date : 2014-06-01DOI: 10.1179/0265106814Z.00000000035
Laura J. Burch
Abstract During her long literary career, Madeleine de Scudéry developed complex representations of mixed-gender friendship. However, the fullest expression of this heterosocial paradigm can be found not in the novels for which she remains most well-known, but in the Conversations, her final published literary output. This article analyzes the description of a particular object, a lady’s fan, found in the Conversations’ chapter on friendship (1686). When we see the fan in both its historical and literary context, we see that the Conversations are also quite possibly the chef d’oeuvre of Scudéry’s literary career, the point at which, for the first time, her life-long concerns about the power of women to participate in the sociable world of the seventeenth-century letters unfold from within the frame of philia rather than of eros. The ‘friendship’ fan diverts readerly attention from Scudéry’s novels as it gestures toward a new, self-sustaining and self-renewing form of mixed-gender sociability. Through it, Scudéry artfully fashions a ‘new’ and ‘pleasing’ life in and of words for seventeenth-century women.
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