Pub Date : 2013-12-01DOI: 10.1179/0265106813Z.00000000026
R. Parish
Abstract The volume’s first introductory essay shows how the Écrits sur la grâce throw up many challenges and puzzles for the reader, while still revolving around a core set of problems and definitions. The first is the attempt to situate Augustinian teaching on grace in the middle (and by implication orthodox) ground between Calvinism and (neo-)Pelagianism, in a way which appeals both to authority and to common sense; the second is to underline the double nature both of finding and of losing grace in a range of co-operative sequences. Finally there are the linked imperatives of ignorance and incuriosity, allowing Pascal to conclude only that the gift of grace or its lack is due to ‘un jugement juste quoique caché’, without which mystery the hubristic risk of antinomianism becomes all too apparent.
该卷的第一篇介绍性文章显示了Écrits sur la grance如何为读者抛出许多挑战和难题，同时仍然围绕着一组核心问题和定义。第一种是试图将奥古斯丁关于恩典的教导置于加尔文主义和(新)伯拉纠主义之间的中间地带(暗示是正统的)，以一种既诉诸权威又诉诸常识的方式;其次是强调在一系列合作序列中发现和失去优雅的双重本质。最后，无知和不好奇是相互关联的，这使得帕斯卡只能得出结论:恩典的恩赐或缺乏是由于“不加判断的正义”，没有这种神秘性，反律法主义的傲慢风险就变得太明显了。
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Pub Date : 2013-12-01DOI: 10.1179/0265106813Z.00000000028
A. Cantillon
Abstract Cet article prend en compte les conditions historiques de cette écriture-ci d’écrits sur la grâce, les problèmes philologiques posés par la prolifération de copies inachevées, et les caractéristiques structurelles de l’énonciation écrite en général. Il a donc alors fallu écrire sur la grâce, sans même être autorisé à le faire, sans même parvenir à achever aucun de ces écrits, et sans même aucune perspective de publication. Les copies font comme un ressassement sans fin. Dans ce ressassement quasi illisible, inaudible, qui est aussi reprise bégayante du mouvement traditionnel de la définition des doctrines par l’Église catholique, peut s’entendre cependant soudain par moment la voix d’une raison humaine qui tente d’avancer au plus loin dans la formulation de vérités qui, par définition, doivent toujours pourtant lui échapper.
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Pub Date : 2013-12-01DOI: 10.1179/0265106813Z.00000000031
M. Moriarty
Abstract Martin de Barcos’s posthumously published Exposition de la foy de l’Eglise romaine touchant la grâce et la prédestination is an important restatement of what he takes to be St Augustine’s doctrine on these matters. The first edition (1697) was condemned by the Archbishop of Paris, Louis-Antoine de Noailles, as a restatement of Jansenist doctrine, which, broken down into five key propositions, had been condemned by Innocent X in 1653. The ‘Remarques’ published with the second edition of 1700 argue that the Exposition by no means endorses the doctrines contained in the Five Propositions, and that the papal condemnation of these is thus irrelevant. This claim is assessed in a detailed analysis of the ‘Remarques’ and of the main text of the Exposition. In conclusion there is a brief discussion of the relationship of Barcos’s account of grace to Pascal’s and of the attempt to distinguish their views from those of the Calvinists.
马丁·德·巴尔科斯死后出版的《关于浪漫的接触与生活》是他认为是圣奥古斯丁在这些问题上的学说的重要重述。第一版(1697年)被巴黎大主教路易-安托万·德·诺埃尔(Louis-Antoine de Noailles)谴责为对詹森主义教义的重述，该教义被分解为五个关键命题，曾在1653年被英诺森十世(Innocent X)谴责。与1700年第二版一起出版的“注释”认为，《说明会》绝不赞同“五大命题”中的教义，因此教皇对这些教义的谴责是无关紧要的。这一主张在对“评注”和论述主要文本的详细分析中得到了评估。最后，简要讨论了巴可斯对恩典的描述与帕斯卡的关系，并试图将他们的观点与加尔文主义者的观点区分开来。
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Pub Date : 2013-12-01DOI: 10.1179/0265106813Z.00000000033
R. Scholar
Abstract This response to the foregoing essays argues that the essays establish a useful critical distance from which to view the Écrits and that they do so by placing the text in a series of contexts: biographical, textual, doctrinal, sacramental, and institutional. It goes on to suggest that a different kind of context — the intentional context — remains relatively understudied here and to sketch various possibilities and problems that would attend any study of that context for the Écrits.
{"title":"Epilogue: Co-operations","authors":"R. Scholar","doi":"10.1179/0265106813Z.00000000033","DOIUrl":"https://doi.org/10.1179/0265106813Z.00000000033","url":null,"abstract":"Abstract This response to the foregoing essays argues that the essays establish a useful critical distance from which to view the Écrits and that they do so by placing the text in a series of contexts: biographical, textual, doctrinal, sacramental, and institutional. It goes on to suggest that a different kind of context — the intentional context — remains relatively understudied here and to sketch various possibilities and problems that would attend any study of that context for the Écrits.","PeriodicalId":88312,"journal":{"name":"Seventeenth-century French studies","volume":"35 1","pages":"179 - 186"},"PeriodicalIF":0.0,"publicationDate":"2013-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1179/0265106813Z.00000000033","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65823900","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}
Pub Date : 2013-07-01DOI: 10.1179/0265106813Z.00000000022
D. G. Muller
Abstract Many recent discussions of the Chauveau and Brissart frontispieces to Molière’s Tartuffe have sought to discourage their use as documentary evidence for original performance practice on the grounds that their depiction does not conform to the text of the play. This article re-examines the textual and iconographic evidence for staging the ‘table scene’, suggesting that these frontispieces may still possess significant documentary value and cannot be so easily rejected as disaffirming the original jeu de scène. A close reading of the 1669 text as a script for performance reasserts the continuity between the text and these illustrations despite the hermeneutics of suspicion that pervade recent interpretations that rightly seek to emphasize the illustrations’ material function as liminary engravings within books.
{"title":"Theatrical Iconography, Jeu de Scène, and Recognizing the ‘Table Scene(s)’ in Molière’s Tartuffe","authors":"D. G. Muller","doi":"10.1179/0265106813Z.00000000022","DOIUrl":"https://doi.org/10.1179/0265106813Z.00000000022","url":null,"abstract":"Abstract Many recent discussions of the Chauveau and Brissart frontispieces to Molière’s Tartuffe have sought to discourage their use as documentary evidence for original performance practice on the grounds that their depiction does not conform to the text of the play. This article re-examines the textual and iconographic evidence for staging the ‘table scene’, suggesting that these frontispieces may still possess significant documentary value and cannot be so easily rejected as disaffirming the original jeu de scène. A close reading of the 1669 text as a script for performance reasserts the continuity between the text and these illustrations despite the hermeneutics of suspicion that pervade recent interpretations that rightly seek to emphasize the illustrations’ material function as liminary engravings within books.","PeriodicalId":88312,"journal":{"name":"Seventeenth-century French studies","volume":"35 1","pages":"54 - 68"},"PeriodicalIF":0.0,"publicationDate":"2013-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1179/0265106813Z.00000000022","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65823355","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}
Pub Date : 2013-07-01DOI: 10.1179/0265106813Z.00000000020
Jeffrey N. Peters
Abstract In L’Illusion comique (1635) Corneille draws upon concepts of location and placing to dramatize the emergence of a new and, to modern readers, recognizable poetic style. Early in the play, the famous cave in which the magician Alcandre stages his ‘spectres’ serves to distinguish narrative from spectacle, word from image, with the ostensible purpose of giving preference to the latter. What ensues during the play, however, is a gradual blurring of the verbal and the visual. From within the apparent gap separating word and image comes a new kind of specifically verbal image, situated on stage and housed in the confining ‘place’ of the dramatic poem. The play therefore constitutes an important historical development in the early modern discussion of Aristotelian principles of vivid speech whereby the world is made both present and near.
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Pub Date : 2013-07-01DOI: 10.1179/0265106813Z.00000000023
Marie-Frédérique Pellegrin
Abstract Cet article part du constat selon lequel la catégorie de ‘querelle des femmes’ constitue un outil historiographique essentiel et pourtant problématique. Dès lors, il faut en retracer l’histoire pour voir comment cette catégorie s’est imposée. Cela amène à adopter un point de vue décalé, mobilisant la philosophie et non seulement la littérature, pour en éprouver la pertinence. Ce travail critique permet en définitive une autre lecture des rapports entre les querelles lettrées et la question des femmes jusqu’à la fin de l’Ancien Régime.
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Pub Date : 2013-07-01DOI: 10.1179/0265106813Z.00000000024
M. Moriarty
Abstract This is the text of a lecture given in March 2012 at Queen Mary, University of London, in honour of the late Malcolm Bowie. The lecture explores the portrayal of love in French writing (fiction, drama, and moral reflection) of the seventeenth and eighteenth centuries and especially the way in which love for another person is represented as stimulated and nourished by love of one’s self. The text has not been altered from the original lecture format. A list of works cited follows.
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Pub Date : 2013-07-01DOI: 10.1179/0265106813Z.00000000021
David Harrison
Abstract This article seeks to redefine the relationship between Boileau’s Dialogue des héros de roman and Madeleine de Scudéry’s Clélie. While Boileau wishes to use his text to erase Scudéry from memory, a close reading of the Dialogue and its Lucianic model reveals Scudéry’s influence on Boileau’s wit. Indeed, the character of Amilcar from Clélie embodies the spirit of Lucianic satire that Boileau hopes to use against Scudéry. Ultimately, Boileau is indebted to a form of enjouement that is inscribed within and popularized by Clélie, and it is this debt that Boileau tries unsuccessfully to make his reader forget in his Dialogue.
摘要本文试图重新界定布瓦洛的《关于hsamros de roman的对话》与玛德莱娜·德·斯库德萨里的《clsamlie》之间的关系。虽然布瓦洛希望用他的文字抹去人们对斯库德姆斯的记忆，但仔细阅读《对话》及其卢西亚式的模式，就会发现斯库德姆斯对布瓦洛的智慧产生了影响。事实上，来自cludsamry的Amilcar这个角色体现了卢西亚式的讽刺精神，而这正是布瓦洛希望用来反对scudsamry的。最终，布瓦洛要感谢一种被克莱姆列铭记并发扬光大的参与形式，这是布瓦洛在《对话录》中试图让读者忘记的，但没有成功。
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Pub Date : 2013-07-01DOI: 10.1179/0265106813Z.00000000019
D. Blocker
Abstract Dans la lignée des travaux d’Anthony Grafton, l’histoire de la philologie s’est surtout focalisée, dans les dernières décennies, sur le développement des savoir faire érudits et sur la constitution des communautés savantes. Cet article propose de déplacer le regard de l’analyse des logiques propres de la pratique philologique vers l’étude des conditions sociales et politiques dans lesquelles se sont peu à peu établies ces compétences. Au travers de l’examen de la carrière et des publications d’André Dacier, on s’interroge en particulier ici sur la manière dont la recherche et l’obtention du patronage royal a pu infléchir les manières de faire des savants de l’époque moderne. L’étude examine d’abord comment Dacier s’est efforcé de créer une philologie à l’usage du monde, avant d’envisager dans un second temps comment sa manière de traduire, de commenter et de publier les textes anciens s’est modifiée, dans la dernière partie de sa carrière, lorsqu’il œuvrait dans la protection royale.
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