Pub Date : 2011-12-01DOI: 10.1179/175226911X13166031973952
Alison Calhoun
Abstract Most analyses of the Arcadia of the Ancien régime interpret pastoral politically as a place built in contrast to court life, a contrast that manifested itself iconographically as pastoral scenes built in the foreground of palatial backdrops, or Arcadian, garden-like courtyards. But, in the context of theatre, the scenography of pastoral was also constructed as a peaceful, verdant setting that opposed the dangers and marvels of mythological places and characters put into motion by machines. Even though Arcadia was a rather artificial version of a simple garden or forest, it was nevertheless part of a visual tradition that was understood as a possible world. For Philippe Quinault and Jean-Baptiste Lully, the pastoral space was key to harmonizing not only the singing, but also the ever-increasing use of machines and spectacular scene changes of early musical tragedy. Thanks to its familiar topoi, the pastoral setting (evident in didascalies, iconography, and within the verses of Quinault's libretti) created visual cues that helped forge a complicit spectator for this new form of tragedy, promoting credibility, and inciting specific emotions. Most importantly to the history of theatrical reception, the balance between the familiarity of pastoral and the strangeness of mythology encouraged the spectator to redefine the limits of aesthetic distance to include greater degrees of artificiality and fiction.
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Pub Date : 2011-12-01DOI: 10.1179/175226911X13166031973754
A. Goulet
Abstract Mariée à Flavio Orsini en 1675, Marie-Anne de La Trémoille, plus connue sous le nom de princesse des Ursins, parvint à faire de son salon à Rome un haut lieu de la culture française, dans la lignée des salons parisiens comme l'Hôtel de Rambouillet au sommet de sa gloire. À Rome, le fonds Orsini de l'Archivio Storico Capitolino et le fonds Lante della Rovere de l'Archivio di Stato contiennent deux séries de lettres, négligées jusqu'à aujourd'hui, qui offrent des informations nouvelles sur la place de la musique, de la poésie et des divertissements dans la vie sociale des Orsini, très attachés à la monarchie française. Ces lettres attestent l'existence d'un salon littéraire à la française dans le palais Orsini, fondé sur l'activité de la conversation, qui englobait elle-même divertissements poétiques et musicaux. Le salon de la princesse des Ursins, perçu à Rome comme le lieu d'un 'vivere alla francese', constitue un cas de transfert culturel qui mérite d'être étudié. En exploitant le versant politique de la galanterie, Marie-Anne de La Trémoille réussit à mettre en place un lieu influent, qui participait au prestige de la nation française.
1675年，玛丽-安妮·德拉tremoille嫁给了弗拉维奥·奥尔西尼(Flavio Orsini)，更广为人知的名字是熊公主(princess of the Ursins)，她成功地使她在罗马的沙龙成为法国文化的中心，与巴黎沙龙(hotel de Rambouillet)在其鼎盛时期的辉煌相一致。罗马Orsini l’Archivio外交基金Capitolino极了della Rovere l’Archivio di Stato基金则包含两套字母被忽视,直到今天,当场提供新信息的音乐、诗歌和娱乐业的Orsini,社会生活中非常依恋法国君主制。这些信件证明，奥尔西尼宫有一个法式文学沙龙，其基础是谈话活动，其中包括诗歌和音乐娱乐。熊公主的客厅，在罗马被视为“vivere alla francia”的地方，是一个值得研究的文化转移案例。通过利用galanterie的政治方面，玛丽-安妮·德拉tremoille成功地建立了一个有影响力的地方，这有助于法国民族的威望。
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Pub Date : 2011-12-01DOI: 10.1179/175226911X13166031974032
N. Peacock
{"title":"Professor Henry Thomas Barnwell","authors":"N. Peacock","doi":"10.1179/175226911X13166031974032","DOIUrl":"https://doi.org/10.1179/175226911X13166031974032","url":null,"abstract":"","PeriodicalId":88312,"journal":{"name":"Seventeenth-century French studies","volume":"33 1","pages":"136 - 140"},"PeriodicalIF":0.0,"publicationDate":"2011-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1179/175226911X13166031974032","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65678867","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 : 2011-12-01DOI: 10.1179/175226911X13166031973790
H. Bjørnstad
Abstract This article proposes a new approach to the Pensées of Blaise Pascal by focusing on the notion of failure. It shows how failure lies at the core of Pascal's apologetic project in the Pensées and suggests that Pascal urges the reader to confront and reinterpret his own inevitable failure. The article identifies two models of secular failure in the Pensées, arguing for their importance for readers of Pascal today, and especially for answering the thorny question of what it would mean for a secular reader to take Pascal seriously when he speaks of 'la misère de l'homme sans Dieu'.
本文从失败的概念出发，对帕斯卡的penssames进行了新的分析。它显示了失败是帕斯卡尔在《彭萨梅斯》中道歉计划的核心，并暗示帕斯卡尔敦促读者面对并重新解释他自己不可避免的失败。这篇文章指出了penssames中两种世俗失败的模式，论证了它们对今天帕斯卡读者的重要性，尤其是回答了一个棘手的问题，即当帕斯卡说到“la mis del 'homme sans Dieu”时，对于一个世俗读者来说，认真对待帕斯卡意味着什么。
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Pub Date : 2011-12-01DOI: 10.1179/175226911X13166031973871
A. Birberick
Abstract This article explores how Marie-Catherine d'Aulnoy uses the fairy-tale trope of metamorphosis not only to blur the distinction between human and animal but also to comment upon notions of femininity and masculinity. In 'Babiole', the heroine is transformed into a guenon, a kind of female monkey also used to denote an ugly woman in seventeenth-century France. Although the monkey-princess undergoes a civilizing process, she is always viewed by others as an inferior creature whose animality defines her. Babiole's experience contrasts sharply with that of her male fairy-tale counterpart, the Prince Marcassin, who is transformed into a boar. By comparing Babiole to Prince Marcassin, we see the extent to which d'Aulnoy's choice of animal for each metamorphosis is not arbitrary.
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Pub Date : 2011-12-01DOI: 10.1179/175226911X13166031973998
M. Moriarty
Abstract Roland Barthes describes Les Caractères as a 'remarquable collection de substances, de lieux, d'usages, d'attitudes'. The article comments upon the links La Bruyère establishes between places, 'usages', and 'attitudes', and how this contributes to his moraliste project. La Bruyère's characters seek to manage their spaces, both outdoors and in. He links his portrayal of character-types to specific external locations: districts of Paris, churches, places of public resort such as the Tuileries. Contemporary descriptions of Paris are drawn on to illuminate these connections. He shows his characters confined to one district, or moving about the city in endless displacements, out of routine or to gratify their passions. In his presentation of internal spaces, La Bruyère frequently focuses on their capacity to express relations of power, usually through exclusion. Private inaccessible space is associated with dubious or corrupt passions, whereas the philosopher, willing to do good to his fellow-creatures, keeps his door open. The final spatial dimension explored is the astronomical: La Bruyère's religious apologetic evokes the immense distances of outer space. Through the Caractères, he seeks to highlight and discredit the image of space that serves as the background to our daily lives, a space punctuated with objects of an illusory and self-centred desire, around which we propel ourselves in obedience to our passions, in a state of estrangement from God.
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Pub Date : 2011-07-01DOI: 10.1179/175226911X13025317627667
C. Probes
Abstract 'Elle a des lumières', wrote Leibniz in admiration of Madame Palatine, with whom he corresponded about scientific progress. Against the backdrop of the pervasive controversy over l'animalité, Elisabeth Charlotte von der Pfalz, living in what she considered an 'alien world', writes: 'Dogs are the best people I have found in France, I always have four of them with and around me'. I explore in Madame's letters the contours of the controversy over l'animalité, the borderlines of the human, human/animal relationships, and the important role of animals, notably dogs, in her daily life. I consider among other points Madame's philosophical and theological reflections concerning animals, Mignard's lost portrait of her favourite dog, physical and affective comfort, true friendship (comparisons between the friendships of humans and that of dogs), and finally, Madame's dogs as actors in anecdotes she relates to her correspondents. Echoing Sainte-Beuve's declaration, 'Madame est un utile, un précieux et incomparable témoin de moeurs', prominent historians of our day such as Emmanuel Le Roy Ladurie, remind us of Madame's extensive epistolary network, extolling the merit of her letters as an exceptional mirror of a crucial period of early modern Europe.
莱布尼茨在对帕拉蒂娜夫人的钦佩中写道:“Elle a des lumi”，他与帕拉蒂娜夫人就科学进步进行了通信。生活在她眼中的“陌生世界”的伊丽莎白·夏洛特·冯·德·法尔兹写道:“狗是我在法国发现的最好的人，我身边总是有四只狗。”我在夫人的信中探索了关于动物主义的争论的轮廓，人类的界限，人与动物的关系，以及动物，尤其是狗，在她的日常生活中的重要作用。我考虑了夫人对动物的哲学和神学思考，米纳德丢失的她最喜欢的狗的画像，身体和情感上的安慰，真正的友谊(人类和狗的友谊的比较)，最后，夫人的狗在她给她的通讯员讲述的轶事中扮演的角色。与圣伯夫的宣言“Madame est un utile, un pracimcieux et incomparable tsammoin de moeurs”相呼应，我们这个时代的著名历史学家，如Emmanuel Le Roy Ladurie，提醒我们夫人广泛的书信网络，称赞她的信件是近代早期欧洲关键时期的一面特殊镜子。
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Pub Date : 2011-07-01DOI: 10.1179/175226911X13025317627784
I. Moreau
Lorsqu’il decrit les animaux qui peuplent les differentes contrees visitees par son personnage, Gabriel de Foigny joue a l’evidence sur les topiques des recits de voyage. Dans La Terre australe connue, les frontieres entre le singulier, le monstrueux et la mirabilia apparaissent eminemment instables. La possibilite meme de races de monstres anthropomorphes temoigne d’un dangereux brouillage entre les especes animale et humaine. Ce jeu sur les frontieres de l’animalite menace la superiorite ontologique de l’homme et prepare le travail de destabilisation apporte par l’utopie hermaphrodite, ou l’homme sexue est de fait degrade en demi-homme et assimile a l’animal. Nous nous interesserons ici aux implications impies de cette redefinition de l’homme par la bete. Nous verrons que le rejet de l’animalite, en terre australe, est la consequence d’une conception profondement heterodoxe de l’âme humaine. L’interdit de manger de la chair et l’horreur de l’animalite sont d’autant plus forts que les australiens recusent par ailleurs les principaux points de doctrine chretienne qui permettraient de justifier leur superiorite ontologique. Gabriel de Foigny herite ici de tout un argumentaire impie qui, de Vanini a Cyrano, en passant par La Mothe Le Vayer, s’est attaque aux principaux dogmes chretiens, au point de mettre en peril la notion meme d’espece humaine.
加布里埃尔·德·福伊尼(Gabriel de Foigny)在描述居住在他的角色所访问的不同地区的动物时，利用了旅行故事主题的证据。在这片已知的南方土地上，奇异、怪物和奇迹般的边界似乎非常不稳定。拟人化怪物种族的可能性本身就表明动物和人类物种之间存在着危险的混淆。这种关于动物边界的游戏威胁到人类的本体论优越性，并为雌雄同体乌托邦带来的不稳定工作做准备，在雌雄同体乌托邦中，有性的人实际上退化为半人，与动物同化。在这里，我们将研究这种由野兽重新定义人类的不虔诚的含义。我们将看到，在南方，对动物的拒绝是对人类灵魂的深刻异端观念的结果。禁止吃肉和对动物的恐惧更加强烈，因为澳大利亚人拒绝基督教教义的主要观点，这些观点可以证明他们的本体论优越性。Gabriel de Foigny在这里继承了整个不虔诚的论点，从Vanini到Cyrano，通过Mothe Le Vayer，攻击了主要的基督教教义，以至于危及人类物种的概念。
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Pub Date : 2011-07-01DOI: 10.1179/175226911X13025317627748
N. Hammond
Abstract In this article, the interaction between animals and humans in two works by Poussin and Racine, Poussin's 'Paysage avec un homme tué par un serpent' (1648) and Racine's Phèdre (1677), are considered. The focus of enquiry is firstly on the unsettling effect that untamed animals have on the ordered human world as depicted in the seventeenth century, drawn from anthropologist Tim Ingold's distinction between two kinds of animality (domain and condition). It is secondly upon the way in which both painter and play-wright force us to view such destabilising spectacles through the multi-layered response of others. Included in the analysis are readings of Poussin by various commentators, most prominently T. J. Clark, and an examination of the loss of control of Hippolyte (whose name after all means 'horse liberator/loosener') over his horses. My final argument will hinge on the idea that the perilous interplay between man and beast reveals a world of ambiguity and uncertainty.
本文考察了普桑和拉辛的两部作品——普桑的《Paysage avec un homme tu par un serpent》(1648)和拉辛的《ph》(1677)中动物与人的互动。从人类学家蒂姆·英戈尔德(Tim Ingold)对两种动物(领域和条件)的区分中得出的结论来看，探究的重点首先是未驯服的动物对17世纪有序的人类世界所产生的令人不安的影响。其次，画家和剧作家迫使我们通过他人的多层次反应来看待这种不稳定的景象。分析中包括了不同评论家对普桑的解读，最突出的是t·j·克拉克(T. J. Clark)，以及对希波吕忒(他的名字毕竟意味着“马的解放者/松绑者”)对他的马失去控制的研究。我的最后一个论点将取决于这样一个观点:人与兽之间危险的相互作用揭示了一个模棱两可和不确定的世界。
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