Duke Of Burgundy Research Articles

Editing Arden: The Dramatis Personae List in As You Like It

ABSTRACT The first printed dramatis personae list for As You Like It appeared in Nicholas Rowe’s 1709 Works of Mr. William Shakespear. That list included an incomplete entry that described Rosalind’s father as the ‘Duke of ’, leaving a tantalising blank space where a geographical qualifier might be expected to appear. In a second issue of the edition of 1709, the incomplete entry was revised to read ‘Duke of Burgundy’. Yet, in a second edition of the play, printed later in 1709, the incomplete ‘Duke of ’ appeared again, and it appeared for a third time in 1714, in the revised third edition of Rowe’s Works. The 1714 dramatis personae list included another bold editorial revision: it contained an entirely new entry for a second ‘Clown’, suggesting that this second clown was distinct from the character we have come to know as Touchstone. This article traces the changes made to the dramatis personae lists of 1709 and 1714. It argues that these lists offer insights into early eighteenth-century critical responses to the play. The paper also shows that these lists, though often overlooked by modern editorial historians, anticipated later eighteenth-, nineteenth-, and twentieth-century debates about the play’s geography and about Touchstone.

Дофин Людовик и Парижский университет: попытка перехвата власти во Франции в апреле – мае 1413 года

This article is devoted to the study of the political crisis in France at the beginning of 1413. In the course of the study, the author comes to the conclusion that the illness of King Charles VI required government reform. Two trends emerged – aristocratic (preservation of power within the Valois family, but with its transfer into the hands of the Dauphin Louis) and democratic (limitation of royal power through the admission of people of humble origin to government). In the first half of 1413, the Dauphin Louis attempted to seize power, which provoked an uprising in the capital. In turn, the University of Paris used the unrest to get Charles VI to sign a reform project in the form of the Ordinance of Cabochins. The Duke of Burgundy, Jean the Fearless, tried to maintain his influence on the king. As a result, attempts to remove the king ended in failure, and Charles VI retained the crown.

The Battle of Blore Heath: Sources, Historiography and Implications for the Outbreak of Conflict, 1459-60

ABSTRACT Discussion of the battle of Blore Heath (23 September 1459) has focused on the role of Cheshire gentry. This reflects a historiographical tradition that began early in the sixteenth century with Edward Hall. Attempts to reframe analysis of the battle, and in particular to understand dispositions and manoeuvres on the battlefield itself, have placed weight on the evidence of Jehan de Waurin’s chronicle of Great Britain. Compiled from his vantage point at the duke of Burgundy’s court using newsletters and similar materials, Waurin’s account has significant limitations. These are assessed here, alongside further evidence in other narrative sources. This allows for a clearer understanding of the participation of men from across the north-west midlands in the king’s forces, as also of the small group of core followers who accompanied the earl of Salisbury on his journey to rendezvous with the duke of York and other opponents of the court party.

Where Sight Meets Sound: The Poetics of Late-Medieval Music Writing Emily Zazulia

Continuities within and between historical periods are often contentious, and this new book offers a stimulating perspective on the point of demarcation between ‘Medieval’ and ‘Renaissance’. At issue is the potential, made possible by mensural notation, for the same written material to yield different musical results in performance. The discrepancy between written material and sonic results only appears that way to us because of music notation’s subsequent development, as the relative duration of musical signs became fixed; to those working within the mensural system, the notation of duration was always understood to be contextually dependent. But over the course of the fifteenth century composers began to engage collectively with that potential with ever increasing intensity, ingenuity, and sophistication. Where Sight Meets Sound focuses on an area where this phenomenon found particularly rich expression: the notation and performance of cantus firmi. One might think that this potential had always existed, being written into the mensural system itself. The first surprise of Emily Zazulia’s narrative is the realization that its exploitation as a compositional resource came about only gradually. She begins with a thought experiment: Charles the Bold, duke of Burgundy, having inherited the now fragmentary Trémoïlle manuscript first owned by his great-grandfather, asks his court composer Antoine Busnoys to re-notate some of the music so that his chapel can sing it. Confronted with tenors incorporating repetition, Busnoys and his singers would have found the notation alien not because it was too complex but because it was in a certain sense not complex enough. Although it was quite common in fourteenth-century tenors for material to be repeated in halved note values (diminution, in other words), Zazulia shows that in such cases scribes generally wrote out the diminutions out in full, whereas by Busnoys’s time they were typically indicated by means of a repeat sign, a verbal rubric, or some other ‘metasign’ (Zazulia’s term—not just for reasons of practicality or economy (e.g. space-saving) but as a positive aesthetic decision. In the first chapter, Zazulia locates the change in scribal practice in the first quarter of the fifteenth century; not coincidentally, the same period sees the emergence of pieces (like the much-discussed Codex Chantilly motet Inter densas/Imbribus/Admirabile) where repetition no longer consists of ‘straight’ or exact diminution (in modern terms) but entails a degree of contextual reinterpretation, brought about by reading the same material under different mensurations. (Another harbinger of the change in approach is scribes’ increasing tendency to notate mensural signs at the start of pieces.) The potential for prescribing non-standard readings of the notation (Zazulia’s ‘transformative impulse’) gradually extended to other systematic procedures (e.g. augmentation, inversion, retrograde) and thence to more arbitrary operations in the last quarter of the fifteenth century (e.g. discounting of stems, certain categories of pitches, or rests). But the ‘transformative impulse’ is often accompanied by a corollary, the principle of ‘notational fixity’ (Zazulia’s term again), whereby all these transformations refer back to a single notational artefact whose details were fixed for the duration of the work. As the genre most associated with multiple repetitions of borrowed material, the cantus firmus mass became a privileged locus of these strategies. It has been observed that notational fixity was first associated with mass tenors derived from polyphonic songs (understandably, since these dictated both pitches and rhythms); only later, particularly with Obrecht, was the principle extended to chant-based tenors (particularly with respect to the ligatures of the given source), whose use as cantus firmi of course pre-dated that of polyphonic songs.

Дьявол или вервольф? Мотив оборотничества во французской демонологии XV–XVI вв.

The article analyzes the features of the treatise “Justification of John the Fearless, Duke of Burgundy” by Jean Petit (1408), which argued for the right of John the Fearless to murder his cousin Louis of Orleans. The author of the article pays special attention to the accusation of practicing witchcraft, which, according to Petit, turned the Duke of Orleans into a tyrant and a devil and was based, apparently, on the text of the “Policraticus” of John of Salisbury (1159). Analysis of the content and the iconographic program of the “Justification” also allows the author to hypothesize that this treatise marked the beginning of a completely new perception of the lycanthrope in French, and perhaps in all European demonological literature of the 15th–16th centuries: as a dangerous werewolf, that is, as a person whose penchant for practicing witchcraft did not simply lead him into the clutches of the devil, but turned him into a beast that posed a threat to the entire community of true Christians. Thus, the political and legal treatise of Jean Petit, as it has always been considered in historiography, acquired at the same time the features of a demonological text.

ГЕРЦОГСТВО ЛЮКСЕМБУРГ В КОНТЕКСТЕ БУРГУНДО-ИМПЕРСКИХ ОТНОШЕНИЙ 1438–1443 ГГ.

The article deals with the diplomatic struggle for the Duchy of Luxembourg, which unfolded in 1438–1443 between the Duke of Burgundy, Philip III the Good, and the heirs of the House of Luxembourg. Not only representatives of the two dynasties were drawn into the conflict, but also a number of the most influential princes of the empire, such as Frederick III of Habsburg, the Archbishop of Trier, the Dukes of Saxony. Lacking direct rights to inherit Luxembourg, the Duke of Burgundy was able to offer its proprietress, Elisabeth de Görlitz, who held the duchy as a pledge, more favorable terms than William III of Saxony and the Archbishop of Trier, Jacques de Sirk. Philip the Good managed to achieve the neutrality of Emperor Frederick III and and win the trust of part of the Luxembourgish nobility. The entry into the duchy of Saxon contingents under the command of Count von Gleichen prevented the Duke of Burgundy from taking control of Luxembourg in 1442. Negotiations that took place during 1442-1443. did not result in an agreement between the parties. Despite the fact that by 1443 the Saxons controlled most of the duchy, Burgundian diplomacy managed to create the legal preconditions for the conquest of Luxembourg.

The Iberian ambition of a duke of Burgundy: Philip the Handsome and the royal treasury in the Crown of Castile (1502–6)

ABSTRACT Philip the Handsome, the first Habsburg king of Castile, ruled briefly, in tandem with his wife except for the final three months of his reign, from the death of Isabella I in November 1504 to his own demise in September 1506. The problems, but also the potential, of the dynastic union of Castile and the Burgundian Low Countries were clear from the time he took his oath as a prince in 1502. Castile’s royal treasury, in a severe crisis from 1503, was to become, owing to its political importance and its role as a major source of revenue, a primary arena for these dynastic interactions.

Chasing the Consent of Alice Chaucer

Chasing the Consent of Alice Chaucer Samantha Katz Seal In the waning days of the year 1424, a series of marriage ceremonies provided entertainment for the elite of Lancastrian France. On November 30, 1424, Philip ("the Good"), duke of Burgundy, England's foremost ally in her ambition to claim all of France, married his second wife, Bonne of Artois. And yet, the ceremony associated with the union of Philip and Bonne was seemingly less elaborate—and was weighed down by fewer plots—than the wedding ceremonies that had preceded it. In July, Burgundy's Grand Chamberlain, Jean de la Trémoille, wed in an event designed to display the magnificent collaboration and mutual loyalty of Burgundy and the regent of English France, John of Bedford. The wedding was held at Burgundy's own expense, and it was attended by "many noble knights, esquires, ladies and damsels of high degree, who were all magnificently entertained by the duke of Burgundy and his officers. There was a grand display of every costly viand and wines, followed by dancings, tiltings, and other amusements."1 And it was at this wedding, the chronicles tell us, fêted on every side by the luxuries of wealth, that Philip, duke of Burgundy, attempted to seduce Alice Chaucer, granddaughter of the English poet and young wife of the earl of Salisbury.2 [End Page 273] The chronicler Pierre Fenin recorded the incident as follows: the duke was "a strong lover of the ladies and at this feast he became enamored with the countess of Salisbury, who was very beautiful, as I've said before. And thus the duke sent her a message."3 Burgundy also, Fenin notes, danced excessively often with the countess at the feast.4 Whatever the content of the message, "when the earl of Salisbury learned the news, he knew the duke to have evil intentions. Because of this, he strove to injure him."5 Another eyewitness, Guillaume Benoît, a servant of William de la Pole, the earl of Suffolk, added more detail, claiming that Suffolk had told him "Monsieur de Burgundy is in love with Madame … he gave her a diamond valued at 6 écus and [the duke] was at Meleun and made a great feast there."6 Moreover, Suffolk supposedly alleged the attempted seduction to be part of a political conspiracy, charging the leader of his own army with plotting to keep Alice "at court … to attract Monsieur de Burgundy."7 Burgundy's attempt to seduce Alice is thus politics and romance, intrigue and chivalry and sexual extortion all rolled up into one small (but popular with historians!) anecdote. And in the simplest terms, we need to understand the events and aftermath of the de la Trémoille wedding through a political lens: the Anglo-Burgundian alliance, that cornerstone of medieval English empire, was starting to fray, and venery was a far more pleasant culprit for that tension than the venality of either Burgundy himself or Henry VI's avaricious uncle, Humphrey of Gloucester. But this story is also, both explicitly and implicitly, one about consent and the performance of courtly love, occurring at a moment when the historical [End Page 274] and the romantic seemed to merge inextricably into chivalric pageantry.8 For the question of Burgundy's pursuit of Alice is uncomfortably embedded into an account of what appears to have been Suffolk's own extramarital pursuit of her, a woman he would not himself marry for at least another six years. What historians have attempted to simplify into a love triangle of sorts is quite clearly a square; the majority of the records are not about Salisbury's reaction to the insult to his wife at all, but instead document Suffolk's possessiveness about a woman over whom he had no legal claim. Suffolk's claim on Alice is not marriage, but chivalry; she is "his lady," if not yet his wife. Chivalric literature has limited space, however, for female consent. The prize of the lady's response is the highest desired intimacy in such texts, but it is also inherently coerced, an outcome created and crafted by male action.9 And as Amia Srinivasan has recently...

Consistent oviposition preferences of the Duke of Burgundy butterfly over 14\xa0years on a chalk grassland reserve in Bedfordshire, UK

The Duke of Burgundy butterfly (Hamearis lucina) is known to have specific habitat requirements for its larval foodplants. However, no studies have yet investigated whether these preferences vary over time or in relation to climate, and there is a paucity of data on whether management on reserves can replicate preferred conditions. Here, we build upon existing research to confirm which characteristics Duke of Burgundy prefer for their larval foodplants, whether preferences remain consistent across years, and whether conservation management on reserves can replicate these conditions. Fieldwork was carried out at Totternhoe Quarry Reserve, a chalk grassland site in Bedfordshire, UK. Confirming previous research, we found that large Primula plants in dense patches were chosen for oviposition, but that once chosen there was no preference to lay eggs on a plant’s largest leaf. Chosen foodplants were also more sheltered and in closer proximity to scrub than their controls. However, at a finer scale, we found little evidence for any preference based on differences in microclimate, or vegetation height immediately surrounding the plants. This suggests features that alter microclimatic conditions at a larger scale are relatively more important for determining the suitability of oviposition sites. Nearly all preferences remained consistent over time and did not vary between years. Management of scrub on the reserve was able to reproduce some preferred habitat features (high plant density), but not others (large plant size).Implications for insect conservationThe consistency of findings across years, despite inter-annual variation in temperature, rainfall and number of adults, indicates that the Duke of Burgundy is conservative in its foodplant choice, highlighting its need for specific habitat management. Targeted management for foodplants could form part of a tractable set of tools to support Duke of Burgundy numbers on reserves, but a careful balance is needed to avoid scrub clearance leaving plants in sub-optimal conditions.

La guerre entre Armagnacs et Bourguignons vue de Beveren

La tentative d’assassinat de Jean sans Peur en 1408, demeurée inconnue jusqu’à ce jour, fut effectuée en représailles au meurtre de son rival Louis d’Orléans à Paris l’année précédente. Le tueur à gages, un Flamand, fut capturé et confié aux soins particuliers de Jean Le Chien, bailli et châtelain de Beveren, en qui le duc de Bourgogne avait entière confiance. L’agresseur fut donc exécuté au château de Beveren. Ainsi les effets de la guerre entre Armagnacs et Bourguignons se firent sentir jusqu’à Beveren, une seigneurie située à la frontière nord-est du comté de Flandre.

Jan van Eyck at London in 1428

Abstract On the basis of reports that Jan van Eyck visited England (he was well traveled in the service of Philip the Good, duke of Burgundy), this essay speculates freely on what the diplomat and painter actually did in and around London for three weeks in 1428. The essay claims, for example, that van Eyck went to the village of Foots Cray to buy watercresses to use as models when painting greenery on the Ghent Altarpiece of the Mystic Lamb (which he completed in 1432). The recently erected gateway to the palace at Greenwich is said likewise to be the model for a towered gateway depicted on the altarpiece. After providing local detail about relevant parts of England in 1428, the essay closes with speculation (although the author writes, “The facts are known”) about the origin of a harp, of a purportedly Welsh variety, appearing on the altarpiece in the hands of an angel. The author argues that it was the instrument of an itinerant Breton musician whom van Eyck had heard in recital at the Poor Clares convent of the Holy Trinity at the Minories in Aldgate. The harpist subsequently murdered his Stepney landlady and was himself killed by enraged local housewives. Van Eyck is said to have purchased the man's harp when his worldly goods were posthumously sold.

Christine de Pizan, Les Sept psaumes allegorisés: Édition critique, introduction et notes, ed. Bernard Ribémont and Christine Reno. Études christiniennes 14. Paris: Honoré Champion, 2017, 110 pp.

Abstract: This welcome new book is the first edition of Christine’s Sept psaumes allegorisés since 1965, and the first to incorporate the readings of all four manuscripts accessible to public, with a thorough review of what is known about the manuscript now in private hands (XL‐XLII). Two of the manuscripts used in this edition are presentation copies supervised by Christine: the editors’ base manuscript P, Paris, BnF, nafr. 4792, dedicatee unknown; and manuscript B, Brussels, KBR, 10987, produced for Jean Sans Peur/John the Fearless, Duke of Burgundy. As a work commissioned by Charles III “the Noble” of Navarre, the Sept Psaumes provides a fascinating complement to Deborah McGrady’s study published at about the same time, The Writer’s Gift or the Patron’s Pleasure, on late medieval French literary patronage and its turbulent political context.

An Ideal Design by Negotiation: The Construction of Philip the Good’s Palais Rihour at Lille

ABSTRACTBetween 1459 and 1474, the duke of Burgundy ordered the construction of an entirely new residence in Lille, known as Palais Rihour. It was Philip the Good’s most ambitious architectural project, which set new standards for the display of princely magnificence. Among the new architectural features were a regular plan, a long gallery, a square stair tower with straight flights, and brick-and-stone masonry. The design had a significant impact on the development of court architecture in fifteenth- and sixteenth-century Spain and northern Europe. Despite its importance, Rihour has received little scholarly attention, the major work by Max Bruchet being almost a century old. The study of Philip’s residence is hampered by the loss of most of the structure. Following damage by two major fires in the eighteenth century, the entire complex was demolished in the mid-nineteenth century and today only the chapel and the relocated monumental stair tower survive. However, extensive archival research allows for a detailed reconstruction of Rihour’s phases of construction. The exceptionally numerous surviving letters offer a rare insight into the planning process and reveal the close involvement of Philip (1396–1467), and later his son Charles the Bold (1433–77), in the construction. Both Valois princes were concerned with minute details, and their frequent changes of mind caused despair among the building’s administrators, the auditors of the Chambre des Comptes of Flanders. The administrators advocated a more pragmatic approach, proposing cheaper alternative solutions to balance cost with the speed of construction. The innovative design was thus also the product of compromise.

Le Traité des quatre dernières choses: Étude comparative des enluminures de trois manuscrits bourguignons du xve siècle (mss Bruxelles, KBR 11129, KBR 9048 et Paris, BnF, Fr. 993)

The Traité des Quatre dernières choses is Jean Miélot’s French translation of an ascetic Latin treatise probably commissioned by Philip the Good, duke of Burgundy. The illuminations of the French manuscripts were made by three different artists working at the court of Burgundy : Jean le Tavernier, Le Maître aux grisailles fleurdelisées and Loyset Liédet. Through the analysis of their illuminated paintings, this article aims at studying the relationship between image and text. We intend to show that each illumination creates a visual discourse stablishing a profound dialog with the treatise text and the fifteenth century conceptions about death and the afterlife.

The Literary Works of François Fénelon on the Achievement of Child Well-being

The French Archbishop of Cambrai and pedagogue François Fénelon (1651-1715), was the tutor of the grandson of Louis XIV. Based on his classical education, he wrote the pedagogical books Education of Girls and The Adventures of Telemachus, The Son of Ulysses. This paper seeks to examine, according to the historical method of analysis, how the moral value and didactic spirit of these literary pieces influenced the European philosophical and pedagogical thinking, they contributed to the cultivation of moral values among young people and they are classical references for the achievement of children’s well-being. Being both priest and pedagogue, Fénelon considered that education is key to welfare and he encouraged the cultivation of moral virtue. His contribution to the philosophy of education is worthwhile, since, in his book Education of Girls, he suggested the need to educate all children, irrespective of gender or social status, in order to obtain the best possible social behavior and to cultivate good characters. Moreover, he put forward his arguments for educating girls and he achieved to make their education a social need. In The Adventures of Telemachus, The Son of Ulysses Fénelon prepared an action plan to help the Duke of Burgundy and throne successor get the moral training that a prince ought to take according to his beliefs. He codified instructions that would affect the personality and behavior of the prince, teaching him the devaluation of human weaknesses in order to lead him to higher spiritual level. Although Fénelon wrote this book for his student, it was welcomed throughout Europe. He promoted humanitarian education as means of prosperity, when education was not institutionalized and children did not have recognized rights yet. The aim of this presentation is to show that Fénelon’s ideas on education and moral cultivation of children contribute to their welfare; ideas which are still valid.

Pinning Down the Past: Lesbian Politics and Queer Ecologies in The Duke of Burgundy

Abstract Peter Strickland’s film The Duke of Burgundy (2014) presents an all-female world of lepidopterists whose non-monetary economic exchanges consist of mounted butterfly specimens and whose interpersonal exchanges consist of BDSM roleplay. This essay explores how the film represents a thought experiment in reimagining lesbian-feminist history by reconciling divergent strands of feminist and lesbian politics that occupied opposing camps during the period of the film’s early-1970s setting. The film’s “soft” eroticism and depiction of a non-capitalist economy posits a seductive fantasy of what an all-female separatist world might have looked like, had the various clashes within second-wave feminism found a utopian middle ground over major issues like the shifting place of lesbians within the women’s movement, the acceptability of sadomasochism and pornography as expressions of women’s sexuality, and the ecological implications of queerness.

Representation of a Social Group in the Cult of the Saint

The representation of the social groups as a product of their worldview finds expression in the institutions, values, norms and strategies of symbolic behavior, for example, in the cult of the saint patron, as his image transmits the ideal collective portrait of a group. The cult of St. Ragnebert (7th century) — laity aristocrat — is very unusual for the early Middle Ages. It is the first known example in history, when a social group creates a cult of “his own” Saint. This group was the Burgundian aristocracy party (optimates) which was in opposition to the royal court in Neustria in the years 660—680 and defended its “old rights” (i. e. “Burgundian particularism”). The Duke of Burgundy’ son, Ragnebert, executed by order of the maior domus Ebroyn, was the victim of this political struggle. Since his death was treated as innocent, he received a halo of the Martyr and was canonized on the initiative of the Metropolitan of Lyon, one of the opposition’s leaders. That was a specific show of the political will. So the “Burgundian frond” received from her ranks a true Saint, whose image was recorded, legitimized and promoted the group identity, class values and political goals.

부르고뉴 공 위그 4세의 공권 확장과 전략적 운영

부르고뉴 공 위그 4세의 공권 확장과 전략적 운영

‘En nous humblement requerant’: Crime Narrations and Rhetorical Strategies in Late Medieval Pardon Letters

The charters of pardon or ‘remission letters’ granted by the king of France and the duke of Burgundy in the late Middle Ages have often been interpreted as a valuable source material to access to the lives, memories, and even the ‘voices’ of the ordinary people who did not produce any other writing. The preamble of each letter was indeed a copy of the supplication submitted by the future pardon beneficiary, in which he narrated his crime and begged for the sovereign’s mercy. However, as with many other documents preserved in court and chancery records, remission letters engage historians with a series of methodological questions due to the nature of the documents and the context in which they were produced. Because they hoped to be granted the monarch’s mercy, petitioners used a series of legal and rhetorical techniques to describe themselves and elaborate their narrations, following the advice of the clerks and lawyers who helped them to compose their petitions. This article explores some of these strategies used by French and Burgundian pardon beneficiaries and compares them to those found in English petitions for pardon. It argues that rather than being considered as an obstacle to accessing to the truth behind the sources, these strategies should be analysed as the testimony of the legal and administrative practices of the time.

Walter Scott’s Portable Borderland : The Example of Anne of Geierstein (1829)

Written as a sequel to Quentin Durward (1823), set in Medieval France in the late 1460s, Anne of Geierstein (1829) also strides beyond the Anglo-Scottish borders. The plot mostly takes place in France (in the Duchy of Burgundy), the Duchy of Lorraine (then part of the Holy Roman Empire) at the time of the Battle of Nancy in 1477, and in Switzerland. It takes up the largely unresolved conflict between King Louis XI of France, a proponent of centralized power, and Charles the Bold, Duke of Burgundy, an advocate of the old feudal system, to focus on the disastrous and eventually fatal campaign waged by Charles the Bold against the Swiss Confederates. It is a “confounded novel” (Journal : 591) which Scott very much struggled with because of both serious health and financial issues, but also because of his lack of knowledge of the cross-border geographical space in which the setting of his story was pitched. “I bothered myself with geography,” Scott wrote in his Journal (582), as he had never set foot in Switzerland. Considered as the father of the historical novel, he nonetheless paid great attention to space, with the border often being the main protagonist of his works. In an age of growing globalization, Anne of Geierstein raises the questions of the Scottish writer’s skill at realistically representing a borderland he had never been to, and above all of his legitimacy to do so at a time when travelling was no longer reserved to social and intellectual dites undertaking the Grand Tour, but was on the contrary popularised and made both easier and cheaper. This paper aims to prove that Scott’s approach to the concepts of spaces and borders paradoxically takes its full meaning in this very novel that pushed him out of his comfort zone, i.e. his familiar Scottish borderland. Thanks to his pseudo-ekphrastic writing and his use of intermedial resources such as drawings and paintings, Scott transposes the Swiss borderland from the real to the fictitious, from the visual to the textual in order to make it a truly intercultural and interlinguistic portable space, the locus of transnational sympathy.