Louise De Research Articles

AOU Elective Member andAukcontributor being honored in Canada: Louise de Kiriline Lawrence

AOU Elective Member and<i>Auk</i>contributor being honored in Canada: Louise de Kiriline Lawrence

Results of old roses introduction at M. M. Hryshko National Botanical Garden, NAS of Ukraine

Purpose. To evaluate results of old garden roses varieties introduction based on the analysis of their decorative pro­perties and economic characters. Methods. Field study, comparative analysis, generalization. Results. The collection of roses at M. M. Hryshko National Botanical Garden (the city of Kyiv) was analyzed. A comparison was drawn between their gene pool and the world collection of roses. After collection screening, 22 old varieties were found at M. M. Hryshko National Botanical Garden and described. Their decorative pro­perties, economic characters and winter hardiness were eva­luated, the final result ranged from 81 to 100 points. Evalua­tion of winter hardiness that was based on the records of shoot damage degree in the field during the winter showed that in Kyiv conditions 13 cultivars were exceptionally resistant to frost, the other 9 appeared to be frost-sensitive. Conclusions. As follows from the analysis of decorative va­lues, economic characters and winter hardiness, 12 varieties of old roses such as ‘Cardinal de Richelieu’, ‘Commandant Beaurepaire’, ‘La Reine’, ‘Louise de Odier’, ‘Madame Plantier’, ‘Maiden’s Blush’, ‘Marie Baumann’, ‘Mousseuse Rouge’, ‘Persian Yellow’, ‘Poppius’, ‘Reine des Violettes’, ‘Versicolor’ were found to be perfectly suitable for landscaping.

Quelques échos des miniatures du Livre de la mutacion de Fortune dans l’entourage de Louise de Savoie

Several miniatures painted in the early years of the fifteenth century in manuscripts of the Livre de la mutacion de Fortune by either the Cité des dames Master or the Épître d’Othéa Master influenced images created a century later by Robinet Testard, Jean Pichore and other anonymous artists working for Louise de Savoie. Thus, certain traits of the sixteenth-century iconography of Fortune in France - the mi-parti clothing and face of the goddess as well as the horizontal wheel at the center of which she stands - turn out to be indebted to works designed for and under the direction of Christine de Pizan.

Henri de Maupas du Tour: The Funeral Oration for Vincent de Paul, 23 November 1660 by Edward R. Udovic, C.M.

Reviewed by: Henri de Maupas du Tour: The Funeral Oration for Vincent de Paul, 23 November 1660by Edward R. Udovic, C.M. Seán Alexander Smith Henri de Maupas du Tour: The Funeral Oration for Vincent de Paul, 23 November 1660. Introduction, Translation, and Annotation by Edward R. Udovic, C.M. (Chicago: Vincentian Studies Institute, De Paul University. 2015. Pp. 223. $29.99 paperback. ISBN 978-1-936696-07-9.) To the undergraduate, it may seem extravagant to devote an entire book to a single speech. But Udovic’s attention in this elegant volume warrants the labor, and not simply because St. Vincent de Paul’s career remains an intriguing chapter of early-modern French Catholicism. Scholars are only just now beginning to submit the life of Vincent and the ministries of his followers to more heightened scrutiny, and justly so. The bolder accomplishments of Vincent’s life are now well publicized: for instance, his foundation of the Congregation of the Mission in 1625 and his establishment, along with St. Louise de Marillac, of the Daughters of Charity in 1633. Yet historians have much work to do in measuring his exact influence in French dévot circles, the extent of his collaboration with lay patrons, and the cumulative effects on the French Church of his lengthy career. Udovic begins here with an essential part of this task: probing the utterances, myths, and assertions advanced by contemporary commentators like Henri de Maupas du Tour. Starting with the work by Maupas du Tour (1606–80) is eminently sensible: he was a seasoned disciple and collaborator of Vincent, he was prominent among dévot circles in his own right, and he was the first to publicly comment on Vincent’s life and merits. The reader would do well to approach this work with two observations in mind. The first is that Vincent remains a difficult subject to the scientific biographer, and second that Maupas du Tour’s eulogy is not a scientific biography. Vincent was notoriously restrained in his correspondence and sometimes cryptic; so interpreting his life makes acute demands on the analyst. Moreover, when he wrote his oration, Maupas du Tour assuredly did not consult the more than 30,000 letters Vincent bequeathed to historians. As well as remembering the enormous scope of this particular subject’s activity, Maupas du Tour’s text must also be foregrounded with the special exigencies [End Page 623]placed on the eulogist in composing a life prior to Vincent’s canonization in 1737, added with the tailored literary demands of the seventeenth century. In recognition of these requirements, this work cannot simply be a transliteration and translation of a primary document, however welcome such a labor would be. In fact, Udovic not only translates the text but also excavates far beneath it to give rich context and depth to the eulogy’s many biblical, literary, and historical components. Succeeding an opening chapter that helpfully provides new information on the author of the eulogy (and which usefully highlights Maupas du Tour’s own reforming credentials in the French Catholic Church), Udovic then uses particular passages from the panegyric to elucidate the eulogist’s precise methods and objectives. This is highly beneficial, for the reader is then well prepared to tackle the oration with a better understanding of the core ingredients of saintliness and sainthood to observers in the early-modern era. A final preambular chapter furnishes a cogent analysis of Vincent’s cause of canonization, reminding the observer that Maupas du Tour’s eulogy was the initial step in lengthy investigations (1660–1737) into Vincent’s virtue and his broader contributions to the French, and universal, Catholic Church. This book is to be heartily recommended to all scholars of early-modern Europe and especially students of its cultural and religious heritage. Because it provides close textual analysis of a primary document from the early-modern period, this volume will be an excellent edition to any history syllabus, and will prove extremely useful as a teaching tool in the classroom. Finally, the text is accompanied by an array of impressive contemporary images and portraits drawn from the ever-growing Vincentian Studies Collection at DePaul University, testifying to...

Patient support and counselling: an interview with Jasmine Thombs and Louise de Board

Counselling is important in the eye clinic because patients attend with a wide range of conditions that require investigation and treatment, and often experience high level of anxiety and stress. Visual loss has a huge psychological as well as practical impact and is associated with a higher than normal risk of depression. Jasmine Thombs and Louise de Board, who are both ophthalmic nurse counsellors, explain how counselling offers patients a confidential space to talk and think about their eye problems, and how this can: reduce levels of anxiety and depression, equip patients with specialist information, and provide access to support groups.

La poésie à la cour de François Ier éd. par Jean-Eudes Girot

often left skeptical, rather than nodding in agreement with a potentially appealing critical approach. Indeed, the desire to push the analytical envelope is evident throughout the book. This can result, among other things, in fuzzy chronology and geography, even in simple statements, such as saying that troubadour manuscripts N (Padua, late thirteenth c.) and R (Toulouse, fourteenth c.) are from the“late Middle Ages”or calling the early thirteenth-century frescoes at Bassano del Grappa and an illuminated manuscript of Alfonso X’s Milagros (Escorial T.I.i, c. 1270–90)“contemporary”(116) to the same two chansonniers. All of this is unfortunate, as there are few scholars with the expertise to tackle such a comparative study, and Galvez is commended for her will to push the comparative envelope and examine together texts, and manuscripts, from different traditions and linguistic communities. Her arguments challenge some outdated ideas about chansonniers, and provide fresh readings of a number of fascinating lyric corpora; they would have had greater impact with more substantiation and less speculation. University of Missouri, Kansas City Kathy M. Krause Girot, Jean-Eudes, éd. La poésie à la cour de François Ier . Paris: PUPS, 2012. ISBN 9782 -84050-832-8. Pp. 272. 25 a. Published under the auspices of the Centre V.L. Saulnier, this volume’s thirteen articles provide consistently insightful studies of the era between the Rhétoriqueurs and the Pléiade. While Francois Ier and his ebullient court are keenly familiar to all specialists of French history and literature, there is surprisingly little recent work on the poetic activity of the early and mid-Renaissance. The multiple linkages drawn between the sister arts, i.e., poetry, painting, and music, emerge as one of the volume’s chief contributions. The book argues that François’s patronage formed the basis of what became French national identity. Frank Lestringant emphasizes this point in his preface, but also signals the role of Clément Marot who, as secretary to Marguerite de Navarre, and Valet de Chambre du Roy, greatly promoted poetic activity. Following these ideas in his introduction, Girot discusses the development of the anthology during the Renaissance as a reflection of both print culture and the emerging concept of authorship. Relatedly, Isabelle Pantin looks at the issue of typography and how changes from Gothic to Roman script led to enhanced readability and increased circulation. Notions of audience interest Guillaume Berthon, who views Marot’s editions of Villon as an effort to attract attention to other medieval authors such as Alain Chartier and Chrétien de Troyes. François’s cultural influence naturally involves his fascination with Italy. Franco Tomasi’s essay sheds light on the success and failure of Italian poets in the king’s court, while Luisa Capodieci studies the Italian Theocrenus’s ekphrastic homage to Rosso Fiorentino’s tableau of Venus,Cupid,and Bacchus.Eroticism is a central element in Mireille Huchon’s article describing how the licentious was 228 FRENCH REVIEW 88.1 Reviews 229 suppressed in the ‘approved’ Recueil de Vraye Poésie Françoyse, but included in the equally influential but less sanctioned Art poétique by Thomas Sébillet. The compilation and distribution of noteworthy recueils is also the theme of Nathalie Dauvois’s intriguing essay on the Fleurs de Poésie Françoyse, where some epigrams were set to music by Claudin de Sermisy. The often unspecified relationship between poetry and music becomes the focus of both Frank Dobbins’s and Alice Tacaille’s contributions, while Élise Rajchenbach-Teller explores the political and poetic feud between Paris and Lyon which took place in the form of a querelle des dames actually authored by men. Completing the volume are two articles, by Isabelle Garnier and Michel Magnien, which examine the funereal poetry occasioned by deaths of the Queen Mother, Louise de Savoie, and the Dauphin François. The volume commands attention for its exhaustive use of primary sources and the quality of its overall erudition. If there is a cavil, it would stem from the lack of attention given to the effect of the Wars of Religion on creative output. Similarly, more could have been said about the influence of this period...

Application of Implementation Science for Homeless Interventions

AffiliationsRoger Casey is with the US Department of Veterans Affairs National Center on Homelessness Among Veterans, Philadelphia, PA. Colleen Clark and Roger Peters are with the Department of Mental Health Law and Policy, Louise de la Parte Florida Mental Health Institute, University of South Florida, Tampa. Paul Smits is with the National Center on Homelessness Among Veterans, University of South Florida.

Three American Women in Ministry

Despite the marginalization of their voices and the trivialization of their importance, women have always been involved in the Church’s ministry, and many of them have represented creative new ways of living out the gospel in their own time and their own context. In the history of the church, one can point to Mary Magdalene as the “apostle to the apostles,” the many unnamed women of the first centuries who were among the church’s most effective evangelizers, Hilda of Whitby, Hildegard of Bingen and Julian of Norwich in the Middle Ages, Catherine of Siena in the Renaissance, and Marie de l’Incarnation, Louise de Marillac and Elizabeth Seton in the modern period. To this list of faithful and innovative women in the church’s history, we offer here reflections on the lives of three contemporary American women, all of whom have contributed fresh understandings of ministry, not only to the mission of the local church in the United States, but also to the mission of the church throughout the world.

Sin and Redemption in the Hours of François I (1539–40) by the Master of François de Rohan

Sin and Redemption in the <i>Hours of François I</i> (1539–40) by the Master of François de Rohan

The Case for the Courtesan Novel Sub-Genre: Counter-Discourse and Intertextuality in de Chabrillan, de la Bigne, and de Pougy

This essay makes the case for a courtesan novel, a sub-genre of popular fiction by renowned demi - mondaines in France from the Second Empire through the Belle Époque, who challenged in their novels Alexandre Dumas's portrayal of Marguerite in his La Dame aux camélias (1848), claiming that this work do not only promotes unrealistic stereotypes of courtesans, but also harmful ones. After defining the characteristics of the genre, this essay examines the way Céleste de Chabrillan, who famously privileged the courtesan's response to her own alienation in her autobiographical Adieux au monde (1854) and her fictional la Sapho , inspired Louise (“Valtesse”) de la Bigne (who wrote as “Ego”) to also up her pen to write courtesan fiction just as her protegée Liane de Pougy would during the Belle Époque. In Isola , Ego paints the competitive and aspersive demi - monde at the dawn of the Belle Époque. The work, now long-forgotten, though popular when first released, entices readers with its efforts to humanize the demi - mondaine , to underscore the societal hypocrisies that fuel its existence, and to refute the stereotypes of the courtesan as a venal and heartless creature.

An Archbishop’s View on Immigration and Social Justice

An Archbishop’s View on Immigration and Social Justice Rubén Franco (bio) A high authority in the Catholic Church in Los Angeles, where he is a well-known outspoken activist on immigration, Cardinal Roger M. Mahony, visited DePaul University for a day during Fall term 2012. He had been invited for activities in commemoration of Hispanic Heritage Month. He delivered the fourth annual Archbishop Oscar Romero Latino Breakfast Speech, organized by the Center for Intercultural Programs in the Student Center, and then spent the day traveling between the University’s two campuses in the Loop and Lincoln Park, to participate in conversation groups and panels. Now retired from the Los Angeles Archdiocese, Mahony has stated that his new vocation will be to advocate full-time for the cause of undocumented immigrants, and to initiatives toward their legal residency status. The DePaul Breakfast was attended by more than a hundred faculty, staff and students. Mahony’s words tiptoed between poetry and politics, as he peppered his talk with immigration figures, citations from Oscar Romero’s historic sermons (with pauses to add his own social commentary), and his views on the Catholic Church’s urgent need to help marginalized immigrant groups. He encouraged the group to understand that, “we cannot do everything, but it (the Church) compels us to do something.” As he recited the eloquent words of the martyred Salvadoran archbishop, the clinking silverware remained silent and inspired eyes clung to his every word. Linking the struggle for social justice in 1980s El Salvador to that of the extensive population in the U.S. called “illegal,” Mahony drew from observations during his many years of social service in Los Angeles. The Archbishop Emeritus made it clear that the Church, its educational institutions, and everyone in this country, stand to gain from comprehensive immigration reform. He proclaimed the issue of immigrant rights “the Civil Rights issue” of this generation. After the breakfast, he attended a brief Catholic mass in the St. Louise de Marillac campus chapel. In the afternoon, he commuted to the Loop campus to address a group from the DePaul Law School. In his talk titled, For I was a Stranger and You Welcomed Me, he applied Biblical foundations, Catholic Church and Catholic higher education principles to the need for immigration reform, supplementing these with a historical review of immigrant arrivals to the U.S. He then concluded with five key elements to arrive at a solution for legalizing those in residence. First, facts must be separated from myths by understanding the history of immigrants in the U.S.; second, there needs to be a personal connection with immigrant families to understand their stories; third, immigrants and their children must be humanized; fourth, the immigrant activist community must shift the emphasis toward the future, to work toward the fifth and final element: working for, and urging, immigration policy reform at the federal level. As Mahony put it, “people want to stay home,” thus efforts by home countries must become part of the larger solution. He stated that people often have and should be able to migrate to provide a better life for their families, echoing the stance taken by the U.S. Conference of Catholic Bishops, “that migration should be driven by choice not necessity.”1 The Cardinal conceded that “nations have the right to protect their borders,” but that it should be done in a measured and succinct manner with greater concentration on actual threats to national security. He stressed the need for a practice of providing asylum for refugees, reiterating the importance of recognizing the human rights and dignity of populations: to bring focus to “reuniting families, not separating them.” His address met some skepticism in the room of future litigators. One unconvinced student expressed a lack of faith in the ability of politicians to solve this issue, stating that, “politicians nowadays only care about getting reelected. They never listen to the people.” Mahony responded with various examples in which social justice advocacy brought changes to government policy. As the event concluded, the question-and-answer portion quickly turned into a heated debate among audience members, which was made up of current and past DePaul Law School...

A New Heart: Jacques-Bénigne Bossuet on Conversion

O mon Dieu ... creez en moi un coeur nouveau. LOUISE DE LA VALLIERE (1) TOWARD THE END OF HIS LIFE, Richard Rorty summarized aspiration of his philosophical project with this statement: We hope to do to Nature, Reason and Truth what eighteenth century did to God. We think, he further explained, anything you can do with notions like 'Nature,' 'Reason' and 'Truth' you can do better, with such notions as 'the most useful description for our purposes' and 'the attainment of free consensus about what to believe and to desire.' (2) Both seventeenth-century sermon that is here translated and life of woman whose conversion it reflects upon stand as challenges to Rorty's conviction. (3) They testify that human soul, its inner and most intimate recesses, craves much more than effective therapy or comfort of being outward peace with its neighbors. For human heart belongs to a creature that yearns for nothing less than union with its Creator. There is more than a little irony Rorty's self-description as a philosopher. Denying, as he does, significance of truth and notion that intellect is perfected by knowing, he hardly fulfills any literal interpretation of name. Nor would he be uncomplicated exemplar of a more restricted understanding of craft, for he was as likely to trade story-telling as argument, and if argument, then argument about stories we tell. Darwin's suggestion of the possibility that we may be clever animals trying to reshape environment to our needs, rather than intellects attempting to grasp intrinsic structure of reality served as his first principle. (4) But as a principle, this appeal functioned less as a premise than as a mise-en-scene, a stand-in for upon a time. Darwin, he recounted, made it harder to be a Kantian than it had previously been, and once his apt pupil, Nietzsche had added another chapter to Darwinian story, people--note insouciant generality of sentence's subject--found it very hard to think of themselves as having a transcendental or a noumenal side. What happened next? hundred-odd years spent absorbing and improving on Darwin's empirical story have, I suspect and hope, unfitted us for listening to transcendental stories. And so, in course of those years we have gradually substituted making of a better future for ourselves ... for attempt to see ourselves from outside of time and history. The story's moral, then, is that philosophy is not at all a path toward self-knowledge and truth, but instead an aid to creating ourselves. (5) As a story-teller, Rorty was both captivating and astute. In tale that he would have us tell about the emancipation of thought from obsolete doctrines, he pointed to importance of Montaigne, suggesting that but for overwhelming influence of Cartestianism, it could well have been Montaigne to have set modern philosophy on its path toward a secular world-view. (6) Surely this supposition is reasonable, for spite of Montaigne's famed complexity, it is undeniable that one strand of his influence lay precisely that direction. To libertins of France's Grand Siecle, Montaigne represented very spirit of self-creation that Rorty would later laud; as one commentator put it, Montaigne was to libertins the symbol of a kind of writing about me. (7) Write about themselves they certainly did: My hand is so generous and so free-spirited (libertine) that it will follow only whim of my fantasy, and this with such independence and unrestrained freedom that it glories having no other end view than simple search for truths or what accords with nature, nor any object more important than what pleases me. (8) The reference to nature this passage by Francois de La Mothe Le Vayer was a pointed one, meant to exclude appeal to grace; he had earlier announced that he would philosophize in puris naturibus, and later followed Montaigne's example by praising Julian Apostate, among other pagans, his treatise on LaVertue des Payens [1641]. …

The Lord as Their Portion: The Story of the Religious Orders and How They Shaped Our World (review)

Reviewed by: The Lord as Their Portion: The Story of the Religious Orders and How They Shaped Our World Michael W. Blastic The Lord as Their Portion: The Story of the Religious Orders and How They Shaped Our World. By Elizabeth Rapley. (Grand Rapids, MI: William B. Eerdmans Publishing. 2011. Pp. xii, 337. $24.00 paperback. ISBN 978-0-8028-6588-5.) Elizabeth Rapley sets out to recount the story of religious “for those people for whom monks and nuns are only a distant memory, or who have never known them at all” (p. ix). This intended audience determines the mode of her presentation without footnotes or bibliography and only brief recommendations for reading at the conclusion of each chapter. She covers approximately 1500 years of history in six chapters, and includes a helpful glossary and index. Chapter 1 begins the story in the Egyptian desert; moves to St. Benedict of Nursia; and traces the Benedictine reforms through Cluny, the eremitical reforms, and Cîteaux. The beginnings of the apostolic life movements in the eleventh century, the revival of the canons regular, the origins of military orders, and an overview of monastic women concludes the chapter. Chapter 2, covering the Middle Ages from 1200 to 1500, chronicles the origins of the mendicants, focusing on the growth of the Franciscan and Dominican orders through the Black Death and the Great Schism. Rapley describes the expansion, the pastoral role in the Western Church (and conflict with secular clergy), and the missions of the Franciscan Order to the Orient through the early-fourteenth century and the crisis of the Spirituals. The Poor Clares are treated briefly, as well as the Cistercian nuns and the Frauenfrage in general. The chapter concludes with a brief overview of the “Third Orders” and the Brothers of the Common Life. Chapter 3 covers the period of the Reformation and its impact on religious life. The Reformers’ critique of religious life and the turbulent history of the sixteenth century is the backdrop for the origins of the Capuchin reform and the Jesuits in particular, as well as for the Carmelite reform of Ss. Teresa of Ávila and John of the Cross. The growth of new women’s orders is presented through the example of St. Angela of Merici and the origins of the Ursulines. This chapter concludes with a description of the missionary endeavors of orders in the Far East and in South America. [End Page 769] The Age of Confessionalism is the subject of chapter 4, in which Rapley describes the role of religious orders in the Catholic regions of Europe, focusing primarily on France. The attempt of religious women to move beyond the requirement of cloister imposed by the Council of Trent is portrayed with the story of Ss. Jeanne de Chantal and Francis de Sales and the foundation of the Visitation. St. Vincent de Paul and the Congregation of the Mission, St. Louise de Marillac and the Daughters of Charity, and St. Jean-Baptiste de la Salle and the teaching brothers demonstrate the importance of the social ministries of charity and teaching. The reform of Armand-Jean de Rancé and the origins of the Trappists conclude the chapter. Chapter 5 focuses again on France in the eighteenth century. The suppression of the Jesuits is chronicled, as is the preference for the active social works of charity over the contemplative life by the various regimes. The founding of the Montfortian congregations by St. Louis de Montfort and the Redemptorists by St. Alphonsus Liguori are highlighted in this century of revolutions. The final chapter describes the revival of religious life in the nineteenth century. Featured here are St. John Bosco and the Salesians, St. Jeanne Jugan and the Little Sisters of the Poor, the revival of women’s communities in France, and the establishment of orders in the new world. Given the intended audience, Rapley succeeds admirably in telling the story of religious orders throughout Christian history. As she herself admits, there is much more to this story than she could include, but one learns from her work just how integral to the story of Christianity these women and men were and are who took “the Lord as...

Jacques Louis David's Madame de Pastoret and Her Son

Jacques Louis David's <i>Madame de Pastoret and Her Son</i>

Dangerous Women, Libertine Epicures, and the Rise of Sensibility, 1670-1730

Laura Linker. Dangerous Women, Epicures, and the Rise of Sensibility, 1670-1730. Burlington: Ashgate, 2011. 174 pp. $99.95.Laura Linker's book Dangerous Women, Epicures, and the Rise of Sensibility, 1670-1730 (2011) begins with a deceptively simple question: What is the female libertine? (1). In her answer, Linker notes the Oxford English Dictionary's assertion that the term libertine is rarely applied to a woman (1). Despite the OED's pronouncement, scholars such as Warren Chernaik, James Turner, and Harold Weber, among others, have shed new light on the way in which women participated and shaped libertine culture, primarily during the Restoration period in England. Yet as Linker notes, there has never been a study devoted solely to female libertines, and Linker's work is intended to fill that gap. She argues that libertinism and sensibility, instead of being separate literary traditions, evolved together and share an emphasis on rebellious sexuality (5). Furthermore, she argues that while scholars have often argued that Thomas Hobbes's Leviathan (1651) molded writers' portrayals of female libertines, these scholars have overlooked the crucial role played by the philosopher Lucretius, whose espousal of Epicurean philosophy was an important source for the writers Linker studies in her book. Ultimately, Linker traces the various transformations of the female libertine in literary portrayals from the late Stuart to the Early Georgian periods and demonstrates the considerable fascination the figure of the female libertine exerted over both readers and writers.Linker notes that the female libertine is not the product of a single historical age, and scholars can find examples of her in works from Homer to Shakespeare. She argues, however, the female libertine achieved a new kind of prominence in Restoration England as Charles II made actual female libertines members of his court. These female libertines-including Barbara Villiers, Duchess of Cleveland; Nell Gwyn; Louise de Keroualle, Duchess of Portsmouth; and Hortense Mancini, the Duchess of Mazarin-served as Charles II 's mistresses and exercised considerable influence over him. As Linker argues in chapter 1 of her book, Dryden's Marriage a-la-Mode (1671) is a satire of Charles II and his court mistresses, in which the playwright contends that political and sexual stability can be achieved only by espousing the Epicurean ideal of pleasure articulated in Lucretius's De rerum natura. In following the twists and turns of Marriage a-la-Mode's complicated plot, Linker sometimes loses sight of the female libertines who are at the core of the argument. She nonetheless provides a sophisticated reading of this text, which allows us to see the full range of Dryden's ambivalence toward libertinism.As Linker shows in her second chapter, Aphra Behn responded to such negative portrayals of female libertines by creating new types in of her works, The Lucky Chance (1686) and The History of the Nun (1689). Inspired by the French culture of sensibilite that developed around the infamous love story of Heloise and Abelard, Behn's libertines are women in distress who physically manifest their psychic turmoil. Again, we see both the influence of Epicurean ideals in Behn's portrayal of Julia in The Lucky Chance and the influence of Charles II 's mistresses in Behn's portrayal of Isabella, who is modeled after the Duchess of Mazarin, in The History of the Nun.Linker next turns to the figure of the Humane Libertine in chapter 3. In Catharine Trotter's little-studied popular novella Olinda's Adventures (1693) and in her less popular play Love at a Loss (1700), the female libertines are characterized in large part by the desire they exhibit for a sympathetic community to understand and accept them. These libertines, according to Linker, are largely caught between two paradigms, or social worlds (76); they grapple with the question of whether to pursue their libertine desires and become socially ostracized or to enter loveless but socially approved marriages. …

Brantôme mémorialiste et conteur by Étienne Vaucheret

essays, throughout which no aspect of Beckett’s work is left unexamined. Tonning sets the collection’s tone with an elegantly-written introduction in which he ponders the complexities of such a wide-ranging enterprise as pursuing the various influences on Beckett’s writing and his influence on the writing of others. The scholarly game of tracing Beckett’s “debts and legacies” is fraught with a unique set of difficulties and ethical implications, given that the writer himself was notoriously sardonic toward scholarship. How, Tonning asks, “is one to stay, or to become , faithful to that nebulous entity ‘Beckett’” (11), when the task seems only to lead the scholar into dead-ends and unknown quantities? If the articles collected here cannot definitively answer the question of the critic’s responsibility toward such a self-positioned cipher of a writer, they go far toward demonstrating the varieties of positions and pathways that future Beckett scholarship may take. Beckett’s complex relationship with scholarly pursuits is taken up by Steven Connor in “Beckett and the Loutishness of Learning,” which ought to be required reading for any critic attempting to tame the Beckettian canon within the language and conventions of scholarship. Connor deftly traces the way in which the academe persistently haunted Beckett’s creative work after the writer’s early scholarly training in Dublin and Paris. Beckett may have turned his back on academia , Connor argues, but its rules and its formalities provided him “with the model of a violent ventriloquism” (264) that runs throughout his plays and novels. In this astute analysis of the entire project of Beckett scholarship, Connor suggests that Beckett, while certainly not an academic writer, is the “academics’ writer” par excellence: “Beckett and the academy are locked in a lascivious, Laocoon-like clinch, a cycle of dependence and resentment that constitutes a veritable anxiety of confluence” (272). A kind of meta-commentary on the entire volume at whose center it stands, Connor’s essay, then, serves not only as an example of the sophisticated scholarship on display in Debts and Legacies, but also as a warning of the complicated terrain of such a project. For an author who had so famously little to say about his own debts, and whose widespread legacies appear to ceaselessly proliferate, the temptation for the scholar is to find a way to say almost anything. If the task of the critics is to maintain fidelity to Beckett’s spirit, while tracing what Beckett called the “straws [and] flotsam” (10) of his copious debts and innumerable legacies, then most of these essays succeed immensely. Some of the strongest contributions include Feldman’s account of the complex influence of philosophical language on Beckett’s early poetics, Shane Weller’s investigation into the structure of psychoanalysis in Endgame, and Doireann Lalor’s long-overdue analysis of the Italianate dimension in Beckett, beyond the obvious touchstone of Dante. But no matter what one’s critical point of view or area of expertise, this volume will have something to offer all scholars interested in any of the seemingly endless facets of Beckett’s work. Emory University (GA) Jacob Hovind VAUCHERET, ÉTIENNE. Brantôme mémorialiste et conteur. Paris: Champion, 2010. ISBN 978-2-7453-2065-0. Pp. 377. 70 a. This excellent study begins with a brief biography of Pierre de Bourdeille, seigneur de Brantôme, as well as a genealogy of his copious work. According to Reviews 395 Vaucheret, Brantôme wrote about three dominant themes: the military life of the period, nostalgic memories of the “grandes dames” he had known, and the “multiple facets” of eroticism (271). Vaucheret concentrates on the first two of these themes and barely mentions the third. Nevertheless, this carefully-researched book is a welcome addition to the scholarship on this long-neglected author, the subject of only two monographs since the 1970s. No one knows the memorialist better than Vaucheret, who is also the editor of the Pléiade edition of the Recueil des dames, for which Brantôme drew upon several privileged sources: his mother Anne de Vivonne, identified as the devisante Ennasuite of the Heptaméron, his grandmother Louise de Daillon, who was a dame d’honneur of...

Fixing Things: What Louise De Salvo Has Taught Me About Writing

It started with Adultery. My friend Nina was stuck. She was writing a memoir and she had come to a part in the story that was difficult for her to tell. The difficult part concerned the years when ...

Louise de Keralio reads the biography of Charles V written by Christine de Pizan: a comparison of two female intellectuals who lived four centuries apart

Louise de Keralio reads the biography of Charles V written by Christine de Pizan: a comparison of two female intellectuals who lived four centuries apart

Nurses and their patients – informing practice through psychodynamic insightsNurses and their patients – informing practice through psychodynamic Insights Raeve Louise de , Rafferty Mic and Paget MaryM&amp;K Publishing266pp£28978 1 905539 31 41905539312

Nurses and their patients – informing practice through psychodynamic insightsNurses and their patients – informing practice through psychodynamic Insights Raeve Louise de , Rafferty Mic and Paget MaryM&amp;K Publishing266pp£28978 1 905539 31 41905539312

The Patronage of Rembrandt's Passion Series: Art, Politics, and Princely Display at the Court of Orange in the Seventeenth Century

IntroductionBetween 1633 and 1646, Prince Frederik Hendrik of Orange (1584-1647) commissioned and purchased seven paintings by Rembrandt. Commonly known as the Passion Series, the paintings remain an intriguing puzzle in the world of Rembrandt studies. The Passion paintings do not, in fact, narrate the story of Christ's Passion. Two scenes from the childhood of Christ (the Adoration of the Shepherds and Circumcision) are included, while major events of the Passion (such as the Crucifixion) are omitted. Furthermore, the paintings are on different supports, in different styles, and were assembled in a piecemeal fashion at irregular intervals over more than 15 years. Yet the series remains the most prestigious commission in Rembrandt's career. Made for the premier patron of art in the Northern Netherlands, it was by any standards among the artist's most valuable (as well as lucrative) projects.Seven paintings made up the Passion group in 1646; today, six survive, in the Alte Pinakothek in Munich. In chronological order of production, they are: the Descent from the Cross (1633); the Raising of the Cross (1633); the Ascension (1636); the Entombment (by 1639) and Resurrection (by 1639); and the Adoration of the Shepherds (1646). A Circumcision (1646) has been lost, though a copy of the composition may exist in the Herzog Anton Ulrich Museum, Braunschweig.1 There are two main reasons to think about these paintings as a group: the first is their common size and format (about 90 x 70 cm, with slight variations, all with semicircular arched tops and ebony frames). The second is the fact that they were all owned by Frederik Hendrik, stadhouder in the Northern Netherlands and Prince of Orange-Nassau.The paintings have garnered relatively little sustained attention in Rembrandt scholarship, perhaps due to their visual oddity (a perception exacerbated by the sadly worn condition of the six remaining paintings). The scholarly focus has been on the artist, and on the seven letters in Rembrandt's own hand that survive regarding this commission. By contrast, the role of the patron has been minimized. Most scholarship on the paintings simply states the fact that they were made for the Prince while discussing separate issues such as Rembrandt's stylistic development or biography.2 In this article, I will focus on the patronage of these works, their location within a larger system of court display, and their reception and interpretation. As writers on patronage have pointed out, court art and architecture in the early modern period was invested with important functions and carried significant weight in a ruler's quest to define and solidify power.3 Since the Passion series was a court commission, re-establishing its courtly context (both in its physical setting and audience) provides a new understanding of the frame of reference within which the series operated.Enter the PatronFrederik Hendrik was the third son of the famous champion of Dutch independence, Willem van Orange-Nassau (also known as Willem de Zwijger, or 'the Taciturn'), and one of several military heroes and stadhouders from that aristocratic family. From youth he was groomed to serve the United Provinces and further the family interests. Frederik Hendrik learned military skills at the elbow of his elder half-brother Maurits van Orange, the renowned general and military strategist. Frederik Hendrik acquired diplomatic and social skills during service to his godfather King Henri IV of France, and from his well-connected French Hugenot mother, Louise de Coligny.Like his father and brother, Frederik Hendrik served as stadhouder in the Northern Netherlands. The stadhouder (literally, 'city-holder,' or governor in today's terms) post derived from the nation's earlier history as a part of the Burgundian and Hapsburg empires. In those days, trusted local aristocrats were appointed by absent rulers to govern on their behalf. During the Republic, the stadhouder instead served the States-General, the sovereign governmental body made up of representatives from the regent class across the Netherlands. …