Monsieur De Research Articles

An analysis of the music symbols in Pascal Quignard’s Tous les matins du monde

Abstract This research paper delves into the intricate role of music as a symbolic form in Pascal Quignard’s novel Tous les matins du monde, exploring its capacity to convey profound human emotions and experiences. Set against the backdrop of 17th-century France, the narrative follows the lives of Monsieur de Sainte Colombe and Marin Marais, renowned viola da gamba players, to contemplate the essence of music and its representation of human sentiment. The paper examines the semiotic nature of music, its relationship with memory and emotion, and the philosophical inquiry into music’s intrinsic value as an art form. It also discusses the novel’s adaptation into a film and its impact on the revival of Baroque music. Furthermore, the paper draws parallels between the myth of Orpheus and the characters’ personal journeys, highlighting the transformative power of music and its ability to transcend reality. The analysis is grounded in the works of various scholars, including Ferdinand de Saussure, Suzanne Langer, and Charles Sanders Peirce, to provide a comprehensive understanding of music’s symbolic essence in Quignard’s literary creation.

Homeless Narrative in Jean Lorrain's Monsieur de Phocas

Abstract: Pedigreed by hyperesthesia, purified by an anorexia of the real, the Decadents strove to perfect an art positioned on the threshold of death where vitality's flame shone brightest before guttering and going out. Heralded by Denis Neveu as "le roman bible de la Dėcadence," Jean Lorrain's Monsieur de Phocas (1901) shows how the repetition compulsion takes life with its disharmony and suffering, and stylizes it in works that are dead and thus immune to pain. Lorrain's hero, le duc de Fréneuse, encounters life's horrors as the undead who proliferate as the wax dolls, mannequins, and eyeless statues which remain after living being are replaced with their simulacra. Expressing a desire for escape from the compulsion to create, Monsieur de Phocas is a text in search of the one who can absolve it of the need to write in the first place.

Bureaucratic Modernity: Huysmans as “rond-de-cuir”

By bringing together Joris-Karl Huysmans’s novella À vau-l’eau, his short story “La Retraite de Monsieur Bougran” (1888), and his personal writing, I argue that bureaucratic labor produces an affective atmosphere of ennui and disgust that defines both Huysmans’s œuvre and how he and his contemporaries understand and represent modernity. As Huysmans’s work suggests, the repetition and perceived meaninglessness of bureaucratic writing produces emotional and physical effects on the body of the bureaucrat by delimiting the patterns of his daily life. In representing the feelings of ennui and disgust that emerge from these effects on his literary bureaucrats, and himself, Huysmans reveals a larger cultural anxiety over the role of bureaucracy in modern life and its implications for non-bureaucratic writing in the modern age. In particular, these anxieties play out in the rampant anti-fonctionnarisme and broader affective crisis, the shared pessimisme, at the end of the nineteenth century.

A Case for Charpentier: Treatise on Accompaniment and Composition trans. and ed. by Carla E. Williams

Reviewed by: A Case for Charpentier: Treatise on Accompaniment and Composition trans. and ed. by Carla E. Williams Andrew Woolley A Case for Charpentier: Treatise on Accompaniment and Composition. Translated and edited by Carla E. Williams. (Historical Performance.) Bloomington: Indiana University Press, 2020. [xxvii, 146 p. ISBN 9780253051615 (hardback), $35; also available as e-book, ISBN and price vary.] Music examples, illustrations, table, bibliography, index. A Case for Charpentier is an edition with English translation of a late seventeenth-century or early eighteenth-century French music theory manuscript. It follows on from published translations of several other important sources that have been long available, including Etienne Loulié's Elements or Principles of Music (ed. Albert Cohen [New York: Institute of Mediaeval Music, 1965]), Michel de Saint-Lambert's Principles of the Harpsichord (ed. Rebecca Harris-Warwick [Cambridge: Cambridge University Press, 1984]), A New Treatise on Accompaniment: With the Harpsichord, the Organ, and with Other Instruments (ed. John S. Powell [Bloomington: Indiana University Press, 1991]), and Denis Delair's Accompaniment on Theorbo and Harpsichord (ed. Charlotte Mattax [Bloomington: Indiana University Press, 1991]). The study is particularly valuable for placing the source in the context of these and other similar tracts of the period and for providing a lucid translation in parallel with an edition of the original French. The source is headed "Traité de accompagnement" and is part of a miscellany volume acquired by the Lilly Library, Indiana University, in 2000. (The call number is Vault MT530.B73.) Besides the "Traité," the miscellany contains a printed musette treatise by Pierre Borjon de Scellery (1672) and an anonymous satirical play. The title of Carla Williams's edition and translation derives from the six leaves at the end of the "Traité," which are written in the hand of Marc-Antoine Charpentier (1643–1704)—one of only two short pieces of music-theoretical writing known to exist in the hand of this major seventeenth-century composer. Identified by Patricia Ranum [End Page 420] as a Charpentier autograph in 2009, these leaves are known as Manuscript "XLI" because of a figure on the first page that Charpentier copied. (Similar roman numerals appear in his "Meslanges autographes"; Charpentier apparently used them to indicate works he had produced for patrons who were not his regular employers.) A scholarly literature already exists concerning Charpentier's manuscript, including an essay by Ranum ("Discovered at the Lilly Library: Manuscript 'XLI,' an Autograph Theoretical Work by Marc-Antoine Charpentier (late 1698)," Panat Times, http://ranumspanat.com/xli_masterpg.html [accessed 9 September 2022]) and a partial translation by John S. Powell ("A French Baroque Primer: Étienne Loulié's Élements, ou Principe de musique (1696)," Early Music Performer, nos. 33–34 (2014): 4–17 and 27–38, freely available online at National Early Music Association: Early Music Performer Archive, http://earlymusic.info/EMperformer.htm [accessed 9 September 2022]). As well as discussing the authenticity of Charpentier's manuscript and its dating, the literature has considered the manuscript's relationship to the "Règles de composition de Monsieur Charpentier" that survive in manuscripts copied by the music theorist Étienne Loulié (1654–1702). Comparatively little attention, however, has been paid to the first twenty-seven leaves of the "Traité" in the hand of the anonymous individual Williams designates as "Writer A." Williams's complete edition of the "Traité" redresses this imbalance. A reference to "several curious essays" under the heading "Second Part" in a table of contents (transcribed complete by Williams) has been taken to mean that Writer A was in possession of Charpentier's manuscript, though it also suggests that the "Traité," as it survives in the miscellany, is incomplete; only Charpentier's is present among the "curious essays." In the introduction to A Case for Charpentier, Williams demonstrates Writer A's considerable familiarity with contemporary French music theory tracts, including the fifth edition of Michel L'Affilard's Principes très faciles pour bien apprendre la musique (Paris, 1705), which suggests that at least one portion of the "Traité" was copied after Charpentier's death. She also points to several instances where Writer A paraphrases or quotes Charpentier's writings, sometimes citing them directly, as in the reference "got from the late Charpentier...

Against the Grain: The Poetics of Non-Normative Masculinity in Decadent French Literature. By Mathew Rickard

In this book, Mathew Rickard capably and enthusiastically studies ‘the literary representation of non-normative masculinity at a time when masculinity was perceived to be in crisis’ (p. 18). For Rickard, the fin-de-siècle masculinity crisis ‘ironically allowed greater representation of alternative behaviours and identities precisely due to the questioning of masculinity that was occurring’ (p. 18). Are there places and times when masculinity is not in crisis for someone? How are we to decide if one individual’s masculinity crisis is of wider consequence? Rickard, who situates his writers in the context of the loss of the Franco-Prussian War, concerns about depopulation, struggles for women’s emancipation, and a new sexological interest in ‘perversity’, wonders if masculinity is ‘inherently toxic’ or if ‘queerer, intersectional, even healthier forms of masculinity [can] flourish’ (p. 13). Do all non-normative forms of masculinity array themselves on the side of the queer? Is the queer always a ‘healthier’ or more progressive option? Rickard’s book joins a fascinating body of recent work addressing these difficult questions. Marlon B. Ross’s Sissy Insurgencies: A Racial Anatomy of Unfit Manliness (Durham, NC: Duke University Press, 2022), for instance, is interesting to read in parallel with Rickard’s volume. At one point, Ross tellingly juxtaposes James Baldwin and Truman Capote. Baldwin is Ross’s exemplar of successful insurgency. Capote’s masculinity, for all its non-normative misfittedness, is one some might qualify as counter-insurgent. ‘Sissiness is manifested differently in different racial formations’, Ross suggests (Sissy Insurgencies, p. 29). Racial formations per se do not come up in Rickard’s study, but he mentions, for instance, ‘the intersection of class and masculinity’ (Against the Grain, p. 46). I might tend to surmise that at least one or two of the four figures Rickard studies fall mostly on the Capote side of things (non-normative masculinity being a privilege aligned with other social entitlements) rather than the Baldwin one, but perhaps Rickard would have a different view. Clusters of interrelated social variables specific to different socio-cultural contexts are crucial to the evaluation of any instance of non-normative masculinity. Forms of ‘hegemonic masculinity’ are themselves plural in most historical contexts. When Jean Lorrain and Joris-Karl Huysmans, from their very different social locations, engage with ‘masculinity’, are they engaging with the same thing? Are all people who exhibit non-normative masculinity ‘adversely affected by the laws of the Patriarchy’ (p. 11) to the same degree and in the same way? Rickard begins his demonstration with Huysmans’s À rebours (1884), exploring how ‘non-normative men can appropriate a hegemonic identity through engaging with literature’ (p. 60). He then examines how, in Lorrain’s Monsieur de Phocas (1901), ‘the representation of witchcraft […] links to the presentation of non-normative masculinity through comparable engagement with marginal practices’ (p. 65). The third chapter studies Rachilde’s Monsieur Vénus (1884) and La Tour d’amour (1899), and shows how in Rachilde’s work, a reconfigured masculinity can be found in both ‘passive’ men and some women. In a final chapter, on Octave Mirbeau’s Le Calvaire (1886), Rickard takes up the topic of impotence (literal and figurative, real and fictional) to probe what kind of an achievement textual (as well as real life) ‘masculine author(ity)’ might be (p. 170). Sometimes Rickard writes that things are ‘inherently queer’ (pp. 69, 119; my emphasis): occulture in the Lorrain chapter for instance, or, in Rachilde’s crafty hands, normative masculinity itself. I wonder if the materials Rickard so richly details for his readers might rather encourage us to think relationally, and to come to understand how not all stances that fail to be normative necessarily qualify as queer or insurgent or progressive.

Calvin the mimic: Contre la secte phantastique et furieuse des libertins, qui se nomment spirituelz (1545)

This essay examines some instances of mimicry in Jean Calvin’s Contre la secte phantastique et furieuse des libertins, qui se nomment spirituelz (1545). Calvin’s denunciation of the spiritual libertines, an obscure antinomian sect which had recently spread from the Low Countries to northern France, is made all the more vehement by a fear that others might confuse some aspects of their theology with his. Mimicry of his opponents’ Picard dialect is one way among several of marking off their voices from his own. Although Calvin shows himself elsewhere capable of trenchant humour (for example, in the Traité des reliques) examples of speech-parody are rare in his work, possessing a farcical quality more readily associated with Rabelais (the episode of the ‘écolier Limousin’) or Molière (Nérine in Monsieur de Pourceaugnac). The blending of heretical voices with regional ones raises broader questions of language and nation, just four years before the publication of Joachim Du Bellay’s Deffence et illustration de la langue françoyse (1549).

The Formation of the Novel: Literature Vs. Theory of Literature

The article deals with the problems of novel theory formation and the preface as a special form of genre theorizing. The purpose of the study is to problematize the discursive repertoire of novel theory in the stage of formation. The novel as a genre, that remained beyond the subject of poetics for a long time, was theorized in the rhetorical tradition, not only in scholarly treatises, but also in prefaces explaining what a novel is, how and by what laws it is arranged, what history it has and what examples it follows. It can be said that novel theory in its genesis ripened close to the literary text, without breaking the umbilical cord common with it. And even when framed in the form of a separate essay, it had appeared next to or along with the novel. “Treatise on the Origin of Novels, or Romances” / “Traité de l’origine des Romans” (1670) P.-D. Huet / Pierre-Daniel Huet (1630–1721), that regulated the theory and history of the genre and determined the algorithms of its research until the end of the 19th century, treatise was originally published as a scholarly preface in a letter form to the friend and author of the novel “Zaida. Spanish Story”: “Letter from Monsieur Huet to Monsieur de Segrais. On the Origin of Novels”/ “Lettre de Monsieur Huet, à Monsieur de Segrais. De l’origin des romans”. So Huet created not only the novel theory, but also a new locus of theory, widely used in European and Russian literature during the formation of the national novel.

On Dramaturgy in the Twenty-First Century

We propose to discuss the notion of dramaturgy written on stage as an emerging form in the twenty-first century theatre. Also, we emphasize the idea that this form of creating the performance is rooted in a theatrical tradition. Thus, we notice that, in Eugenio Barba’s vision, the dramaturgy of the performance, structured on three levels of organization, respectively the organic or dynamic dramaturgy of the actor, the narrative dramaturgy of the director and the evocative dramaturgy that includes the dramaturgy of the spectator, is representative for the collective creation as the actors are co-authors of the performance, but, at the same time, it is representative of that type of performance that embodies the director’s thought, reminding of the practitioners-playwrights’ way of creating dramaturgy. In the dramaturgy of the performance, instead of a sequence of events, which unfold according to the cause-effect equation, the director opts for a complex web of actions that suggest and not affirm. We, also, note that in this new dramaturgy in which the smallest action is treated as a dramaturgical element, special importance is given to the spectator seen as an individual who, first of all, exists by himself/herself and then as part of a whole/audience. Under the influence of Artaud who visualized the performance as poetry in space, the new dramaturgy opposes textocentrism, proposing a symbolic language meant not only to whip the spectator’s senses putting him/her in a state of play, but also to provoke in him/her a change of state. Thus, the performance no longer addresses the spectator’s understanding, but his/her perception, creating the necessary conditions for the spectator to forge his/her own dramaturgy based on his/her emotional and intellectual reactions. Writing dramaturgy on stage is specific to those theatre companies that, alike the Troupe de Monsieur and the Globe Theatre, create the performance in the stage laboratory.

An appetite for experiment: putting early Royal Society tastes back on the table

In 1665, Thomas Sprat's efforts to defend the hospitality bestowed on Samuel Sorbière, when the French savant visited London, were published in his Letter containing some observations on Monsieur de Sorbier's voyage into England . This book, for which Sprat stopped work on his now more famous History of the Royal-Society , challenged Sorbière's account of how he had been ‘entertained’, insisting he ‘be grateful for a good potage ’ and ‘sound up his meat’. Experiments were, it seems, not to be depicted growing from nothing. This article thus situates Sprat's Letter amid convictions that the table was an apparently indispensable piece of experimental furniture. From the lavish banquets over which experiments were discussed, to feasts that were themselves experiments, it explores a learning seemingly nourished in rich settings of appetite and gratification. The offence caused by Sorbière's failure to acknowledge this commensality is placed in a context where, for better or worse, the character of experiment was on the table.

Native Villages of La Salle's Illinois Country

Native Villages of La Salle's Illinois Country

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...

Textual Spaces: French Renaissance Writings on the Italian Voyage. Richard E. Keatley. University Park: Pennsylvania State University Press, 2019. Pp. x+233.

<i>Textual Spaces: French Renaissance Writings on the Italian Voyage</i>. Richard E. Keatley. University Park: Pennsylvania State University Press, 2019. Pp. x+233.

François de La Mothe Le Vayer and His De l’instruction de Monsieur le Dauphin: The Concepts of the Golden Mean and Public Good

This article investigates into the structure and content of De l’instruction de Monsieur le Dauphin by François de La Mothe Le Vayer. Le Vayer describes the four pillars of the state — religion, justice, finance, and military power — speculating on how thoroughly a hereditary prince of France should study liberal and mechanical arts. He does not recommend the majority of subjects for detailed study, making an exception for rhetoric in the first place and adding three more important subjects: geography, ethics, and physics. In fine arts, according to Le Vayer, the king had better be an experienced connoisseur than a creator. He also describes pretty much in detail the physical activities useful for a king in waiting (swimming, dance, and armed martial arts are recommended, while running is not), as well as possible games and ways of entertainment. A large proportion of the treatise is devoted to proving the harmfulness of astrology, chemistry, and magic. The key principles underlying Le Vayer’s speculations are the “golden mean” and the use of general education as a basis, the elements of which he analyzes separately for applicability in the instruction of a hereditary prince.

Nathalie Skowronek « a la recherche de Max » : Construction litteraire et autometatextualite dans les ouvrages de la 3e generation de la Shoah

The third generation survivors of the World War II genocide of the European Jews withstand, analyse and create literary texts about the Holocaust, a historical event, which was not endured by them directly but experienced through scientific papers and creative literature. Thanks to Nathalie Skowronek, a novelist living in Brussels, and her publication of Max en apparence (2013) and La Shoah de Monsieur Durand (2015), we can gain some insight into the social and literary reality of Jewish genocide memory and into its intergenerational transmission. Firstly, we will carefully analyse the approach used by this author in the composition of a biographical text about her grandfather’s reconstruction of events. After that, using an intertextual approach, we will analyse formal and moral narrative considerations of the authoress which govern the literary reconstruction grandfather’s biography.

Cinematic Timekeeper: Bertrand Tavernier and L'Horloger de Saint-Paul

Cinematic Timekeeper:Bertrand Tavernier and L'Horloger de Saint-Paul Jennifer Forrest Film scholars have interpreted Bertrand Tavernier's first feature film L'Horloger de Saint-Paul (1974) as having "clearly signalled his rejection of the nouvelle vague" in favor of a return to a more classical aesthetic reminiscent of the post-World War II Tradition of Quality (Forbes 153). One of the primary elements determining this judgement was Tavernier's co-authoring of the film script with Jean Aurenche and Pierre Bost, the writing team singled out by Cahiers du cinéma critic François Truffaut in "Une certaine tendance du cinéma français" (1954) as representing the worst of 1950s film. Fixing the tensions of the stance taken by Tavernier in terms of the opposition cinéma de papa versus Nouvelle vague, however, reveals that the director found himself in a position similar to that of his protagonist Michel Descombes, whose moral and political options appear constrained by a Solomon's choice of either a conservative or progressive response to his son's murder of a factory "policeman." The third option chosen by both Tavernier (and Descombes) is that of the iconoclast who "sera sans système, sans règles organiques, hétéroclite et vivant," to use the description of the director by his lifelong friend Volker Schlöndorff (7).1 One contemporary Claude Beylie praised Tavernier for this deft sidestepping of an inflexible and deceptive dichotomy: "[c]e film nous permet enfin de sortir de la fausse alternative vieux cinema—jeune cinéma. Il n'aurait jamais dû y avoir d'un côté le cinéma de papa, de l'autre le cinéma des fils à papa" (6). Like Descombes, who resists pressure to adopt and thereby validate a world view promoted by the various ideological forces on the right and the left, Tavernier resisted the pressure to choose either the cinema of fathers or that of sons, making his own path in choosing citizenship in the community of French film and filmmakers. [End Page 103] The film's story turns precisely on the intergenerational strain between a father and his son after the latter's criminal act, a tension that mirrors the state of French cinema in the early 1970s. Descombes will spend the duration of the film closing that gap, a rapprochement figured ironically in the concluding scenes as a prison barrier through which father and son converse with surprising ease. The director, too, will determine his professional place in cinema with the production of this first feature film by declaring solidarity with classic and post-1960s cinema. In collaborating with scriptwriters associated with classic French cinema, and in adopting the practice of literary adaptation with which they were associated, the film renews ties with French cinema's past. It reaches further back than the Tradition of Quality, however, to include films and filmmakers from the interwar period, in particular scriptwriter Jacques Prévert. In dedicating his debut film to Prévert, Tavernier signaled his allegiance to a community of purpose like the one championed by Prévert, from his finishing contribution to the script for Jean Renoir's Le Crime de Monsieur Lange (1936) to the production's collaboration with members of the Groupe Octobre, of which he was a leading force, and the ethos of the Front Populaire. If this gesture looks back into the past, it also tends to cinema present and future. Tavernier's introductory offering anticipated a career of cinematic stewardship that unfolded on multiple fronts: the direction of his own films, the promotion and rehabilitation of work by other directors (Joseph Losey and Michael Powell, for example), the production of other directors' projects, scriptwriting for other directors, film history books, documentaries, and the promotion of unrecognized talent on all levels of production from scriptwriters, directors of photography, to composers. It is perhaps because he felt keenly the period's pull of cinematic political platforms that Tavernier chose to adapt Georges Simenon's L'Horloger d'Everton (1954). The director adopted the novel's fatherson theme as well as its protagonist's framing of familial bonds of shared resistance in an idiosyncratic experience of time in order...

Jazz cats

Jazz cats

Mémoire féminine de la Shoah en Belgique : "Ciel avec trou noir", le témoignage de Caroline Alexander

Dans son essai La Shoah de Monsieur Durand (2015), l’écrivaine belge Nathalie Skowronek réfléchit, à partir de son expérience personnelle, à la façon dont la mémoire de la Shoah s’est modifiée au fil du temps et à la question de la transmission future de cet héritage. Une analyse qui se confirme à la lecture du récit autobiographique, aussi bouleversant que captivant, Ciel avec trou noir (2014) de Caroline Alexander, dans lequel la journaliste culturelle, enfant cachée en Belgique durant la Seconde Guerre mondiale, relate la bienfaisante collaboration entre les deuxième et troisième générations, ainsi que la funeste indifférence, voire l’ignorance crasse de la génération suivante.

The Commotion of the Chambord Chateau Brought to the Ottoman Stage: Yi̇rmi̇ Çocuklu Bi̇r Adam yahut Fettan Zaman İnsana Neler Yapmaz

<span style="color: rgb(0, 0, 0);">The “Age of Translations” (1869-1882) was a period in which the men of Ottoman theater provided theater companies with plays to be performed in Turkish, especially at Güllü Agop’s “Osmanlı Tiyatrosu” (“Ottoman Theater”), and these new plays were written using different techniques of text production. By translating and adapting new French plays that were either considered classics or were popular at the time into Turkish, or by rewriting them in Turkish, they created an entirely new repertoire for the theater. Mehmet Hilmi’s Yirmi Çocuklu Bir Adam yahut Fettan Zaman İnsana Neler Yapmaz (The Man with 20 Children or What can't Cunning Time do to People), an adaptation of Molière’s Monsieur de Pourceaugnac, is one of the more successful examples of this. This article will examine exactly how Mehmet Hilmi transformed the source text to make it compatible, both in terms of culture and aesthetics, to the Ottoman audiences for which these plays would be performed.</span>

Radium, acier et cœurs vivants. Les marionnettes-automates de Monsieur de Pygmalion mis en scène par Charles Dullin (1923)

Au début des années 1920, Charles Dullin et la troupe de son « laboratoire d’essais dramatiques », l’Atelier, sont engagés dans la quête d’un théâtre dépassant la réalité contemporaine. Cette recherche s’inscrit dans la mise en scène de Monsieur de Pygmalion, Farce tragi-comique d’hommes et de marionnettes, de l’auteur espagnol Jacinto Grau, traduite par Francis de Miomandre. Les protagonistes de cette pièce sont dix-huit « marionnettes », interprétées par les comédiens de l’Atelier. Il s’agit de marionnettes hautement technologiques, anthropomorphes, agencées de métal, de tissages et de cœurs d’animaux. L’article propose une analyse des trois niveaux d’anticipation de potentiels mondes futurs, juxtaposés dans le spectacle. Premièrement, concernant la pratique théâtrale de l’Atelier, il s’agit d’un choix dramatique permettant d’expérimenter sur le plateau les recherches autour de l’expression corporelle. L’acteur peut transfigurer son corps humain en corps artificiel et machinal. Deuxièmement, à niveau méta-théâtral, il s’agit d’une prophétie grotesque visant à la montée en puissance du metteur en scène face à des comédiens remplacés par des « sur-marionnettes ». Troisièmement, la farce offre une ouverture vers une science appliquée du futur proche. Les « marionnettes » évoquent, dans le contexte des actualisations artistiques de l’automate au début du xxe siècle, une réalité scientifique et sociale où le corps artificiel, composé de métal et d’organes, pourrait développer et abriter au fur et à mesure une intelligence propre, et une autonomie de la volonté.

Magis morale quam mathematicum. L’attestation volée (mai 1705 – mars 1706). Magis morale quam mathematicum. The Purloined Attestation (May 1705 – March 1706)

During the querelle des infiniment petits Leibniz wrote several texts addressed to Parisian savants to justify the use of the differential calculus, but only three of them were made public. One of the three, the “Sentiment de Monsieur Leibnitz”, was published without authorization in 1706 at the peak of the quarrel, together with the writings of other mathematicians united in the defence of the new calculus ( Joseph Saurin, Jacob Hermann and the Bernoulli brothers). However, Jean-Paul Bignon, director of the Académie Royale des Sciences, confiscated the prints. All copies of this publication were assumed to be lost, but we have recently identified one copy of it in the British Library catalogue. In this article, we analyse the “Sentiment de Monsieur Leibnitz” by contextualizing it not only from an epistemological approach but also from a political perspective. We will examine the institutional issues at stake by relying on recently published correspondence.