Renaissance France Research Articles

Tom Hamilton, A Widow’s Vengeance after the Wars of Religion. Gender and Justice in Renaissance France

Tom Hamilton, A Widow’s Vengeance after the Wars of Religion. Gender and Justice in Renaissance France

Episcopal entries and urban liberties in late medieval and Renaissance France, c. 1200–c. 1600

Abstract In comparison to the ceremonial entries of French kings, little work has been done on episcopal entries. Whereas royal entries underwent a period of massive elaboration during the later Middle Ages and Renaissance, there was less change to bishops’ entries during this period, especially in towns where civic administrations used these ceremonies to compel bishops to acknowledge their rights. While less susceptible to modification than royal entries, important changes did occur to the episcopal entry by the later sixteenth century because of the increased Counter-Reformation emphasis on the power of the bishop, as well as the impact of the Wars of Religion. By the seventeenth century, the requirement to confirm urban liberties at entries was far less a part of an episcopal entry than it had been during the heights of this ceremony during the later Middle Ages. Nonetheless, the episcopal entry remained an important way for towns to recruit brokers.

La prise en charge des troubles psychiques de guerre. Perspective historique au sein de la Société Médico-Psychologique

The first descriptions of post-traumatic psychic disorders date back to antiquity. Even though descriptions of a military medical organization have existed since the reign of the Roman emperor Trojan, it was not until the Renaissance in France that surgeons were systematically present on the battlefield. The first medical reports of war-induced mental disorders were, therefore, made by doctors and surgeons. This is how the syndrome of “le vent du boulet” or the nostalgia of imminent danger of the soldiers in battle is described in France by the surgeons of Napoleon's army. With the industrial disasters associated with railway accidents, the term traumatic neurosis appeared for the first time at the end of the 19th century. The publications of the société Médico-Psychologique created in 1847 by Jules Baillarger reflect the evolution of this new diagnostic category. In this article, we invite the reader on a historical journey through five periods beginning with the birth of the concept and its first clinical descriptions, up until the explosion of observations during the First World War. We see how the concept gradually acquired its autonomy both clinically: the association of recurrent memories of the event and the modification of the victim's personality rather than the decompensation of a previous pathology and sign of vulnerability or even moral weakness and on the etiological level: the progressive recognition of the preponderant role of emotion instead of concussion or confusion. Following the Second World War, the pathology of the deportees provides a new description of the concept. At that point, the recognition of the diagnosis of post-traumatic stress disorder within the DSM 3 due to the difficulties that Vietnam veterans experienced in re-entering society promoted the dissemination of the concept and its recognition within civil society. In France, the RER attacks of 1995 were the beginning of a real awareness on the part of public authorities of the need to deal with psychological injuries. Military psychiatrists then took the initiative and participated in the establishment of medico-psychological emergency cells following the model of the earlier “psychiatrie de l’avant”. They also argued for conducting immediate post-trauma debriefings by specialized interlocutors whereas this technique was controversial in Anglo-Saxon countries. They often offered a psychodynamic and comprehensive approach to the cases which was probably linked to the underlying issue of freeing oneself from the moral judgments often too present when describing the disorder during the First World War when each soldier counted for the country. Currently, the approach is evolving towards methods of integrative care provided by military and associative practitioners. The mentally disturbed soldier is accompanied in a process of re-insertion and rehabilitation just like the physically wounded soldier. These nuggets from the history of psychiatry show how the concept of post-traumatic war disorder, which seems so obvious today, evolved over time. If the final chapter remains to be written, we hope that additional studies on this matter will continue within the medico-psychological society, whose 170th anniversary we honor today and we wish to pay tribute to our masters who in particular have worked for the recognition and treatment of post-traumatic stress disorders.

:Tyranny from Ancient Greece to Renaissance France

:<i>Tyranny from Ancient Greece to Renaissance France</i>

Advertising the Self in Renaissance France: Lemaire, Marot, and Rabelais. By Scott Francis. The Early Modern Exchange. Edited by Gary Ferguson and Meredith K. Ray. Newark: University of Delaware Press, 2019. Pp. xvi+268. $70.00 (cloth); 35.00 (paper); $70.00 (e-book).

Previous articleNext article No AccessBook ReviewsAdvertising the Self in Renaissance France: Lemaire, Marot, and Rabelais. By Scott Francis. The Early Modern Exchange. Edited by Gary Ferguson and Meredith K. Ray. Newark: University of Delaware Press, 2019. Pp. xvi+268. $70.00 (cloth); 35.00 (paper); $70.00 (e-book).Zachary S. SchiffmanZachary S. SchiffmanNortheastern Illinois University Search for more articles by this author PDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by The Journal of Modern History Volume 94, Number 1March 2022Remembering and Forgetting in Contemporary Europe Article DOIhttps://doi.org/10.1086/718114 Views: 18Total views on this site For permission to reuse, please contact [email protected]PDF download Crossref reports no articles citing this article.

A comparative study of the rococo art styles for creating contemporary textile hangings designs

The art of Rococo, which we are interested in studying in this research and highlighting its values and characteristics, is an artistic trend that goes back to the classical origins. The spread of this artistic trend began as a new face of the Renaissance in France at the beginning of the eighteenth century in 1715 AD, and “Rococo” art prevailed in most European countries. Where he grew up and flourished in France, as it was widely spread in Germany, but he disappeared from France after the French Revolution in 1789 AD. His appearance was a reaction to the luxurious life of the aristocratic nobles, and the exaggeration and excessive decoration and decoration in the facades of the foreign palaces that prevailed in the era of Louis XIV. It is a style unique in its kindness and elegance; It is an extension of Baroque art, but with more subtle artistic features. Among the most prominent artists of this style is the photographer Watteau (1684-1721 AD), who contributed in his innovative style that he invented in his works to the transformation towards this new style in art. This art enriched the interior decoration by paying attention to the decoration of palaces, houses and houses from the inside, using curved lines, snails and oysters. The art was also interested in the ways and methods of making and decorating furniture, as well as the pieces of art that adorn palaces and homes, such as mirrors, clocks, and others. It was inspired by the arts of the decorations of its diverse and multiple artistic styles to create contemporary design treatments suitable to enrich the design of textile hangings, which have an important role in beautifying facilities and institutions, which has positive effects on workers that are reflected in their performance and production. This is due to the distinguished aesthetic and artistic values of these decorations, as well as rich plastic elements. Therefore, the study was carried out by analyzing and detailing the most important decorations and highlighting the characteristics and characteristics of each style with a comparison between the furniture models that they contained. Then the implementation of the design in the style of digital printing to achieve works of art with a contemporary vision and to enrich the field of textile printing design in general. Statement of the problem: In view of the scarcity of wall hangings in administrative establishments and institutions, with their artistic, aesthetic, and plastic values, and their extreme negative impact on workers and those who frequent them, and from here it was found that it is necessary to define the research problem in the following questions: 1- How to draw inspiration from the decorative values of the artworks of the Rococo style as an important classical value to suit the creation of designs that suit administrative facilities and highlight the decorative values in a contemporary way. 2- How can the artistic elements from the era be employed in textile hangings to beautify administrative facilities. Objective: The research aims to: Creating hanging designs suitable for new administrative facilities inspired by the classic elements, through a comparative study of the various furniture styles of rococo art. Research Methodology: Analytical descriptive approach: Through the historical and analytical descriptive study of models from the furniture Styles. Experimental approach: through innovative experiments with designs suitable for printing as contemporary classic textile hangings. Applied approach: by implementing the printing of these designs using digital printing technology. Results: 1- Shedding light on rococo art as one of the arts with distinctive decorative and aesthetic values and rich plastic elements. 2- The decorative and plastic elements of art have been utilized in creating contemporary design treatments. 3- Enriching the field of textile design printing with designs with contemporary visions. 4- The rococo motifs were used as a design input to create the woven print suspension. 5- Employing printed textile pendants using digital technology to beautify offices and administrative institutions. 6- The researcher created a set of designs inspired by the decorative values of rococo art furniture models, with a proposal to implement them as contemporary textile pendants. 7- Attracting attention to the field of enriching cosmetic factors in offices and administrative bodies. 8- Take advantage of the textile printing hangings in cosmetics and decoration and add richness to the decorations of offices and administrative facilities.

Crafting Digital Histories of Science: A Review and Tour of Secrets of Craft and Nature in Renaissance France

Crafting Digital Histories of Science: A Review and Tour of <i>Secrets of Craft and Nature in Renaissance France</i>

The evidence of hearsay in criminal proceedings from Late Renaissance France

AbstractThis article argues that Renaissance legal culture provided a robust means of evaluating the epistemological status of rumour, informed by the Roman law of proof. In order to do so, the article explores the meaning of hearsay evidence in criminal proceedings from late Renaissance France, focusing on a major series of interrogations for homicide in the Parlement of Paris. It contributes to legal history by demonstrating how the inquisitorial procedures employed by the Parlement’s magistrates exemplified the sophisticated Roman law of witness evidence concerning hearsay. And it contributes to social and cultural history by revealing how effectively people throughout the social hierarchy understood the significance of hearsay in all its forms, so that witnesses, the accused, and the magistrates leading their interrogations knew well how to manipulate hearsay evidence to achieve their ends in the courtroom. Ultimately, this approach reinforces the growing consensus among recent histories of communication concerning the continued primacy of oral culture in the new age of print, but it does so from a new perspective that emphasises the fundamental role that oral evidence played in creating legal knowledge.

Of masks and precariousness, or individuality in late Renaissance France. A change in the imagination of subjectivity at the end of the 16th century

Au cours du xvie siècle, les entrecroisements du masque et de la précarité avec les champs et formes de la théâtralité festive, alors en pleine mutation, provoquent l’émergence d’une (con)science de l’individualité moderne. Par l’analyse des images, cet article propose l’approche d’une « sociologie des transformations des comportements ». Elle permettra d’éclairer les (en)jeux sociaux et politiques par lesquels la précarité et ses champs (pauvreté, misère, instabilité) permirent la transposition sur le plan symbolique de tensions nées des apories de la religion chrétienne, consécutives à la Réforme. Les pratiques du « masquer » jouèrent un grand rôle, leur licence permettant la modification des normes de l’individuation et l’apparition de nouvelles formes d’individualisation, issues d’une externalisation des normes dans une esthétique vestimentaire construite en regard de la précarité. Entre enjeux du masquer et enjeux de la précarité, s’ouvrit, au sein de ces sociétés de l’image, l’espace d’une nouvelle subjectivité, dans la tentative de résolution de différends culturels et religieux.

Book Review: Bruce Hayes: Hostile Humor in Renaissance France

Book Review: Bruce Hayes: <i>Hostile Humor in Renaissance France</i>

Hostile Humor in Renaissance France. By Bruce Hayes

Bruce Hayes’s book on the use of humour in French-language religious polemics of the sixteenth century grapples thoughtfully with a topic of enduring concern, and one that seems particularly pertinent in the current moment. The volume focuses on the decades leading up to the explosion of armed conflict in the 1560s and culminates in a refreshing and recontextualized presentation of Pierre de Ronsard’s contribution, on the Catholic side, to the war of words with Calvinist Geneva. That so much of the humour employed by religious polemicists on both sides of the confessional divide relied on — and further developed — misogynistic, xenophobic, homophobic, and transphobic tropes that, while offensive to a modern sensibility, are sadly still found in ostensibly comedic contexts, serves to emphasize both the alterity and the depressing familiarity of this aspect of early modern culture. Hayes deals with this problem carefully and tactfully, acknowledging that the jokes he analyses are, to an overwhelming degree, no longer funny to the modern reader. He nevertheless engages respectfully with the sense of humour that generated and originally consumed these jokes while preserving a protective critical distance for himself and his own readers. In so doing, he maintains a dual focus on the kind of aggressive satirical humour referred to in the period as ‘sardonic’ and on the growing criticism of it by contemporaries as irreligious or even blasphemous. Sixteenth-century readers, especially those on the receiving end of ‘jokes’ that, for instance, called for Huguenots to be burned at the stake en masse, were well aware of the potential of humour to act as a justification or a trigger for violence; Hayes draws out this dimension effectively and accounts persuasively for the disrepute into which the risus sardonicus fell even as religious conflict intensified in France. A further valuable aspect of Hayes’s book is its refreshingly varied and catholic corpus, which includes — and has the merit of taking seriously — both lesser-studied works of major writers (such as the plays of Marguerite de Navarre) and texts that enjoyed a wide diffusion in the sixteenth century but are virtually unknown today (such as the works of the bloodthirsty Artus Désiré, whom Hayes dubs ‘Renaissance France’s most successful, forgotten Catholic polemicist’, p. 55). Chapters on the Affaire des placards, evangelical and reformist comic theatre, Désiré, Calvinist propaganda and the theatrical works of the sociétés joyeuses of Paris and Rouen provide a rich diachronic context for Hayes’s concluding analysis of Ronsard’s Discours des miseres de ce temps, whose own humour — itself by turns playful and aggressive — emerges more clearly against the backdrop of the bloodcurdling satirical barbs that preceded it and that it itself elicited from Ronsard’s Calvinist adversaries. Whilst this book is unlikely to change our understanding of the way that humour functioned in the sixteenth century — its theoretical underpinnings are rather too briefly sketched to allow this — it does enable the modern reader, under the tutelage of a prudent guide, better to appreciate what was at stake in both the political and the poetic conflict.

Painting the Void: The Instrumentalization of Cartography in Neo-Confucian Chosŏn and Renaissance France through Landscape Painting and Perspective (15th-16th centuries)

ë¥˜ì½”ì¿ ê°•ë¦¬ë„ (혼일강리역대국도지도 混一疆理歷代國都之圖, 1479-1485)는 일견 중국 중심주의에 대한 ê³¼í•™ì , ë¬¸í™”ì , ì •ì¹˜ì  헌사처럼 보인다. 그러나 지도와 그것의 서문에서 나타난 ì •ë³´ë¥¼ 분석해 ë³´ë©´, 보여지는 것과 ì˜ë„ì ìœ¼ë¡œ 숨겨진 것 사이의 상호작용을 감안하지 않은 채 분석이 추진되어 왔다. ì§€ë„ì œìž‘ì—ì„œ 이와 같은 « 여백(餘白) »의 본질을 ê²€í† í•˜ì—¬ ë¶ˆê· í˜•ì„ 바로잡는 것은 세 가지 ì‚¬ê³ ê¸°ì¡°ë¥¼ 열어 준다. ë¥˜ì½”ì¿ ê°•ë¦¬ë„ì™€ 서양지도 ì œìž‘ 간에 ê¸°ìˆ ë° ì¸ì‹ë¡ ì ìœ¼ë¡œ ì—°ê´€ë ìˆ˜ 있다 – 서양 지도로는 ëŒ€í‘œì ìœ¼ë¡œ 오롱스 핀의 Recens et integra orbis descriptio (세계지도, 1536)와 Nova totius Galliae descriptio (프랑스 지도, 1538)가 있다. 본 연구는 더 ê·¼ë³¸ì ìœ¼ë¡œ ë¥˜ì½”ì¿ ê°•ë¦¬ë„ì™€ 핀의 지도가 산수화와 원근법의 기법 및 ê°œë ìœ¼ë¡œ 구성되어 ìžˆë‹¤ê³ ì£¼ìž¥í•œë‹¤. 이와 같은 ì ‘ê·¼ë²•ì€ 지식과 무지, 비밀과 과시 사이의 ê³¼í•™ì , ì •ì¹˜ì  양극성과 ì–‘ë¦½í• ìˆ˜ 있으며, 또한 ì¡°ì„ ì˜ 성리학과 프랑스의 르네상스 지도 도구화에 새로운 ê´€ì ì„ ì œê³µí• ìˆ˜ 있다. ì£¼ì œì–´: ë¥˜ì½”ì¿ ê°•ë¦¬ë„(혼일강리역대국도지도, 1479-1485), Recens et integra orbis descriptio (오롱스 핀의 세계지도, 1536), Nova totius Galliae descriptio (오롱스 핀의 프랑스 지도, 1538) , ì¡°ì„ ì„±ë¦¬í•™, 프랑스 르네상스, 지도 도구화, 산수화, 원근법

"New Music" in Late Renaissance France

"New Music" in Late Renaissance France

Leah Tether, Publishing the Grail in Medieval and Renaissance France. (Arthurian Studies 85.) Cambridge, UK: D. S. Brewer, 2017. Pp. xii, 202; many black-and-white figures and 2 tables. $99. ISBN: 978-1-84384-426-6.

Previous articleNext article No AccessReviewsLeah Tether, Publishing the Grail in Medieval and Renaissance France. (Arthurian Studies 85.) Cambridge, UK: D. S. Brewer, 2017. Pp. xii, 202; many black-and-white figures and 2 tables. $99. ISBN: 978-1-84384-426-6.Alain CorbellariAlain CorbellariUniversity of Lausanne Search for more articles by this author PDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Speculum Volume 95, Number 4October 2020 The journal of the Medieval Academy of America Article DOIhttps://doi.org/10.1086/710731 Views: 40Total views on this site Copyright 2020 by the Medieval Academy of America. All rights reserved. For permission to reuse, please contact [email protected]PDF download Crossref reports no articles citing this article.

The formation of the literary canon of the French drama of the XVI century

This article examines the gradual formation of the literary canon of the French Renaissance theater, which subsequently largely predetermined the emergence and further evolution of classical drama. The subject of the study is the principles of dramatic art, which are formulated by poets and theorists of the XVI century in the framework of poetic texts and treatises. The purpose of the work is to identify possible stages of the formation of the theatrical canon in Renaissance France, to compare its principles with medieval theater, to determine to which stage the emergence of ideas about classical theater based on ancient models belongs, to identify the factors that influenced its development. В В The novelty of the research lies in an attempt to comprehensively analyze poetic texts and treatises, which make it possible to recreate the processes that took place in the XVI century in the field of French theater, as well as to compare them both with the medieval tradition and with gradually emerging classicism. The relevance of the work lies in the fact that in literary studies there is a need to understand how the classical principles of French drama are formed on the material of poetical works of the Renaissance. As a result, it is obvious that in the process of forming the canon of the French Renaissance theater, three stages can be distinguished. The first of them is connected with the publication of the manifesto of Joachin Du Bellay, which fixes a "gap" in the field of drama in French literature and calls for filling it. For the implementation of the second stage, the figure of Etienne Jodel, the author of the tragedy "Captive Cleopatra", who embodied an attempt to revive the ancient tragedy, and the comedy "Eugene", becomes decisive. So in France of the XVI century. there was a national theatrical tradition, which can be considered a literary canon. The third stage of its formation was the recognition of Jodel's achievements at the level of poetry theory. In 1555 Jacques Peletier in "Poetic Art" cited both works as examples of tragedy and comedy, which contributed to the consolidation of the canon.

Symphonies in black and grey, harmonies in iron and steel: Walter Pater painting the French Wars of Religion in Gaston de Latour

Walter Pater’s unfinished historical novel Gaston de Latour (1888–94), set during the French Wars of Religion in the late sixteenth century, operates on a complex monochromatic colour symbolism that ties the colours of sixteenth-century French art together with a late nineteenth-century synaesthesia. This article explores the ways in which Pater engaged with James Abbot McNeill Whistler, John Ruskin, Emilia Pattison, Alexandre Dumas, and Charles Baudelaire in his evocation of the aesthetics of Renaissance France. While also being profoundly involved with the historiography, biography, prose, and poetry of sixteenth-century France, Pater let the colours of the past rise to the surface of his text, transforming them for his own purpose. His highly idiosyncratic use of the colour schemes and materials of Renaissance art alerts us to the clashes between north and south, the Flemish and the Italianate influences on French Renaissance art, the complexities of portraiture, line versus colour, and a golden palette contrasted with a blue one. Pater’s carefully controlled colour symbolism, often moving within a Whistlerian monochromatic scale, gives highly aestheticized depictions of ugliness, in inter-human relationships on both a national and a personal level, thus exposing the subversive powers of beauty. As we dig beneath the beautiful surface, horror and ugliness abound, inviting us to think more broadly about decadence as a recurrent phenomenon.

Leah Tether, Publishing the Grail in Medieval and Renaissance France (Arthurian Studies, 85), Cambridge, Brewer, 2017, 202 p.

Leah Tether, Publishing the Grail in Medieval and Renaissance France (Arthurian Studies, 85), Cambridge, Brewer, 2017, 202 p.

Publishing the Grail in Medieval and Renaissance France. By Leah Tether

Publishing the Grail in Medieval and Renaissance France. By Leah Tether

Publishing the Grail in Medieval and Renaissance France by Leah Tether

Reviewed by: Publishing the Grail in Medieval and Renaissance France by Leah Tether Leona Archer leah tether, Publishing the Grail in Medieval and Renaissance France. Cambridge: D.S. Brewer, 2017. Pp. 224. isbn: 9781843844266. $99. In Publishing the Grail in Medieval and Renaissance France, Leah Tether explores concepts of publishing through the lens of Grail literature and an examination of manuscript evidence and early print editions of Grail narratives. One of the central thesis statements of the volume asserts that pre-print book production can be considered an early form of publishing and Tether’s arguments are compelling, citing numerous records that demonstrate a thriving book trade in pre-print French society. This is explored in great depth in Chapter One: ‘Publishing the Middle Ages and the Renaissance.’ Tether’s claim for a medieval publishing trade does not only arise from the records of book traders and those who commissioned manuscripts, however, but from evidence found within the texts themselves. In each of the next four chapters, the following medieval French Grail romances are examined in relation to the chapter theme: Chrétien de Troyes’ Conte du Graal, the Bliocadran, Elucidation, and the Continuations; Perlesvaus; and the Estoire del saint Graal and the Queste del Saint Graal of the Vulgate Cycle. The first section of each chapter presents the methodological framework and main arguments of the chapter, which are then supported by a detailed exploration of the primary texts. Chapter Two (‘Blurbing the Grail’) argues that the paratexts, colophons, and prologues, which frequently accompany both manuscript and early-print editions of Grail romances, may all constitute what we would now call a blurb; that is, a promotional copy that announces the narrative with the crucial purpose of enticing contemporary readers to engage with said text. Tether also proposes that the development of such texts charts changing literary tastes with a preference for more chivalric-focused Grail narratives in the later Middle Ages, illustrated by the material presentation of these in early printed books. Chapter Three (‘Disclosing the Author’) claims that the ways in which French Grail narratives disclose authorship evolve over time, while addressing the thorny questions that so often loom large over any discussion of medieval authorship; to whom do we refer when we employ the term ‘author’ and according to what definition(s)? Through a close examination of peritextual representations of authorship in French Grail literature, Tether asserts that publishers were consciously working with the ‘author’ as a brand (not necessarily a named individual) that they could exploit in order to market their books to particular consumers. The previously explored concepts of blurbing and authorship drive the discussion forward in Chapter Four (‘Re-packaging the Grail’). Here, Tether analyzes the data in order explore how Grail narratives may have been compiled to appeal to successive generations of medieval readers, by responding to changing tastes. The final chapter of the book (Five: ‘Patronage and Promotion’), examines the role of patrons in Grail literature (both those who commissioned the first creation of a Grail text from an author and those who commissioned copies), and the development of patronage as book production moved from manuscript to print. Tether concludes that across both these models of textual production, patronage [End Page 163] is a valuable commercial tool that can be leveraged to generate not only financial rewards, but also political and social benefits. This monograph is attractively presented, rigorously researched, and convincingly substantiated. The arrangement of chapters is logical and coherent, and readers with specific research interests (i.e. early book production or Grail literature) will easily find relevant sections. Consequently, this work should appeal to readers interested in a range of intersecting subjects; from the history of publishing to Old French and Arthurian literature, to manuscript and early printed book production. Leona Archer University of Surrey Copyright © 2019 Arthuriana

Que s’est-il passé en 1816? Lecture de La Vieille Fille de Balzac: Essai de gynéco-histoire

In La Vieille Fille, Balzac relates sexuality and the reproductive capacities of the main characters to the situation in France in 1816. The fable is allegorical: Rose Cormon portrays a France that is still fertile, provided that she finds a partner who is also fertile and sexually strong enough. Balzac also refers to the hopes for a legitimate monarchical renaissance in France; as a result, for the reader in 1836 who knows what happened to the monarchy, the novel is both serious and comical. Balzac uses the medical knowledge of his time about menopause and combines it with older beliefs in a craft that is both fun and attentive to the female being. (In French)