Academic literature on the topic 'Delavigne'

<p><strong>Resumen</strong></p> <p>En su viaje a París de 1835, Larra conoce a Delavigne y decide traducir su obra más reciente, <em>Don Juan d’Autriche ou La vocation.</em> Para adaptar el texto original a los gustos y al contexto españoles, <em>Fígaro</em> introduce críticas a aspectos concretos de la política o a la sociedad de su tiempo, modifica el nombre de los personajes, la extensión de algunos parlamentos… Pero además de todo ello, suprime diálogos e incluso varias escenas completas que ya habían sido eliminadas del estreno parisino de la pieza. Algunos de los cambios más relevantes en el sentido global del texto (de cuyo estudio nos ocupamos en este trabajo) no son, pues, fruto del talento creador de Larra, sino el resultado de su personal decisión de llevar a la escena española un drama más próximo de lo que se ha creído al representado en Francia.</p> <p><strong>Palabras clave: </strong>Larra, Delavigne, traducción, <em>Don Juan de Austria</em></p> <p><strong> </strong></p> <p><strong>Abstract</strong></p> <p>On his trip to Paris in 1835, Larra Delavigne meets and decides to translate his most recent work, <em>Don Juan d'Autriche ou La vocation</em>. To adapt the original text to the Spanish context, Figaro introduces criticism of specific aspects of politics or society of his time, changes the name of the characters, the extension of some parliaments... But he also suppresses several complete dialogues and scenes that had already been eliminated from the Parisian premiere of the piece. Some relevant changes of the text that I analyze do not come from Larra: they are the result of his decision of taking to the Spanish scene a drama very similar to the represented one in France.</p> <p><strong>Key words: </strong>Larra, Delavigne, Traduction, <em>Don Juan de Austria</em></p>

O objetivo deste artigo é recuperar a tragédia histórica como gênero reconhecidamente romântico, quer dizer, como gênero que atende às expectativas de intelectuais identificados com o romantismo nas primeiras décadas do século XIX (Staël, Manzoni, Schlegel, Stendhal, Lebrun, Delavigne etc.), que antecipa e compartilha várias características com o drama (mistura de gêneros, desrespeito às unidades clássicas, realismo histórico, enriquecimento de decoração e figurino, complexificação da trama etc.) e, enfim, que mantém um evidente comércio com o drama e o melodrama durante todo o século, não raro com eles dividindo os mesmos palcos e atores. Para tanto, recorro à análise da recepção jornalística feita à peça Le Cid d’Andalousie, de Pierre Lebrun, encenada em 1825, e argumento contra a concepção amplamente difundida de que o teatro romântico se identifica exclusivamente com o drama tal qual proposto por Victor Hugo, em 1827, no célebre prefácio ao Cromwell, e que a tragédia pertence apenas à tradição clássica.

Thirty-one compounds, including delavinone, were isolated from the methanol extract of F. cirrhosa by modern chromatographic techniques. The pharmacological action of Fritillaria is widely used in clinical practice. However, the pharmacokinetic studies on delavinone have not been reported. Therefore, the chemical constituents of this species were investigated. Therefore, it is necessary to establish an analytical method to monitor the concentration of delavinone. An UPLC-MS/MS method was established to determine delavinone in the mouse blood, and the pharmacokinetics of delavinone after intravenous (1.0 mg/kg) and intragastric (2.5, 10.0 mg/kg) administration were studied. The lower limit of quantification was 1.0 ng/mL. The intraday and interday precision RSD were less than 13%, the accuracy ranged from 96.8% to 104.9%, the average recovery was better than 80.6%, and the matrix effect was between 88.8% and 103.4%. The UPLC-MS/MS method has been successfully applied to the pharmacokinetics of delavinone in mice. The noncompartment model was used to fit the main pharmacokinetic parameters. It was found that AUC in mice was higher than that in mice given orally, and the bioavailability of delavinone was 12.4%.

In South Siberian mountains floodplain steppe meadows can be found only within steppe and forest-steppe belts. In the eastern part of the Altai-Sayan mountain region (ASMR) these belts occupy large intermontane depressions, making up the submeridional range at 56–50° N (Fig. 1). The northern part of this range consists of four large depressions (the Nazarovo, North Minusinsk, Middle Minusinsk and South Minusinsk). To the north, the Nazarovo depression merges into the West Siberian plain. The southern border of the South Minusinsk depression is the West Sayan. The southern part of range includes the Turan-Uyuk and Central Tuvinian depressions. This study is based on the analysis of 260 geobotanical relevés made in the valleys of 47 rivers (21 — in Minusinsk depressions, 26 — in Tuvinian depressions). The set includes the relevés of steppe meadow of different river types (large, medium, small), located in different parts of the studied region. The typical feature of these communities is the permanent coexistence of steppe and meadow species with negligible part of meadow-steppe herbs. All steppe meadows under discussion are similar in appearance. Tall grasses, various in different associations, form a sparse upper sublayer. Depending on the intensity of use, the main part of the herbage can be located in the middle sublayer or in the bottom one. In the middle sublayer, grasses predominate (Bromopsis inermis, Poa angustifolia, Elytrigia repens). Herbs tolerant to grazing (Potentilla bifurca, Amoria repens) make up the bottom sublayer. We have revealed 6 associations of steppe meadows. Ass. Potentillo bifurcae–Poetum angustifoliae, Potentillo bifurcae–Leymetum dasystachyos, Potentillo bifurcae–Hordeetum brevisubulati are typical for Tuvinian depressions, ass. Artemisio laciniatae–Koelerietum delavignei, Trifolio pratensis–Koelerietum delavignei и Trifolio pratensis–Festucetum valesiacae — for Minusinsk ones (Table 1). The basic bioclimatic barrier of ASMR — the West Sayan divides their areas. The ordination of new associations along the gradients of moisture supply (horizontal axis) and richness-salinity of soils (vertical axis) demonstrates that areas of associations form two ranges — the Minusinsk and Tuvinian. Every association of the Minusinsk range has corresponding association of the Tuvinian range (Fig. 2). DCA-ordination (Fig. 3) and cluster analysis (Fig. 4) of syntaxa from the South Urals, West Siberia, Yakutia and new associations have detected the specificity of the last ones, so a new alliance Potentillo bifurcae–Poion angustifoliae (order Galietalia veri, class Molinio-Arrhenatheretea) has been described. It comprises steppe meadows of the Eastern part of ASMR.

La figure littéraire du paria mérite mieux que l’indifférence générale. Apparue à la fin du XVIIIe siècle, elle est peut-être la figure la plus importante de la littérature romantique, marquée par l’orientalisme et l’ouverture à l’altérité. Le mot « paria » est mentionné dans un texte français dès 1673, l’année même de l’ouverture du comptoir français de Pondichéry. Mais la représentation du paria est recréée par l’Occident romantique : elle donne à voir une personne que son destin condamne à une marginalité et des souffrances extrêmes à cause de vertus exceptionnelles auxquelles elle ne renonce pas, ce qui lui confère une grandeur paradoxale. Le paria se voit ainsi attribuer les plus grandes qualités morales, c’est-à-dire chrétiennes dans le contexte de l’époque. Le romantisme réhabilite et privilégie les marges : l’hiver, la nuit, les ruines, et de même le paria. Et c’est le « mensonge romantique » (Girard) qui caractérise les auteurs qui ont le plus recours à la figure du paria. Au XIXe siècle, celle-ci incarne la lutte contre les puissances d’argent. Avec l’avènement du capitalisme, des personnes se retrouvent brutalement marginalisées. Les écrivains recourent alors à un mot nouveau pour exprimer des maux nouveaux. La figure littéraire du paria suggère en outre une périodisation du romantisme, entre la première identification de l’écrivain au paria, dans La Chaumière indienne de Bernardin de Saint-Pierre, et le poème « PARIA » de Corbière, qui acte le passage à une solitude désespérée. A la fin du XIXe siècle, l’auteur redevient paria au sens originel du terme : il perd la grandeur. Et la figure littéraire du paria reflète le psychisme de ses auteurs, souvent marqué par un complexe d’Œdipe mal résolu et une précocité intellectuelle source de souffrance et d’exclusion. Le paria ne saurait donc être réduit à un simple personnage. Il se conçoit plutôt comme une puissante figure littéraire : l’intensité des forces qui interagissent en elle prime sur l’importance de son rôle dans la narration. Cette figure déploie la forme la plus élevée du lyrisme car le paria incarne la manifestation la plus cruelle des souffrances humaines. Point ultime de « vaporisation » (Baudelaire) possible du sujet, elle entre en résonance avec tous les marqueurs du lyrisme : la rencontre de l’amour et de la mort, le sentiment du sacré, le rétrécissement de l’espace. Sur la forme, le recours appuyé à l’exclamation pour l’amplification du réel perçu, ou le débordement de la description par la suggestion sont des marqueurs modernes du lyrisme.Sur le plan moral, la figure du paria est souvent la victime exemplaire d’une éthique périmée, déontologique ou au contraire téléologique. Elle dénonce ces deux paradigmes et invite le lecteur à l’improvisation morale, à une éthique plus intérieure, inspirée par la souffrance ressentie. Le paria régénère de l’extérieur la morale de l’homme moyen et classique. En outre, le Paria avec sa majuscule marque une identité qui s’assume. Dans un contexte historique marqué par la disparition de l’altérité radicale, la figure littéraire du Paria affirme la nécessité morale de sa survie. Enfin, sur le plan métaphysique, cette figure invite au dépassement de la notion de désenchantement (Bénichou) comme marqueur principal du romantisme, à son retournement. Le P majuscule au mot « Paria », fréquent au XIXe siècle, confère en effet une grandeur inattendue à l’être le plus minuscule, méprisé par les hommes et abandonné par Dieu. Il dit la grandeur dans la déchéance, comme Les Fleurs du mal disent la beauté dans le chaos. En dernière instance, le Poète romantique reste un révélateur de la Beauté, conçue comme ultime lien possible entre Dieu et les hommes. Le poète-paria assume son propre sacrifice comme condition nécessaire à l’atteinte du Beau idéal pour lequel il souffre et s’exclut. Le romantisme, sur fond de désenchantement général, est plutôt l’école du réenchantement par la Beauté
The literary figure of the pariah deserves more than general indifference. It appeared at the end of the 18th century and is perhaps the most important figure in Romantic literature, marked by Orientalism and openness to otherness. The word 'pariah' is mentioned in a French text as early as 1673, the same year the French trading post in Pondicherry was opened. But the representation of the pariah is recreated by the Romantic West : it shows a person whose destiny condemns him to extreme marginality and suffering because of exceptional virtues that he does not renounce, which gives him a paradoxical grandeur. The pariah is thus attributed the greatest moral qualities, i.e. Christian in the context of the time. Romanticism rehabilitates and privileges the margins: winter, the night, the ruins, and likewise the pariah. And it is the 'romantic lie' (Girard) that characterises the authors who have the most recourse to the figure of the outcast. In the 19th century, the pariah figure embodied the struggle against the powers of money. With the advent of capitalism, people found themselves brutally marginalised. Writers then resorted to a new word to express new evils. The literary figure of the pariah also suggests a periodization of Romanticism, between the first identification of the writer with the pariah, in Bernardin de Saint-Pierre's La Chaumière indienne, and Corbière's poem "PARIA", which acts out the passage to a desperate solitude. At the end of the nineteenth century, the author becomes an outcast again in the original sense of the term : he loses his greatness. And the literary figure of the pariah reflects the psyche of its authors, often marked by a poorly resolved Œdipus complex and an intellectual precocity that is a source of suffering and exclusion. The pariah cannot therefore be reduced to a simple character. Rather, he is conceived as a powerful literary figure : the intensity of the forces that interact within him takes precedence over the importance of his role in the narrative. This figure deploys the highest form of lyricism because the outcast embodies the cruellest manifestation of human suffering. As the ultimate point of possible "vaporisation" (Baudelaire) of the subject, it resonates with all the markers of lyricism : the meeting of love and death, the feeling of the sacred, the shrinking of space. In terms of form, the use of exclamation to amplify the perceived reality, or the overflow of description by suggestion, are modern markers of lyricism. On the moral level, the figure of the pariah is often the exemplary victim of an outdated, deontological or, on the contrary, teleological ethic. It denounces these two paradigms and invites the reader to moral improvisation, to a more interior ethics, inspired by the suffering felt. The pariah regenerates the morality of the average, classical man from the outside. Moreover, the Pariah with a capital letter marks an identity that assumes itself. In a historical context marked by the disappearance of radical otherness, the literary figure of the Pariah asserts the moral necessity of its survival. Finally, on a metaphysical level, this figure invites us to go beyond the notion of disenchantment (Bénichou) as the main marker of Romanticism, to its reversal. The capital P in the word "Pariah", common in the 19th century, confers an unexpected grandeur on the most minuscule being, despised by men and abandoned by God. It speaks of greatness in decay, just as Les Fleurs du mal speak of beauty in chaos. In the final analysis, the Romantic poet remains a revealer of Beauty, conceived as the ultimate possible link between God and man. The poet-pariah assumes his own sacrifice as a necessary condition for the achievement of the ideal Beauty for which he suffers and excludes himself. Romanticism, against a background of general disenchantment, is rather the school of re-enchantment through Beauty