Academic literature on the topic 'French Literature – 17th Century – History and crit'

From the 17th century onwards, the French language dominated international communication and the exchange of current information within educated Europe, strengthening its position in the 18th century with the spread of Enlightenment ideas. The importance of French literature of this period can also be seen by observing the shelves of libraries. In the range of resources offered by the reading library of the city of Liepāja, founded in 1777, books in French occupy second place (second only to books in German, which was the dominant language of the educated part of society at the time studied) according to their number, including those intended for language learning: grammars, reading books, phrasebooks, and other dictionaries. The article studies and analyses the range of 17th–19th centuries monolingual French dictionaries, bilingual and multilingual dictionaries with a French section from the collection of the Liepāja library, a total of 20 units. The research area chronologically covers the period from the oldest dictionary, published in 1674, to the last dictionary, published in 1847. In the context of the study, the status and place of the French language in international circulation and on the local scale of Courland are discussed to study what the mentioned dictionaries say about the social and cultural space of Liepāja. The research does not belong to the field of lexicography, as it does not offer an analysis of dictionary creation methods; it focuses on social and cultural practices possibly linked to the use of dictionaries and uses research methods of intellectual history and cultural transfer. The research results reflect the development trends of language use in Liepāja and provide insight into the interaction of the French language with other languages. Monolingual dictionaries, French sections of bilingual and multilingual dictionaries integrate specific elite cultural knowledge and emphasise accuracy of expression. Travellers’ dictionaries show the importance of mobility and communication with European French-speaking elites, but the dynamic rhythm of Liepāja, a port city, is illustrated by dictionaries for businessmen and sailors, in which the French language is not predominant, but is only one of the possible means of communication.

Religious conversion revolutions the boundaries which delimit personal identity. Therefore, the main semiotic problem of mental and cultural representations of this religious phenomenon is to convey simultaneously a feeling of sameness and otherness, identity and change. In the present paper, mirrors are analysed as cultural mechanisms which enable representations to accomplish this paradoxical task. After a brief survey concerning literature on mirrors, some early-modern religious texts using these optical instruments as representative devices are analysed in-depth: a painting of the Magdalene’s conversion by Artemisia Gentileschi, an engraving representing conversion from a 17th-century French book, a fragment from Sainte Theresa’s spiritual autobiography, a passage from John Calvin’s Institution de la religion chrétienne. In its conclusion, the paper underlines the importance of Saint Paul’s metaphoric conception of mirrors for the cultural history of these objects, and tries to define the role which cultural semiotics should play concerning this kind of representative mechanisms.

History is the pioneer of all researches and developments, and the history of diabetes has its beginnings in antiquity about over three millennia. Diabetes mellitus is one of the oldest diseases from the human civilization. Also it is one of the most studied diseases in the history of medicine. Main symptoms of this disease are hyperglycaemia, excessive thirsty, increased appetite, gradual loss of body weight, and continuous passing of huge honey-sweet urine that often drew ants. The disease causes either for inadequate insulin production, or for the body cells do not respond properly to insulin, or both. Descriptions of diabetes mellitus have been found in the Egyptian Papyri, in ancient Indian and Chinese medical literature, and in the works of ancient Greek and Arab physicians. In the 17th century works of Thomas Willis; in the 19th century, the glycogenic action of the liver is done by French physiologist Claude Bernard; famous experiment of removing the pancreas from a dog and producing severe and fatal diabetes are performed by Oskar Minkowski and Joseph von Mering; and finally in the 19th century, isolation of insulin from pancreatic islets is done by Frederick Banting and Charles Best to save diabetes patients from the suffering from diabetes. These are the roots of all achievements in favor of welfare of diabetes patients. At present the prevalence of diabetes is very high worldwide, and is increasing day by day. In this study historical points of diabetes are highlighted for the awareness of this disease.

The research outlines the use of the word gvozdika (Eng. ‘carnation’, a species of Dianthus) in Russian poetry. The author takes the European tradition as a framework to describe and analyse diverse representations of the carnation in Russian, mainly poetic, texts of the 18th through 20th centuries, tracing the development and expansion of “carnation-driven” contexts and associations. Part One opens with a retrospective insight into the history of the carnation in European culture, debunking several popular misconceptions, related to the flower’s history and name, which had been uncritically repeated over many decades. The ubiquity of wild carnations has contributed to the belief that, like the rose and the lily, the carnation has a two-thousand-year cultural history. Thus, it might be assumed that the carnation’s beauty and spicy aroma should have set it apart from other flowers, so that it might gradually acquire various symbolic meanings. Indeed, researchers and writers have often noted the ancient symbolism of the carnation. Moreover, both popular and academic writings place the carnation in the limited and well-defined set of plants cultivated in Antiquity. The research into the historical significance of the carnation shows that its oft-postulated antiquity is nothing but wishful thinking: the cultural history of the carnation as well as its symbolic meanings cannot be traced back as a single process from Antiquity to the Present. Until the 14th century, the carnation was referred to by many different names; its literary and symbolic genealogy can only be traced back to the 15 th or 16th century, i.e. when it was introduced into horticulture and when stable designations for it appeared in the new European languages. Our analysis draws on comparative material from Spanish, Italian, French, German, and English poetry (poems by Luis de Gongora y Argote, Francisco de Quevedo, Joachim du Bellay, Remy Belleau, Pierre de Ronsard, and others) and employs numerous multilingual sources to shed light on the history of the carnation in European languages and literatures. In addition, we briefly trace the horticultural history of the carnation in Russia. The garden carnation, or the clove pink, has been known in Russia at least since the 17th century. It was among the plants bought in Holland by the Flower Office of Peter the Great. In the 18th century, the carnation was already widespread in Russian gardens: numerous detailed articles about the carnation, its varieties and cultivations are found in botanical directories and various indexes of the late 18th century. The Alphabetical Catalogue of Plants <...> in Moscow in the Garden of the Active State Councillor Prokofy Demidov, published in 1786, lists 52 varieties of the carnation. Yet, however popular the carnation was in everyday life, it rarely appeared in Russian literature of the 17th and 18th centuries.

The topic of the emergence of art criticism in France in the second half of the 17th and the first half of the 18th century, being rather widely covered in foreign academic literature, is still underdeveloped in Russian art history. Nevertheless, that issue is extremely important for understanding the processes that took place in the French and more widely in the European artistic milieu. The article aims to highlight the process of the criticism formation not only as a literary genre but primarily as a phenomenon of cultural life. Based on original written sources and foreign academic literature, the author traces how the appearance of fine art in the light of publicity was prepared in the Parisian artistic milieu. The author addresses the important questions that arose during the formative and legitimizing phase of criticism, such as its distinction from pre-existing art theory, as well as the distinction between the critic and the theorist or fine art historian. The artwork must now satisfy not only the master and the customer and a small circle of connoisseurs, society also becomes an active participant in artistic life, and the viewer enshrines the right to judge the art. The author shows how criticism is gradually becoming more diverse and polyphonic. Works written on behalf of a wide variety of characters are appearing, writers are adapting various literary genres that already exist: epistolary, diary, plays, poems, dialogues. For many years, criticism becomes an active channel of communication linking all participants in artistic life.

The article presents the information about the documents on the history of Russia stored at the Humanities Research Center at Texas State University at Austin (USA). The Harry Ransom Center for humanitarian studies owns an extensive collection of the documents received from individuals (free of charge or on a reimbursable basis) in the form of collections, funds, scattered documents, books, art objects from across Europe and America. The archive accepts for keeping not only the documents, but also the works of fund-makers. Visitors to the archive have an opportunity to conduct research in various fields of humanitarian knowledge: from the English dramatic poetry of the 17th century to the works of modern African novelists, from the modern French musical compositions to the Italian poetry of the 13th century. The Humanities Research Center has also collected a set of documents on Russian history, literature, music, and painting. The information on the history of Russia is contained in the diaries, letters, memoirs of Russian emigrants and American citizens. The most extensive part of the collection consists of the letters discussing the organization of political movements in the emigration environment, the issues of everyday life, the matters connected with moving from Europe to the United States. The documentary complex also includes the sketches of theatrical costumes and scenery, music score manuscripts, the photographs of the Russian artists, composers, actors who left Soviet Russia in 1918–1925. The chronological framework of the documentary complex covers the period from the First World War to the beginning of the Thaw period.

In 1730, a collection of treatises on singing and playing various musical instruments was published in London. It included “A Brief History of Music” and a small musical dictionary. Neither on the title page nor elsewhere in the text do we find information about its author/authors. Today, both reference and encyclopedic literature as well as special scholarly works refer to Peter Prelleur as the author (very rarely the compiler) of the collection. However, when comparing the basic explanations of musical theory and the basic performing principles in each individual treatise, these explanations turn out to be contradictory. The article provides a comparative analysis of the materials in the collection itself and in the works published in England from the middle of the 17th century to 1730. Based on the results of the analysis and the data obtained from modern research, the authors come to the conclusion that all the sections of the collection in question represent a compilation of materials. The materials came from previously published manuals written by English, French and Italian musicians and were then supplemented by theoretical and performance guidelines relevant for those days. In general, the collection is a perfect example of pirate traditions of English book publishers of the 18th century. It is safe to say that “The Modern Musick-Master” was a collective effort and Peter Prelleur was not its only author or compiler.

Abstract The two treatises of 1655, entitled Prae-Adamitae and Systema theologicum ex Praeadamitarum hypothesi, are among the principal works of the French Huguenot author Isaac La Peyrere (1596-1676). Peyrere ‘s theses have occupied a key position within the heretical branch of 17th-century Biblical Criticism: God must have created a human race before Adam, the Bible does not tell the history of mankind but of the elect people of Israel only, and the books of the Pentateuch were certainly not written, if at all, by Moses alone. The present contribution offers an outline of the recent La Peyrere Edition of 2019 and considers a few questions for further study. (1) How close are the Preadamites to early modern utopian literature? (2) What are we to make of Adriaan Beverland’s reference to the Praeadamitae in his infamous book on the Peccatum originale of 1678? (3) Taking up Isaac Popkin’s (1987) interesting suggestion, should we not as well consider a “pre-Eveite theory” alongside La Peyrere’s Preadamite hypothesis? This article concludes by addressing (4) another special desideratum: the early reception of La Peyrere and its continuing effects after the first critical responses as early as 1655/56.

In the first half of the 19th century in literature on art the term ‘Old Masters’ was disseminated (Alte Meister, maître ancienns, etc.), this in relation to the concept of New Masters. However, contrary to the widespread view, it did not result from the name institutionalization of public museums (in Munich the name Alte Pinakothek was given in 1853, while in Dresden the Gemäldegalerie Alte Meister was given its name only after 1956). Both names, however, feature in collection catalogues, books, articles, press reports, as well as tourist guides. The term ‘Old Masters’ with reference to the artists of the modern era appeared in the late 17th century among the circles of English connoisseurs, amateur experts in art (John Evelyn, 1696). Meanwhile, the Great Tradition: from Filippo Villani and Alberti to Bellori, Baldinucci, and even Winckelmann, implied the use of the category of ‘Old Masters’ (antico, vecchio) in reference to ancient: Greek-Roman artists. There existed this general conceptual opposition: old (identified with ancient) v. new (the modern era).
 An attempt is made to answer when this tradition was broken with, when and from what sources the concept (and subsequently the term) ‘Old Masters’ to define artists later than ancient was formed; namely the artists who are today referred to as mediaeval and modern (13th–18th c.). It was not a single moment in history, but a long intermittent process, leading to 18th- century connoisseurs and scholars who formalized early-modern collecting, antiquarian market, and museology.
 The discerning and naming of the category in-between ancient masters (those referred to appropriately as ‘old’) and contemporary or recent (‘new’) artists resulted from the attempts made to systemize and categorize the chronology of art history for the needs of new collector- and connoisseurship in the second half of the 16th and in the 17th century. The old continuum of history of art was disrupted by Giorgio Vasari (Vite, 1550, 1568) who created the category of ‘non-ancient old’, ‘our old masters’, or ‘old-new’ masters (vecchi e non antichi, vecchi maestri nostri, i nostri vecchi, i vecchi moderni). The intuition of this ‘in-between’ the vecchi moderni and maestri moderni can be found in some writers-connoisseurs in the early 17th (e.g. Giulio Mancini). The Vasarian category of the ‘old modern’ is most fully reflected in the compartmentalizing of history conducted by Carel van Mander (Het Schilder-Boeck, 1604), who divided painters into: 1) oude (oude antijcke), ancient, antique, 2) oude modern, namely old modern; 3) modern; very modern, living currently. The oude modern constitute a sequence of artists beginning with the Van Eyck brothers to Marten de Vosa, preceding the era of ‘the famous living Netherlandish painters’.
 The in-between status of ‘old modern’ was the topic of discourse among the academic circles, formulated by Jean de La Bruyère (1688; the principle of moving the caesura between antiquité and modernité), Charles Perrault (1687–1697: category of le notre siècle preceded by le siècle passé, namely the grand masters of the Renaissance), and Pellegrino Antonio Orlandi writing from the position of an academic studioso for connoisseurs and collectors (Abecedario pittorico, 1704, 1719, 1733, 1753; the antichimoderni category as distinct from the i viventi).
 Together with Christian von Mechel (1781, 1783) the new understanding of ‘old modernity’ enters the scholarly domain of museology and the devising of displays in royal and ducal galleries opened to the public, undergoing the division into national categories (schools) and chronological ones in history of art becoming more a science (hence the alte niederländische/deutsche Meister or Schule). While planning and describing painterly schools at the Vienna Belvedere Gallery, the learned historian and expert creates a tripartite division of history, already without any reference to antiquity, and with a meaningful shift in eras: Alte, Neuere, and lebende Meister, namely ‘Old Masters’ (14th–16th/17th c.), ‘New Masters’ (Late 17th c. and the first half of the 18th c.), and contemporary ‘living artists’. The Alte Meister ceases to define ancient artists, while at the same time the unequivocally intensifying hegemony of antique attitudes in collecting and museology leads almost to an ardent defence of the right to collect only ‘new’ masters, namely those active recently or contemporarily. It is undertaken with fervour by Ludwig Christian von Hagedorn in his correspondence with his brother (1748), reflecting the Enlightenment cult of modernité, crucial for the mental culture of pre-Revolution France, and also having impact on the German region. As much as the new terminology became well rooted in the German-speaking regions (also in terminology applied in auction catalogues in 1719–1800, and obviously in the 19th century for good) and English-speaking ones (where the term ‘Old Masters’ was also used in press in reference to the collections of the National Gallery formed in 1824), in the French circles of the 18th century the traditional division into the ‘old’, namely ancient, and ‘new’, namely modern, was maintained (e.g. Recueil d’Estampes by Pierre Crozat), and in the early 19th century, adopted were the terms used in writings in relation to the Academy Salon (from 1791 located at Louvre’s Salon Carré) which was the venue for alternating displays of old and contemporary art, this justified in view of political and nationalistic legitimization of the oeuvre of the French through the connection with the tradition of the great masters of the past (Charles-Paul Landon, Pierre-Marie Gault de Saint-Germain).
 As for the German-speaking regions, what played a particular role in consolidating the term: alte Meister, was the increasing Enlightenment – Romantic Medievalism as well as the cult of the Germanic past, and with it a revaluation of old-German painting: altdeutsch. The revision of old-German art in Weimar and Dresden, particularly within the Kunstfreunde circles, took place: from the category of barbarism and Gothic ineptitude, to the apology of the Teutonic spirit and true religiousness of the German Middle Ages (partic. Johann Gottlob von Quandt, Johann Wolfgang von Goethe). In this respect what actually had an impact was the traditional terminology backup formed in the Renaissance Humanist Germanics (ethnogenetic studies in ancient Germanic peoples, their customs, and language), which introduced the understanding of ancient times different from classical-ancient or Biblical-Christian into German historiography, and prepared grounds for the altdeutsche Geschichte and altdeutsche Kunst/Meister concepts. A different source area must have been provided by the Reformation and its iconoclasm, as well as the reaction to it, both on the Catholic, post-Tridentine side, and moderate Lutheran: in the form of paintings, often regarded by the people as ‘holy’ and ‘miraculous’; these were frequently ancient presentations, either Italo-Byzantine icons or works respected for their old age. Their ‘antiquity’ value raised by their defenders as symbols of the precedence of Christian cult at a given place contributed to the development of the concept of ‘ancient’ and ‘old’ painters in the 17th–18th century.

Consacrée à « La réception dix-septièmiste des Fables de La Fontaine. Entre histoire, critiques et théories », la thèse réalisée s'articule autour d'une réflexion tâchant, au-delà de l'analyse de la réception historique de l'œuvre, d'effectuer, dans le cadre d'une présentation thématiquement organisée, la synthèse des discours tenus par les différents spécialistes de l'auteur s'étant, jusqu'à présent, intéressés au cas d'une réception hors norme. Après être revenue en détail sur la manière dont les Fables se sont édifiées comme chef d'œuvre et comment celles-ci ont d'emblée été construites comme monumentales par leur propre époque (1668-1700), nos travaux considèrent les différentes théories développées concernant leur réception en fonction des grands objets qui ont, jusqu'à présent, retenu l'attention de la recherche contemporaine. Pour ce faire, nous avons colligé un très grand nombre d'observations et de théories éparses que nous avons pris soin d'organiser en fonction de différents aperçus thématiques s'attachant à reprendre et à faire méthodiquement dialoguer chacune des réponses critiques apportées aux principaux questionnements que l'œuvre semble poser du point de sa réception. En revenant sur les principales découvertes de la critique dix-septièmiste concernant cette réception, nous voulions, dans le cadre d'une réflexion thématiquement problématisée autour de cette notion, offrir au lecteur un aperçu synthétique lui permettant de faire le point sur les principaux acquis de la recherche contemporaine. Pensé comme un véritable usuel de la critique lafontainienne, notre thèse se donne donc pour vocation d'enquêter sur la réception historique de l'œuvre tout en tâchant d'élargir la perspective dans le cadre d'une synthèse nuancée se plaisant à suivre, une à une, les grandes voies ouvertes par une critique qui, face à un extraordinaire succès, s'est, à bien des égards, attelée à poser la question de la réception et de la lecture de l'œuvre avant de tenter d'y apporter quelques réponses<br>Dedicated to “The seventeenth-century reception of La Fontaine's Fables: history, criticism and theories”, this thesis will partly aim to analyze the historical reception of the work during the seventeenth-century. Nonetheless, the dissertation will mainly try, in the form of a thematically organized presentation, to do the synthesis of various speeches suggested by specialists of the author, interested in the case of an unusual reception. To this end, this work will, first of all, comment on how the Fables were built, by their own time (1668-1700), as a masterpiece. But, then, it will mainly consider the different theories developed regarding their reception. For this purpose, we collected a large number of scattered observations and theories that we then took care to organize according to different thematic overviews, trying to methodically create a dialogue between each of the critical answers given to the main questions that the Fables seem to ask from the point of their reception. By considering the main discoveries of the seventeenth-century critics concerning the Fables‘ reception, we wanted, in the form of a thematically problematized reflection, to provide the reader with a brief overview of the main achievements of contemporary research. In summary, this thesis, thought as a basic reference of the La Fontaine's critic, will aim to investigate the historical reception of the work while trying to broaden the perspective to a nuanced synthesis considering, one by one, the broad lines opened by a critic who, in the face of an extraordinary success, has, in many ways, endeavored to ask the question of the work's reception before trying to provide some answers. According to this project, the analyze will be conducted based on the large objects that have, until now, held the attention of contemporary research

During the 17th and 18th centuries, the French garden history witnesses the triumph and then the decline of the French formal garden, to which succeeds the fashion of landscape gardening of foreign inspiration. Integrating and nourishing this debate, the literary texts of that period enable to grasp the stakes that it brings up. The garden notably lends itself to the expression of an emerging sentiment of nature, as well it also serves that of a political thought enlightened by new ideas. Effectively, the treatment that these texts give to the garden is a witness to the revival that installs itself in the way of conceiving nature, and the relation that nature holds with man and the art of the gardens. The garden's topic and scenography are a testimony of changes that in turn affect its imaginary and that of the walk. Finally, the critical discourse exploits the analogy that establishes itself between the art of the gardens and the exercise of power, polarizing the debate around the political metaphor.

This thesis explores the first English translations of Molière's works published between 1663 and 1732 by writers that include John Dryden, Edward Ravenscroft, Aphra Behn, and Henry Fielding. It challenges the idea that the translators straightforwardly plagiarized the French plays and instead argues that their work demonstrates engagement with the dramatic impact and satirical drive of the source texts. It asks how far the process of anglicization required careful examination of the plays' initial French national context. The first part of the thesis presents three fundamental angles of interrogation addressing how the translators dealt with the form of the dramatic works according to theoretical and practical principles. It considers translators' responses to conventions of plot formation, translation methods, and prosody. The chapters are underpinned by comparative assessments of contextual theoretical writings in French and English in order to examine the plays in the light of the evolving theatrical tastes and literary practices occasioned by cross-Channel communication. The second part takes an alternative approach to assessing the earliest translations of Molière. Its four chapters are based on close analysis of culturally significant lexical terms which evoke comically contentious social themes. This enquiry charts the changes in translation-choices over the decades covered by the thesis corpus. The themes addressed, however, were relevant throughout the period in both France and England: marital discord caused by anxieties surrounding cuckoldry and gallantry, the problems of zealous religious ostentation, the dubious professional standing of medical practitioners, and bourgeois social pretension. This part assesses how the key terms in translation were chosen to resonate within the new semantic fields in English, a target language which was coming into close contact with new French terms.

Three original stories are the basis for our study of rewriting during the French Ancien Regime: the story of Thibaud de la Jacquiere, that of the "sorcier Gaufridy" and that of the Marquise de Ganges, which Sade will rewrite as a novel. Having all originated from a "canard", they appear in the 1679 edition of the Histoires tragiques of Francois de Rosset, and two of them can also be found in Francois Gayot de Pitaval's Causes celebres. Each of these stories was rewritten by different authors at least three times. Using Gerard Genette's theory of the narrative, we will analyse the processes of transformation that the rewriting operates in the text, as well as the changes it imposes to its original meaning. The number of rewritings of each text---up to five for the Marquise de Gange---is a testament to the importance of textual reappropriation as much as it shows the relevance of a study which brings to light the role of rewriting in the survival of these stories.

Orientador: Carlos Eduardo Ornelas Berriel<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-10-02T19:50:58Z (GMT). No. of bitstreams: 1 Ribeiro_AnaClaudiaRomano_D.pdf: 462497191 bytes, checksum: 95a1bcb4a0a455fe962de04edb99c491 (MD5) Previous issue date: 2010<br>Conteudo: v.1. Estudo ; v.2. Tradução<br>Resumo: Analisar e traduzir La Terre Australe connue são os objetivos desta tese de doutorado. Segundo "G. de F", narrador do prefácio, La Terre Australe connue é a tradução do relato da viagem de Nicolas Sadeur ao último continente ainda desconhecido no século XVII, chamado nos mapas da época de terra australis incógnita, um lugar aprazível, habitado e totalmente planejado - em todos os seus aspectos - por hermafroditas perfeitamente racionais. Este pseudodocumento é uma utopia literária que foi, em realidade, escrita por Gabriel de Foigny e publicada em Genebra, em 1676, sob falso nome de editor e de cidade. O trabalho está dividido em dois volumes. O volume 1 é dedicado à análise da obra e contém dois capítulos principais. O primeiro trata da definição da utopia como gênero literário partindo do texto paradigmático de Thomas Morus, A Utopia. No segundo capítulo, apresento uma biografia de Gabriel de Foigny, faço uma revisão bibliográfica da crítica já publicada sobre sua utopia para, em seguida, desenvolver minha interpretação da figura do hermafrodita como alegoria da hibridização 1) do poder real absoluto, 2) do Estado absolutista e 3) do panorama religioso francês desta época. Passo em seguida à análise da figura do hermafrodita tal como ela é descrita pelo autor, percebendo que ela se insere na tradição menipéia e luciânica. Na parte seguinte, estudo outros temas relevantes para a compreensão desta utopia: a questão religiosa no capítulo VI ("Da religião dos austrais"), a ciência e a técnica na Terra Austral, o prefácio e o narrador-editor, a temática das línguas e da tradução nesta utopia e, por fim, o libertinismo. Um apêndice é dedicado ao estudo das fontes gregas da utopia. No volume 2 está a tradução para o português, organizada numa edição bilíngue acompanhada de notas.<br>Abstract: The aim of this doctoral thesis is to analyze and translate La Terre Australe connue. According to "G. de F. ", the narrator of the preface, La Terre Australe connue is the translation of Nicolas Sadeur's voyage account to the last continent still unknown in the 17th Century, called terra australis incognita on the maps of the period, an inhabited place, in all aspects pleasing and totally planned by perfectly rational hermaphrodites. This pseudodocument is a literary Utopia. It was, in fact, written by Gabriel Foigny and published in Geneva in 1676, under a false name of city and editor. The work is divided into two volumes. Volume 1 is dedicated to the analysis of the text and contains two main chapters. The first one deals with the definition of Utopia as a literary genre starting from the paradigmatic text of Thomas More, Utopia. The second brings a biography of Gabriel de Foigny, a review of the published criticism about his Utopia with the purpose of, afterwards, presenting my personal reading of it, based on the figure of the hermaphrodite as an allegory of the hybridization of 1) the absolute royal power, 2) the absolutist state and 3) the religious panorama of 17th Century France. I examine, then, the figure of the hermaphrodite as it is described by the author, observing that it continues the menippean and lucianic tradition. After that, I study other relevant subjects to the understanding of this Utopia: the religious question in Chapter VI ("The religion of the Southern"), science and technology in the Southern Land, the preface and the narrator-editor, the thematics of language and translation in this Utopia and, eventually, the philosophical libertinism. An appendix is devoted to the study of Greek sources of Utopia. In volume 2 we present the Portuguese translation, organized in a bilingual edition, accompanied by notes.<br>Doutorado<br>Historia e Historiografia Literaria<br>Doutor em Teoria e História Literária

L’étude du conte de fées de 1690 à 1789, période de la mode du genre en France, montre que la matière merveilleuse s’est constituée dès ses débuts avec des éléments de pratiques lettrées transposés du réel mais aussi et surtout transformés de manière fantaisiste. Les premiers conteurs (1690-1704) érigent en effet le genre selon une poétique complexe mariant l’oralité des temps naïfs et l’écrit, signe d’une pratique sociale et culturelle du conte. Les conteurs suivants en apportent des infléchissements plus parodiques, des imitations et des variations notamment orientalisantes. L’ensemble des auteurs est concerné mais à des degrés divers, Perrault, Choisy et Fénelon étant moins prolixes en la matière que Madame d’Aulnoy, Pétis de la Croix ou le chevalier de Mailly.Le pays merveilleux dévoile ses arcanes, son secret de fabrication métatextuelle à travers des scènes plus ou moins fugaces de lecture, d’écriture et d’évocations de bibliothèques féériques<br>The study of the fairy tale over the years 1690-1789, when the genre was in fashion in France, shows that, from its inception, the subject matter grew up with elements of realistic literary practice which were largely reshaped by imagination. The first storytellers (1690-1704) set up the literary genre according to a complex poetics allying the orality of naive times with literacy, which is the mark of a social and cultural practice of the story. The contributions of the forthcoming storytellers are imitations, parodies or are tinged with Orientalism. All the writers are affected, but to varying degrees: Perrault, Choisy and Fénelon are less inventive in this respect than Madame d’Aulnoy, Pétis de la Croix or the Chevalier de Mailly. The wonderland reveals its mysteries and the secret of its metatextual layout through more or less fleeting scenes of book reading or writing conjuring up a magical library

L’influence littéraire exercée par l'Espagne du Siècle d’or sur la France du premier XVIIe siècle est liée à un ample mouvement éditorial. Cette thèse, qui associe histoire du livre et histoire littéraire, étudie les traductions françaises de textes espagnols qui ont circulé en France entre 1600 et 1660 – traductions qui concernent des textes de toute nature (religieux, littéraires, scientifiques, techniques...). Pour évaluer l’ampleur de ce mouvement éditorial, une enquête bibliométrique est d’abord réalisée. Elle permet de reconstituer l’histoire de cette diffusion par l’imprimé. On identifie les principaux foyers de production et on examine la production des officines de librairie engagées dans ce marché. L’analyse se porte ensuite sur l’activité de traduction elle-même, dans la diversité de ses pratiques. Les profils des principaux traducteurs d’espagnol en français sont distingués : le traducteur professionnel, l’amateur éclairé, l’imprimeur, le religieux, le médecin etc. Une attention particulière est accordée aux hommes de lettres qui tentent de concilier un travail de plume mal considéré avec leurs ambitions littéraires. Les pratiques des traducteurs sont enfin cernées par l’analyse des textes et de leur « mise en livre », en comparant différentes traductions (concurrentes ou successives) d’un même texte. Les motivations diverses de ces versions et la spécificité de chaque projet d’écriture et de publication sont ainsi cernées. Portant sur un large pan de la production écrite en français souvent délaissé par l'histoire littéraire, ce travail sur la pénétration de la culture espagnole en France et sur le monde des traducteurs interroge aussi la relation entre écriture et publication, et sur le rôle de « l’éditorial » dans la construction de l’autorité littéraire<br>The literary influence exercised by Golden Age Spain on France in the first half of the 17th century is related to a very considerable mass of editorial activity. This thesis, which combines the history of the book and literary history, studies French translations of Spanish texts which circulated in France between 1600 and 1660 - translations concerning texts of all kinds (religious, literary, scientific, technical, etc.).In order to evaluate this editorial activity, a bibliometric enquiry must first be carried out. This enquiry allows us to reconstitute the history of of the circulation of this material in print. The principal centres of production are identified and the production of the workshops of the booksellers’ operating in this market are examined. The analysis then shifts to the activity of translation itself, in all its diversity. The profiles of the different principal translators from Spanish to French are laid out: the professional translator, the enlightened amateur, the printer, the cleric, the physician, etc. Particular attention is paid to men of letters who attempt to conciliate what is perceived as lowly hackwork with their literary ambitions. Finally, the translators’ practices themselves are the object of study, through comparison, using textual analysis as well as examining questions of format and layout, of different (concurrent or successive) translations of the same text. Account is thus made of the diverse motivations of these versions and the specificity of each writing project and publication. Taking as its base a large swathe of writing produced in French often neglected by literary history, this study of the penetration of Spanish culture in France and of the world of translators looks anew at the relation between writing and publication, as well as at the editorial role in the construction of literary legitimacy

“The article deals with the changes which the concept of literature underwent in 16th century France. The late medieval concept of poetry as fabula, allegorical fiction, is replaced in the middle of the century (by T. Sébillet, J. Peletier du Mans, Ronsard) by the Platonic idea of an innate divine gift. The idea of poetry-philosophy describing all possible phenomena of the universe henceforth serves as a prerequisite for the creation of works perfect from a formal point of view. The idea of the relation between poetry and rhetoric as well as the models to be imitated by the poet changes. Lists of canonical authors turn into a poetic topos as early as the late Middle Ages, but under the influence of Pleiades’ theories there is an increased interest in the figure of the “great author”, a symbol of national language and poetry, whose emergence means the achievement of the national culture of the Golden Age. Lists, however, are transformed at the end of the century into the first attempts to describe the totality of French literature (Lacroix du Maine and A. Duverdier’s “Libraries of France”) and its history (a work on ancient poets by C. Fauchet and Book VII of E. Pasquier’s “Inquiries into France”). In the Renaissance disputes and polemics becomes more visible the outlines of both the literary canon, which was embodied in the 17th century, and the historical approach to literature.

The article examines Schwank on “one Moscow patriarch.” Among the numerous pieces of literature printed on the territory of German states in the 17th century, one can still find unknown sources on the history of Russian-European relations. The vocal work, composed by the Baroque music theoretician, composer and writer Georg Daniel Speer (1636–1707), is one of them. It has all the features of the earlier Fastnachtsspiel, or fabliau set to music with a considerable number of immodest details. Quiproquo in the bedroom is a traditional plot of these stories known throughout Europe, but in this case, “one Moscow patriarch” acts as the main character of opus. However, nothing will distinguish him from a German priest or a French abbot. On the contrary, music that accompanies the vocal piece is called Moscow Dance and probably reflects the composer’s ideas about secular music of Muscovy state. All this gives evidence to the fact that by the last quarter of the 17th century, Muscovy in ordinary consciousness of Europeans was turning from an exotic and fabulous territory into a country in the neighborhood, about which familiar jokes are told.

The research focuses on the annotated translation into Russian language of the Hesiod’s Dream, large fragment from the 2nd book of the 8th volume of the novel “Clélie, l’histoire romaine” of the French writer of the middle of the 17th century Madeleine de Scudéry, which is a consistent narration about the world history of the literature in Ancient Greece, Ancient Rome, Renaissance Italy, as well as in France from the late Middle Ages up to the 1650’s. The introductory article analyzes the metatextual nature of the narrative (it is presented as the reading of a manuscript by the heroes of the novel, which tells about Hesiod, to whom the muse of poetry Calliope tells the future development of literature), as well as the context of the creation of an episode that reflected the influence of ancient and renaissance poetics and rhetoric. In the course of the research, it is demonstrated that Scudéry builds the logic of the evolution of Western literature in the context of the idea of “progress”: the ancient and Renaissance Italian tradition appears as a stage that prepared the flowering of gallant poetry in France; such an understanding of the logic of the development of Western literature, leading to an emphasis on the role of women and focusing on light love poetry (Catullus, Petrarca) to the detriment of the philosophical tradition (Dante) is the result of the cultural policy of Superintendent Nicolas Fouquet, who was considered by a significant part of the French elites as a new “Patron of the Arts”.