Academic literature on the topic 'Charles (1582?-1674)'

The important Dutch scholastic theologian Gisbertus Voetius (1589–1676) held John Calvin in high esteem and was very familiar with his work, although he did not like to be called a Calvinist. This article argues that Voetius’s reading of Calvin is reminiscent of the medieval practice of expositio reverentialis or “respectful explanation.” When Voetius evaluates in his Thersites heautontimorumenos and his Disputationes selectae Calvin’s rejection of the scholastic distinctions between the effective and permissive will of God and between his absolute and ordained power, he argues that Calvin only dismissed their abuse, but not their proper use. This way Voetius defends Calvin against charges by the Remonstrants or Roman Catholic theologians.

Jan Reisner (ca. 1655-1713) was a painter and architect. He was sent by King Jan III together with Jerzy Siemiginowski to study art at St. Luke Academy in Rome. He traveled to the Eternal City (where he arrived on February 24, 1678) with Prince Michał Radziwiłł’s retinue. Cardinal Carlo Barberini, who later became the protector of Regni Poloniae, was the guardian and protector of the artist during his studies in 1678-1682. In the architectural competition announced by the Academy in 1681 Reisner was awarded the fi prize in the fi class, and a little later he was accepted as a member of this prestigious university. He was awarded the Order of the Golden Spur (Aureatae Militiae Eques) and the title Aulae Lateranensis Comes, which was equivalent to becoming a nobleman. The architectural award was conferred by the jury of Concorso Academico, composed of the Academy’s principe painter Giuseppe Garzi, its secretary Giuseppe Gezzi, and the architects Gregorio Tommassini and Giovanni B. Menicucci. In the Archivio storico dell’Accademia di San Luca, preserved are three design drawings of a church made by Jan Reisner in pen and watercolor, showing the front elevation, longitudinal section, and a projection. Although they were made for the 1681 competition, they were labelled with the date 1682, when the prizes were already being awarded. Reisner’s design reflected the complicated trends in the architecture of the 1660s and 1670s, especially in the architectural education of St. Luke’s Academy. There, attempts were made to reconcile the classicistic tendencies promoted by the French court with the reference to the forms of mature Roman Baroque. As a result of this attempt to combine the features of the two traditions, an eclectic work was created, as well as other competition projects created by students of the St. Luke’s Academy. The architect designed the Barberini temple-mausoleum, on a circular plan with eight lower chapels opening inwards and a rectangular chancel. The inside of the rotund is divided into three parts: the main body with opening chapels, a tambour, and a dome with sketches of the Fall of Angels. Inside, there is an altar with a pillar-and-column canopy. The architectural origin of the building was determined by ancient buildings: the Pantheon (AD 125) and the Mausoleum of Constance (4th century AD). A modern school based of this model was opened by Andrea Palladio, who designed the Tempietto Barbaro in Maser from 1580. In the near future, the Santa Maria della Assunzione in Ariccia (1662-1664) by Bernini and Notre-Dame-de-l’Assomption (1670-1676) in Paris by Charles Errard could provide inspiration. In particular, the unrealized project of Carlo Fontana to adapt the Colosseum to the place of worship of the Holy Martyrs was undertaken by Clement X in connection with the celebration of the Holy Year in 1675. In the middle of the Flavius amphitheatre, he designed the elevation of a church in the form of an antique-styled rotunda, with a dome on a high tambour and a wreath of chapels encircling it. Equally important was the design of the fountain of the central church in Basque Loyola (Santuario di S. Ignazio a Loyola). In the Baroque realizations of the then Rome we find patterns for the architectural decoration of the Reisnerian church. In the layout and the artwork of the facades we notice the influence of the columnar Baroque facades, so common in different variants in the works of da Cortona, Borromini and Rainaldi. The monumental columnar facades built according to Carlo Rainaldi’s designs were newly completed: S. Andrea della Valle (1656 / 1662-1665 / 1666) and S. Maria in Campitelli (designed in 1658-1662 and executed in 1663-1667), and Borromini San Carlo alle Quatro Fontane (1667-1677). The angels supporting the garlands on the plinths of the tambour attic are modelled on the decoration of two churches of Bernini: S. Maria della Assunzione in Ariccia (1662-1664) and S. Andrea al Quirinale (1658-1670). The repertoire of mature Baroque also includes the window frames of the front facade of the floor in the form of interrupted beams and, with the header made in the form of sections capped with volutes. The design indicates that the chancel was to be laid out on a slightly elongated rectangle with rounded corners and covered with a ceiling with facets, with a cross-section similar to a heavily flattened dome. It is close to the solutions used by Borromini in the Collegio di Propaganda Fide and the Oratorio dei Filippini. The three oval windows decorated with C-shaped arches and with ribs coming out of the volute of the base of the dome, which were among the characteristic motifs of da Cortona, taken over from Michelangelo, are visible. The crowning lantern was given an original shape: a pear-shaped outline with three windows of the same shape, embraced by S-shaped elongated volutes, which belonged to the canonical motifs used behind da Cortona by the crowds of architects of late Baroque eclecticism. Along with learning architecture, which was typical at the Academy, Reisner learned painting and geodesy, thanks to which, after his return to Poland, he gained prestige and importance at the court of Jan III, then with the Płock Voivode Jan Krasiński. His promising architectural talent did gain prominence as an architect in Poland, although – like few students of St. Luke’s Academy – he received all the honors as a student and graduate.

The band of gentlemen pensioners, a body which, diminished in size and its functions altered almost beyond recognition, still survives at the English royal court under the title of “The Honourable Corps of Her Majesty's Gentlemen at Arms,” was instituted on Christmas Eve 1539 as part of a reform of the royal household. The group was a revival of the “spears” or “spears of honour,” an elite, sumptuously-outfitted royal bodyguard of gentlemen founded by Henry VIII in 1509, shortly after his accession, which appears to have lapsed in 1515 or 1516, because of the great charges involved in their maintenance, according to Hall's chronicle. The revived group was provided for in a rather more modest manner than its predecessor had been, but its members served much the same purposes. They were the king's elite bodyguard, his personal companions in arms when he went to war, the principal participants in tournaments and other martial sports at court and, more generally, a courtly and military finishing school for the sons of nobility and gentry.From 1540 until 1670, when the band underwent its first reduction in size, its structural organization remained unchanged in all essentials. It consisted of fifty men and five officers, a captain, lieutenant, standard-bearer, clerk of the check and harbinger. The last two were ancillary offices, the keeper of the “check-list” or attendance roll and his deputy, and were not strictly speaking members of the corps, but its servants. The lieutenant and the standard-bearer were normally men who had served for a time as gentlemen pensioners before being appointed to these offices, while the captain, on the contrary, was a figure of some importance at court in his own right, and one who had not previously served in the band. After the death of the first captain, Sir Anthony Browne, Henry VIII's master of the horse, in 1548, subsequent captains under the Tudor and early Stuart monarchs were all peers and almost always held other great offices of state. Browne's successor, William Parr, marquess of Northampton, was Edward VI's lord chamberlain; he lost all of his offices and titles on Mary's accession and was lucky to escape with his life. Thomas Radcliffe, lord Fitzwalter, later earl of Sussex, succeeded him in the captaincy, holding it continuously until his death in 1583. From 1572 he held the office of lord chamberlain to the queen. His Elizabethan successors in the captaincy, the first and second lords Hunsdon, father and son, the queen's kinsmen, also held the lord chamberlainship.

L'œuvre de Sorel manifeste un intérêt constant pour les questions liées à la lecture au moment où celle-ci connaît une extension sans précédent dans la société française (1620-1670). Sorel y traite en particulier de la valeur littéraire et de ses critères, de la diffusion des sciences, des dangers et de l'utilité de la fiction, des profits de la curiosité, de la légitimité du plaisir de lire, des démarches d'interprétation. Il expose ces questions théoriquement dans ses ouvrages bibliographiques, les met en pratique dans ses livres philosophiques, historiques, encyclopédiques, et les expérimente dans des fictions qui font une place inédite aux personnages de lecteurs. Sorel construit ainsi l'image d'un lecteur " universel ", distinct de " l'honnete lecteur " consacré par l'historiographie du classicisme, qui fait l'objet d'un véritable projet de formation. Ainsi cette étude peut s'envisager comme la première étape d'une histoire littéraire de la lecture et du lecteur
The unprecented effervescence of publishing in the XVIIth century inspires Charles Sorel to write about books and readers. Thus we can perceive Sorel's writings (1620-1674) as a meeting point of questions about literary value and literary criteria, the diffusion of scientific knowledge, the dangers and the utility of fictional writings, the benefits of curiosity, the legitimacy of the reader's pleasure, the margin of interpretation. Sorel deals with those questions in his theorical writings (bibliography, philosophy, history, encyclopedia), and experiments them in fictions that introduce readers as characters. His purpose is to form an "universal" reader and not the well-known type of honnest man. So this study is willing to be a first approach to a History of reading and reader

L'histoire comique de francion (1623-1626-1633) et le berger extravagant (1627-1634) sont deux romans de charles sorel (1599 ou 1602-1674) qui permettent de saisir les manifestations textuelles d'un sujet problematique de l'ecriture apparu par hypothese au seuil de la modernite, en plein age baroque. Trois plans successifs permettent la mise en oeuvre de cette socio-poetique des formes de l'enonciation romanesque : le plan du "narrateur", c'est-a-dire celui de l'investissement poetique du sujet de l'ecriture, le plan de l'auteur, c'est-a-dire celui de la personne individuelle donatrice de l'oeuvre et aux prises avec des options generiques contradic toires, enfin le plan de l'ecrivain, c'est-a-dire de l'homme de lettres confronte aux ambiguites de son inscription sociale. Ce sujet problematique, dont la surdetermination par une inscription institutionnelle ambigue est a la source meme de l'ecriture, releve d'analyses concretes des faits litteraires, textuels et peripheriques. Il est en outre susceptible, dans le cadre des theories de la subjectivite, de nourrir des redistributions conceptuelles a venir
L'histoire comique de francion (1623-1626-1633) et le berger extravagant (1627-1634) are two novels written by charles sorel wich make it possible to apprehend the textual manifestations of a problematical subject of writing which, hypothetically, comes into existence in the middle of the baroque period, at the beginnings of modernity. Three sucessiv e levels make possible the development of the socio-poetics of forms of enunciation within the novel : the level of the "narrator", in other words of the poetic investment of the subject of writing; the level of the author, that is to say the level of the individual person providing the text and who faces contradictory generic options ; finally the level of the writter, of the man of letters confronted with the ambiguities of his own social inscription. This problematical subject, whose over determination by an ambiguous institutional inscription is the very source of wri ting justifies concrete analyses of literary facts, whether textual or peripheral; this subject is also capable, within the framework of theories of subjectivity, of fuelling future conceptual redistributions

Sans prétendre à une interprétation inédite, cette lecture du texte de l'Histoire comique de Francion de Ch. Sorel tend à montrer que l'écriture romanesque repose sur une vaste entreprise de manipulation : déception du sens visant à ruiner le dogmatisme, brouillage énonciatif exhibant les coulisses de la narration, univers de la fiction reposant sur l'illusion, l'histoire comique manifeste à tous les niveaux une argumentation oblique et une visée émancipatrice que nous appelons franchise. Ainsi peut-on rétablir par la lecture la cohérence d'un texte jugé disparate, en mettant en relation les différents niveaux : pragmatique, séquentiel et sémantique
The reading of the text : Histoire comique de Francion of Ch. Sorel does not claim to present an original interpretation. It only tends to show that writing a novel consists in manipulating the reader, that is to say in deceiving the meaning which aims at eradicating dogmatism, at blurring the pragmatic backstage, at showing a universe of fiction lying upon illusion. Therefore, the novel resorts to an oblique way of explosing arguments and to an emancipative goal, which is called Franchise. So the reading can restore coherence in a texte which has previously been perceived as incongruous, by connecting the levels-pragmatic, sequential and semantic-to each other

The Histoire comique de Francion (1623--1633) of Charles Sorel marks a passage in the history of laughter, from the Renaissance to the classical period. Sorel defines the Histoire comique as a realistic genre by opposing it to the heroic, pastoral and burlesque genres. Whereas Rabelaisian works showed an ambivalent and carnivalesque laughter, the tone of Sorel's Francion is both satirical and univocal. The carnivalesque and popular traditions are mocked for the benefit of an elitist rationalism. The Francion shows a hero who distances himself from the popular culture to become a honnete homme. In order to respect the bienseances, laughter becomes spiritual, abstract and moderated. It attacks humans' ridiculous shortcomings instead of mocking the dominating classes as did the carnivalesque laughter in a debunking process. The polite laughter of the Francion distinguishes itself from the corporeal, excessive and regenerating laughter that one finds in Rabelais. The satire of Francion prepares for more serious endeavors.

« Esprit [...] vigoureux et fécond » (Roy, 1891: Avant-propos), Charles Sorel est un auteur prolifique connu principalement pour être l'auteur de l’Histoire comique de Francion, œuvre publiée pour la première fois en 1623. Ce livre connaîtra deux autres éditions remaniées en 1626 et en 1633. À travers cet ouvrage présenté comme le roman le plus lu au XVIIe siècle après La princesse de Clèves de Madame de Lafayette, Charles Sorel signe la naissance de l'histoire comique, genre marqué principalement par le souci de la vraisemblance. Sorel est également connu en tant que philosophe, historien mais aussi critique littéraire. L’immense œuvre de ce polygraphe, qui a consacré toute sa vie à l’écriture, est marquée par un souci d’analyse approfondie des pratiques littéraires de son époque, et ce, à travers aussi bien ses ouvrages fictionnels, philosophiques, historiques que théoriques ou critiques.À travers son œuvre, Charles Sorel se livre à une exploration approfondie des formes d’écriture de son époque et s’interroge sur la méthode de lecture du public. En effet, son œuvre se présentent comme une mise en examen et un essai de redéfinition des pratiques littéraires. Dans sa production littéraire, il s’intéresse à toutes les formes du roman de son temps : le roman picaresque, le roman héroïque, le roman pastoral, le roman satirique, le roman libertin… Ce mélange de différentes traditions et formes romanesques rend possible l’analyse, qui donne à voir tout ce que le roman a d’illusoire, de dangereux et même d’ « ennuyeux ». Il s’agit, comme l’affirme le jeune romancier dans son anti-roman, de faire table rase des « autorités anciennes » et des « vieilles erreurs ». Le roman devient un champ d’expérimentation du roman lui-même : Sorel l’interroge, le questionne. À travers son œuvre historique et philosophique, il soumet également à l’examen les pratiques liées à la lecture et à l’écriture. L'auteur du Francion proclame dans l’ensemble de son œuvre, son aspiration à renouveler les manières d’écrire et les habitudes de lecture de son temps. Cette volonté de renouveler les pratiques littéraires est régie par le besoin de diffuser le savoir dans un langage simple et concis ainsi que de permettre au lecteur de s’instruire de façon plus efficace
« Vigorous and fruitful spirit » (Roy, 1891: forward), Charles Sorel is a prolific author known mainly to be the author of the Histoire comique de Francion, work first published in 1623. This book will have two further editions revised in 1626 and 1633. Through this work presented as the most read novel in the 17th century after Madame de Lafayette’s Princess of Clèves, Charles Sorel signs the birth of comic history, a genre marked mainly by concern for reasonableness. Sorel is also known as a philosopher, historian and literary critic. The immense work of this polygraph, which has devoted his whole life to writing, is marked by a concern for a thorough analysis of the literary practices of his time, through both his fictional works, philosophical, historical as theoretical or critical.Through his work, Charles Sorel engages in an in-depth exploration of the forms of writing of his time and wonders about the method of reading by the public. In fact, his work presents itself as an examination and an attempt to redefine literary practices. In his literary production, he was interested in all forms of the novel of his time: the picaresque novel, the heroic novel, the pastoral novel, the satirical novel, the libertine novel… This mixture of different Romanesque traditions and forms makes analysis possible, which makes it possible to see all that the novel has of illusory, dangerous and even “boring”. As the young novelist states in his anti-novel, it is a question of wiping out “old authorities” and “old mistakes”. The novel becomes a field of experimentation of the novel itself: Sorel questions it, questions it. Through his historical and philosophical work, he also submits to examination the practices related to reading and writing. The author of Francion proclaims throughout his work his aspiration to renew the ways of writing and the reading habits of his time. This desire to renew literary practices is driven by the need to disseminate knowledge in simple and concise language and to enable the reader to learn more effectively

Par le biais d’une analyse du discours des personnages excentriques que nous retrouvons dans deux comédies et dans un roman comique français des décennies 1630-1640, Les Visionnaires (1637) de Jean Desmarets de Saint-Sorlin, Le Menteur (1643) de Pierre Corneille et Polyandre (1648) de Charles Sorel, nous nous intéressons aux liens qu’entretiennent illusion et folie au milieu du XVIIe siècle. Nous examinons plus précisément les procédés discursifs et rhétoriques caractéristiques du discours des personnages de fous comiques de cette période, afin de dégager des tendances révélatrices de la pensée d’une période de transition marquée par les questions de l’illusion et des apparences, mais aussi par celles de la raison, de la vraisemblance et de la juste mesure. Nous adoptons ainsi, en parallèle, une approche anthropologique de la littérature nous permettant d’envisager la parole de l’extravagant à partir des rapports étroits qui liaient les différents savoirs à cette époque.

La scène de conversation est récurrente dans notre littérature. Pourtant, elle a été peu analysée en tant que telle, alors que le dialogue romanesque est l’objet de travaux divers et que la conversation comme pratique sociale intéresse diverses disciplines. Il est vrai qu’un paradoxe marque les « conversations de salon » : les romanciers ont été fascinés par l’art de la parole tel qu’il est pratiqué dans son temple, et en même temps l’accusation de vanité pèse sur la scène mondaine, investie par des masques frivoles ou vulgaires. Nous essayons dans notre étude de voir comment ce discours social particulier est représenté à travers quelques grandes œuvres dont le héros fait ses débuts dans la vie. Un jeune homme prend donc la parole au sein du groupe qui édicte ou conserve des règles de vie en commun, mais s’il est là comme à une audition qui consacre de manière plus ou moins symbolique son intégration au groupe, il va aussi par sa mobilité d’apprenti permettre d’évaluer la pertinence de ce langage et des valeurs qu’il soutient. Nous considérons donc le salon comme un élément de l’architecture narrative propre à chaque auteur et la scène de conversation comme une étape dans la formation du héros
Conversation scenes are recurrent in our litterature. Yet, they have rarely been analysed as such, even if the dialogue in novels is the subject of different works and the conversation as a social practice is of interest to different disciplines. It is true that a paradox marks the “salon conversation” : novelists have been fascinated by the art of speech as it is practiced in its temple, and at the same time the accusation of vanity weights on the wordly scene, dressed upin frivolous or vulgar masks. In our study we try to examine how this particular social discourse has been represented in some major works in which the hero takes his steps in life. A young man takes the floor within a group which lays down or conserves the rules of common life, but if he is there as if he were at an audition which confirms in a more or less symbolic way his integration into the group, he will also, through his mobility as an apprentice, allow the reader to evaluate the pertinence of his language and the values it upholds. We therefore consider the salon as an element of narrative architecture of each author and the conversation scene as a step forward in the development of the hero

A priori rebelle à toutes les classifications, le rire émis par les "libertins" traduit une posture de supériorité. Les épisodes paradigmatiques des fictions comiques participent de la même attitude de distanciation lucide que celle qu'on remarque chez les érudits. Ce rire possède des enjeux philosophiques et idéologiques dont l'unité est à chercher dans le projet plus ou moins affirmé d'en finir avec la conception théologique de l'homme. Pour d'élémentaires raisons de sécurité, une telle visée devait se déployer sous le masque et le rire, emprunter les voies plus retorses de l'ironie. De ces contraintes sémiotiques et rhétoriques, nos auteurs se sont étonnamment bien accomodés. Dans leurs oeuvres, la pratique de l'équivoque et le dédoublement des pôles de l'énonciation s'avèrent structurels. Solidaire de l'activité érudite, l'inspiration érotique, ce moteur élémentaire du comique qu'on croyait propre au libertinage de moeurs, entérine la thèse épicurienne de l'origine corporelle des idées et alimente la critique antithéologique. Rejetant toute forme de dualisme, les libertins pensent dans la continuité les activités corporelles et psychiques. Pourtant le rire ne se laisse jamais totalement absorber par sa mission. N'étant pas toujours corrélé à une parole claire et démystificatrice, il renvoie au-delà de l'expression rationnelle à des réactions qui donnent matière à des jeux poétiquement féconds. Mu par cette dynamique, le rire libertin évolue sans heurt de l'ironique à l'onirique et favorise une éthique et une esthétique de la jubilation. Par le rire, le libertinage trouve ainsi son ultime et paradoxal accomplissement dans le champ littéraire

The life of John Selden (1584–1654) was both contemplative and active. Seventeenth-century England’s most learned person, he continued in the Long Parliament of the 1640s his vigorous opposition, begun in the 1620s, to the abuses of power, whether by Charles I or, later, by the Presbyterian-controlled Westminster Assembly. His gift for finding analogies among different cultures—Greco-Roman, Christian, Jewish, and Islamic—helped to transform both the poetry and prose of the century’s greatest poet, John Milton. Regarding family law, the two might have influenced one another. Milton cites Selden, and Selden owned two of Milton’s treatises on divorce, published in 1645, both of them presumably acquired while he was writing Uxor Ebraica (1646). Selden accepted the non-biblically rabbinic, externally imposed, coercive Adamic/Noachide precepts as universal laws of perpetual obligation, rejecting his predecessor Hugo Grotius’ view of natural law as the innate result of right reason. He employed rhetorical strategies in De Jure Naturali et Gentium (“The Law of Nature and of Nations”) to prepare his readers for what might otherwise have shocked them: his belief in classic rabbinic law (halakha) as authoritative testimony. Although Selden was very active in the Long Parliament, his only surviving debates from that decade were as a lay member of the Westminster Assembly of Divines. The Assembly’s scribe left so many gaps that the transcript is sometimes indecipherable. This book fills in the gaps and makes the speeches coherent by finding their contexts in Selden’s printed works, both the scholarly, as in the massive De Synedriis, but also in the witty and informal Table Talk.

The elements which constitute Group 1 of the Periodic Table are known as the alkali metals. They are lithium Li, sodium Na, potassium K, rubidium Rb, cesium Cs, and francium Fr. (Sometimes the NH4+ ion is included among these since it resembles K+ or Rb+ in many of its reactions.) All six of the elements have atoms characterized by an outer electron structure of ns1 with n representing the principal quantum number. The elements exhibit marked resemblances to each other with Li deviating the most. This deviation is assignable to the small size of Li which causes the positive charge of Li+ to be concentrated, that is, the charge density is high. All of the elements exhibit oxidation numbers of 0 and I, with exceptions being rare, such that their chemistries are dominated by the oxidation state I. The six metals are exceptionally reactive, being strong reductants, reacting with HOH at all pH values to give H2 and M+, and having hydroxides MOH which are strong and soluble. Ionic sizes in pm for the members of the group are as follows: Li (76), Na (102), K (139), Rb (152), Cs (167), and Fr (180). The E° values for the M+/M couples are as follows: Li (−3.04 v), Na (−2.71 v), K (−2.93 v), Rb (−2.92 v), Cs (−2.92 v), and Fr (about −3.03 v). a. E–pH diagram. The E–pH diagram for 10−1.0 M Li is presented in Figure 5.1. The figure legend provides an equation for the line that separates Li+ and Li. The horizontal line appears at an E value of −3.10 v. Considerably above the Li+/Li line, the HOH ≡ H+/H2 line appears, which indicates that Li metal is unstable in HOH, reacting with it to produce H2 and Li+. Note further that Li+ dominates the diagram reflecting that the aqueous chemistry of Li is largely that of the ion Li+.