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Journal articles on the topic 'French literature of the 18th Century'
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1
Trujillo-González, Verónica C. "Le discours préfaciel au XVIIIe siècle à travers le Dictionnaire de l’Académie (1718) et le Dictionnaire de Trévoux (1721). Essai de classification." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 55, no. 2 (June 25, 2019): 311–31. http://dx.doi.org/10.1075/rro.17014.tru.
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Abstract The 18th century was a very productive period from a lexicographic point of view. In that century, the French Academy published four new editions of their dictionary, being the second edition (1718) the one that included major revisions (1718). The Dictionnaire de Trévoux (1721) is also considered to be one of the pillars of 18th century lexicography in France, with eight published editions. The comparison of the prefaces of these two major pieces of French lexicography, in spite of their different conceptions, will allow us to establish the big strategical lines that have marked French Lexicography during the first part of the 18th century, as well as presenting how two of the most important dictionaries of the French 18th century are organized.
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Houppermans, Sjef. "French Literature in the Perspective of Literary Historiography." European Review 21, no. 2 (April 30, 2013): 272–80. http://dx.doi.org/10.1017/s1062798712000427.
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Literary History has changed its objectives during the last few decades. In theory as well as in literary analysis strictly demarcated approaches have given way to a worldwide perspective. The openness to the world and the ongoing dialogue with the ‘other’ resonates in recent French Literature. Academic critique can accompany and guide these evolutions. This article focuses on three central concepts:transculturalité,colinguismeandtransmédialité. Special attention will be given to the 18th century French-English author William Beckford and the final word is spoken by Edouard Glissant.
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Jones, W. Gareth. "The Mediation of French Philosophe Thought in the 18th-Century Russian Periodicals." Russian Literature 52, no. 1-3 (January 2002): 151–59. http://dx.doi.org/10.1016/s0304-3479(02)80064-3.
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Ljustrov, Mikhail Yu. "On the Fragmentary Perception of French Literature in the 18th Century Russia and Sweden." Studia Litterarum 1, no. 3-4 (2016): 193–204. http://dx.doi.org/10.22455/2500-4247-2016-1-3-4-193-204.
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Almelek İşman, Sibel. "Portrait historié: Ladies as goddesses in the 18th century European art." Journal of Human Sciences 14, no. 1 (February 15, 2017): 396. http://dx.doi.org/10.14687/jhs.v14i1.4198.
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Portrait historié is a term that describes portrayals of known individuals in different roles such as characters taken from the bible, mythology or literature. These portraits were especially widespread in the 18th century French and English art. In the hierarchy of genres established by the Academy, history painting was at the top and portraiture came next. Artists aspired to elevate the importance of portraits by combining it with history. This article will focus on goddesses selected by history portrait artists. Ladies of the nobility and female members of the royal families have been depicted as goddesses in many paintings. French artists Nicolas de Largillière, Jean Marc Nattier and Louise Élisabeth Vigée Le Brun; English artists George Romney and Sir Joshua Reynolds can be counted among the artists working in this genre. Mythological figures such as Diana, Minerva, Venus, Hebe, Iris, Ariadne, Circe, Medea, Cassandra, Muses, Graces, Nymphs and Bacchantes inspired the artists and their sitters. Ladies were picturised with the attributes of these divine beings.
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Dolgorukova, Natalia M., Kseniia V. Babenko, and Anna P. Gaydenko. "“A Strange Romance,” or Abelard and Héloïse in Russia of the 18th Century." Studia Litterarum 6, no. 2 (2021): 114–27. http://dx.doi.org/10.22455/10.22455/2500-4247-2021-6-2-114-127.
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The article gives an analysis of the first Russian translation of Abelard and Héloïse’s letters (The Collection of Abelard and Héloïse’s Letters with the Life Description of These Miserable Lovers) made by A.I. Dmitriev in 1783 from Count Bussy-Raboutin’s French retelling. A comparative analysis of Dmitriev’s translation with the original text shows the conventional character of their connection. Following Bussy, Dmitriev not always sticks to the Latin original even in the main storylines. Even if he retains the canvas of the original medieval text, he supplements it with countless details: a portrait of a lover, a tear-drenched letter, mad passion. A similar transformation takes place with the Historia Calamitatum in the retelling made by Augustus von Kotzebue. In prefaces both authors designate their works as “female” reading. The interest in the story of two lovers is probably caused by the recent release of J.-J. Rousseau’s Julie, or the New Heloise. The choice of material, the nature of its adaptation, the appeal to women and the circumstances of the publication of Dmitriev’s translation and Kotzebue’s retelling demonstrate the commitment of these authors to sentimentalism, which explains their desire to cause tears in the eyes of their readers.
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Dolgorukova, Natalia M., Kseniia V. Babenko, and Anna P. Gaydenko. "“A Strange Romance,” or Abelard and Héloïse in Russia of the 18th Century." Studia Litterarum 6, no. 2 (2021): 114–27. http://dx.doi.org/10.22455/2500-4247-2021-6-2-114-127.
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The article gives an analysis of the first Russian translation of Abelard and Héloïse’s letters (The Collection of Abelard and Héloïse’s Letters with the Life Description of These Miserable Lovers) made by A.I. Dmitriev in 1783 from Count Bussy-Raboutin’s French retelling. A comparative analysis of Dmitriev’s translation with the original text shows the conventional character of their connection. Following Bussy, Dmitriev not always sticks to the Latin original even in the main storylines. Even if he retains the canvas of the original medieval text, he supplements it with countless details: a portrait of a lover, a tear-drenched letter, mad passion. A similar transformation takes place with the Historia Calamitatum in the retelling made by Augustus von Kotzebue. In prefaces both authors designate their works as “female” reading. The interest in the story of two lovers is probably caused by the recent release of J.-J. Rousseau’s Julie, or the New Heloise. The choice of material, the nature of its adaptation, the appeal to women and the circumstances of the publication of Dmitriev’s translation and Kotzebue’s retelling demonstrate the commitment of these authors to sentimentalism, which explains their desire to cause tears in the eyes of their readers.
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Zhao, Jialin, and Rainer Feldbacher. "Reflection of Sexual Morality in Literature and Art." Journal of Critical Studies in Language and Literature 1, no. 3 (August 21, 2020): 81–88. http://dx.doi.org/10.46809/jcsll.v1i3.32.
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Tocqueville, in his book “Democracy in America”, talked about the concept of sexual morality, introduced it into his newpolitical science, and reflected on the situation of social morality before and after the French Revolution with the help of hisinvestigation of American social morality. From the end of the 19th century to late 20th century, the development of sexualmorality in the US and France has undergone different changes. In France before and after the Revolution, sexual ethicsshowed a very different picture, from palace porn culture and pornography before the Revolution to revolutionary moralethics during the revolutionary period and to sexual ethics after the revolution. The US turned from the Puritans' sexualmorality in the early 18th century to the sexual liberation movement in the 19th and 20th centuries. From the historicalexperience of the US and France, we can see three basic forms of sexual morality: the state of greed, the state of politics, andthe state of holy love. The revolutions were not only initiating the construction of democracy, but also changed the definitionof its most basic figure that is the individual. This paper places sexual morality in the three dimensions of reality, politics andreligion. Taking The United States and France as examples, with the help of textual analysis and comparison, thedevelopment course, different forms and contemporary values of sexual morality will be explored.
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Matrisciano, Sara, and Franz Rainer. "Origine et diffusion des expressions romanes du type jaune paille." Romanische Forschungen 133, no. 1 (March 15, 2021): 3–27. http://dx.doi.org/10.3196/003581221831922391.
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All major Romance languages have patterns of the type jaune paille for expressing shades of colour represented by some prototypical object. The first constituent of this pattern is a colour term, while the second one designates a prototypical representative of the colour shade. The present paper starts with a short discussion of the controversial grammatical status of this pattern and its constituents. Its main aim, however, concerns the origin and diffusion of this pattern. We have not found hard and fast evidence that Medieval Italian pigment compounds of the type verderame influenced the rise of the jaune paille pattern, which first appears in French in the 16th century. This pattern continued to be a minority solution during the 17th century, but established itself during the 18th century. In the 19th century, Italian, Spanish and Portuguese adopted the pattern jaune paille, while it did not reach Catalan and Romanian before the 20th century.
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Krakow, Annett. "The Polish interest in the Eddas — Joachim Lelewel’s Edda of 1828." European Journal of Scandinavian Studies 50, no. 1 (April 28, 2020): 111–33. http://dx.doi.org/10.1515/ejss-2020-0006.
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AbstractIn the second half of the 18th century and early 19th century, a rising interest in Old Norse literature outside the Nordic countries could be noted that, to a great deal, focused on the Poetic Edda and the Prose Edda as sources for Norse mythology. This interest is also reflected in the works of the Polish historian Joachim Lelewel (1786–1861) who, in 1807 and 1828, published translations and retellings of the Poetic and the Prose Edda. These were based on French, German and Latin translations. The second edition of 1828 is characterised by a more comprehensive section with eddic poetry, the selection of which is also explained by Lelewel, as well as an essay on pre-Christian religion that also includes a research overview and a list of editions/translations of the Eddas.
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Kilarski, Marcin. "American Indian Languages in the Eyes of 17th-Century French and British Missionaries." Studia Anglica Posnaniensia 53, s1 (December 1, 2018): 295–310. http://dx.doi.org/10.2478/stap-2018-0014.
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Abstract This paper examines 17th-century descriptions of Algonquian and Iroquoian languages by French and British missionaries as well as their subsequent reinterpretations. Focusing on such representative studies as Paul Le Jeune’s (1592–1664) sketch of Montagnais, John Eliot’s (1604–1690) grammar of Massachusett, and the accounts of Huron by Jean de Brébeuf (1593–1649) and Gabriel Sagard-Théodat (c.1600–1650), I discuss their analysis of the sound systems, morphology, syntax, and lexicon. In addition, I examine the reception of early missionary accounts in European scholarship, focusing on the role they played in the shaping of the notion of ‘primitive’ languages and their speakers in the 18th and 19th centuries. I also discuss the impressionistic nature of evaluations of phonetic, lexical, and grammatical properties in terms of complexity and richness. Based on examples of the early accounts of the lexicon and structure of Algonquian and Iroquoian languages, I show that even though these accounts were preliminary in their character, they frequently provided detailed and insightful representations of unfamiliar languages. The reception and subsequent transmission of the linguistic examples they illustrated was however influenced by the changing theoretical and ideological context, resulting in interpretations that were often contradictory to those intended in the original descriptions.
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Milner, Andrew, and JR Burgmann. "Climate Fiction: A World-Systems Approach." Cultural Sociology 12, no. 1 (September 21, 2017): 22–36. http://dx.doi.org/10.1177/1749975517725670.
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Since the death of Pierre Bourdieu, the leading contemporary sociologist of literature has arguably been Franco Moretti. Moretti’s distinctive contribution to the field has been his attempt to apply Immanuel Wallerstein’s world-systems theory to literary studies. Although Wallerstein traces the origins of the modern world-system back to the 16th century, Moretti focuses on the much shorter period since the late 18th century. This is also the historical occasion for the initial emergence of modern science fiction (SF). Andrew Milner has previously sketched out an ambitious model of the ‘global SF field’, which identified an original Anglo-French core, supplemented by more recent American and Japanese cores; longstanding Russian, German, Polish and Czech semi-peripheries; and a periphery comprising essentially the rest of the world. This article attempts to apply that model to the analysis of contemporary climate fiction.
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Ettobi, Mustapha. "Literary Translation and (or as?) Conflict between the Arab World and the West." TranscUlturAl: A Journal of Translation and Cultural Studies 1, no. 1 (August 18, 2008): 14. http://dx.doi.org/10.21992/t99d06.
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Major developments in the translation of literary works from Arabic into French and English and vice versa tend to indicate that it has been influenced by the geopolitical relationship between the Arab world and Western countries. In my paper I try to show how the essence of this translation history has taken root in the power differentials and conflicts between these two entities by analyzing three different phases of translation, namely:
- Napoleon Bonaparte’s Expedition to Egypt in the 18th century and the translation movement that followed in the 19th century.
- Post-Second-World-War phase including the intense translation activity during the Nasser era.
- From 1988 (when Mahfouz was awarded the Nobel Prize) to the post-9/11 era.
I will also explain how translators (like Canadian-born Johnson-Davies) played a key role in these times of war and/or peace. The work of some of them can also be considered as a form of resistance against prevailing (often negative) representations of the Other and its culture. The article ends with reflections on the current (and future) situation of the translation of Arabic literature into English and French.
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Urválková, Zuzana. "Die Dialoge des Lukian von Samosata im literarischen Kontext des tschechischen Klassizismus." Zeitschrift für Slawistik 65, no. 1 (March 30, 2020): 21–59. http://dx.doi.org/10.1515/slaw-2020-0002.
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SummaryThe study is focused on the reception of the then-popular Dialogues of the Dead / Conversations by Syrian philosopher and rhetorician Lucian of Samosata (120 AD-180 AD) in Czech literature on the turn of the 18th and 19th centuries, with occasional insight into the intermediary French and German reception. Thanks to their linguistic refinement, Lucian’s dialogues quickly became a popular reading for the learning of Greek at the time, and in the 18th century, they contributed significantly to the development of journalism. This tendency was also present in the revivalist journal Hlasatel český during the period of 1806–1808 when it featured translations of several of Lucian’s dialogues alongside Jungmann’s conversation On the Czech Tongue (1808). The said conversations evoke the form of Lucianesque dialogues of the dead, which was to be the model of antiquity for the Czech classicism of the time, and they fill this form with thoughts of enlightenment and contemporary nationalism while capitalizing on the models of contemporary educational practices at Prague universities.
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Monzone, Chiel. "Traduzioni belles infidèles. Commenti a quelle dei componimenti lubrici di Domenico Tempio." Italianistica Debreceniensis 24 (December 1, 2018): 161–82. http://dx.doi.org/10.34102/italdeb/2018/4668.
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Belles infidèles is a French expression highlighting a well-known problem in translating from one language to another. This is true especially in the field of literature and particularly in poetry, where the exterior aspects of the words (for example, the harmony of rhymes, the images, the emotional vibrations, the semantic fields, the polysemy, and so on) become substantial and hardly translatable. The essay focuses on some bad translations of some selected verses from the obscene poems by a 18th-century Sicilian dialect poet, Domenico Tempio: they clearly show the translators’ intervention, who took many liberties and betrayed the formulation, the sense and the effect of the original texts. The essay proposes some more faithful translations of them.
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Paszkowicz, Wojciech. "Inspirations, interactions and associations: On some links between the works of Vladimir Vysotsky and English-, French- and German-language poetry, theatre and pop music." Tekstualia 2, no. 53 (July 29, 2018): 99–114. http://dx.doi.org/10.5604/01.3001.0013.3290.
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The threads binding the poetry of Vladimir Vysotsky with Russian and foreign literature have a diverse character – some convergences, similarities of his works to those of other authors can be identifi ed in the content, the subject, and the metre of the poems. Some of the literary associations are easily detectable for any recipient, others are more diffi cult to fi nd. The article focuses on the identifi ed links between the works of Vysotsky and those of foreign authors such as Pierre-Jean de Béranger, Robert Burns, and Bertolt Brecht. The convergences observed between Vysotsky’s and de Béranger’s poems, in the subject, form, and metre, indicate the affi nity of the way of thinking and ideals, as well as both poets’ love of freedom, despite the 150 year gap between their birth dates. The presented links with literature of the 18th, 19th, and 20th century widen the opportunities for interpreting the works of Vladimir Vysotsky.
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Brooke, Christopher. "Arsehole aristocracy (or: Montesquieu on honour, revisited)." European Journal of Political Theory 17, no. 4 (June 18, 2018): 391–410. http://dx.doi.org/10.1177/1474885118783603.
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The 18th-century French political theorist the Baron de Montesquieu described honour as the ‘principle’ – or animating force – of a well-functioning monarchy, which he thought the appropriate regime type for an economically unequal society extended over a broad territory. Existing literature often presents this honour in terms of lofty ambition, the desire for preference and distinction, a spring for political agency or a spur to the most admirable kind of conduct in public life and the performance of great deeds. Perhaps so. But it also seems to involve quite a bit of what the contemporary philosopher Aaron James calls ‘being an asshole’, and the article will explore what happens to Montesquieu’s political theory of monarchy – which is foundational for an understanding of modern politics – when we reverse the usual perspective and consider it through the lens of the arsehole aristocracy.
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Акимова, Т. И. "«Gallant Dialogue» as author 's strategy of A. Cantemir." Актуальные вопросы современной филологии и журналистики, no. 4(39) (February 2, 2021): 77–82. http://dx.doi.org/10.36622/aqmpj.2020.39.4.010.
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В статье рассматривается проблема «галантного диалога» как авторской стратегии в творчестве А.Д. Кантемира, которая проявляется, прежде всего, в эпистолярном жанре XVIII века и реализуется в трактате «Разговоры о множестве миров» Б. Фонтенеля. Под «галантным диалогом» понимаются равноуважительные отношения в общении собеседников при сохранении ими статусных ролей, которые влияют на изменение в первую очередь авторского статуса в литературе. Сама установка на «разговор» вне официоза, то есть сложившейся риторической системы, уже означала поворот российской словесности в сторону ее дериторизации, а также более активное проявление авторского начала. А.Д. Кантемир, который находился у истоков новой российской литературы, освобожденной от мощного религиозного наполнения, обращается в поиске «свободного» литературного канона к Фонтенелю, защищающего, как известно, в споре между древними и новыми авторами позицию Ш. Перро, провозгласившего галантность - качеством новой французской литературы. В статье рассматриваются составляющие элементы «галантного диалога» А. Кантемира с сестрой Марией, среди которых называются: любезное обращение к адресату, шифрование или придумывание прозвища для известного лица, имени которого не называется; заверения в любви и рыцарской преданности, афористические высказывания, свидетельствующие о знании собеседником светского общества. При помощи культурно-исторического метода выявляется не только генезис рассматриваемого явления, но и обозначается специфика развития «галантного диалога» в русской литературе XVIII века. Результат данного исследования позволяет по-новому взглянуть на отечественный литературный процесс XVIII века с точки зрения развития авторского начала в российской литературе, увидеть проявление тех литературных закономерностей, которые в полной мере проявят себя в литературной ситуации второй половины XVIII века, а точнее в период царствования императрицы Екатерины II. The article considers the problem of "gallant dialogue" as an author 's strategy in the work of A.D. Cantemir, which manifests itself, first of all, in the epistolar genre of the 18th century and is implemented in the tract "Talk of many worlds" by B. Fontenel. "Gallant dialogue" refers to equal respectful relations in the dialogue of interlocutors while maintaining status roles, which affect the change of copyright status in the literature in the first place. The installation itself on the "conversation" outside the waitosis, that is, the established rhetorical system, has already meant the turn of Russian language towards its deritorization, as well as a more active manifestation of the author 's beginning. A.D. Cantemir, who was at the origin of new Russian literature freed from powerful religious content, turns in the search for a "free" literary canon to Fontenel, defending, as is known, in the dispute between ancient and new authors the position of Sh Perro, who proclaimed gallantry - the quality of new French literature. The article considers the constituent elements of A. Cantemir's "gallant dialogue" with his sister Maria, among which are called: courtesy of the addressee, encryption or inventing a nickname for a famous person whose name is not called; assurances of love and knightly devotion, aphoristic statements testifying to the knowledge of secular society by the interlocutor. The cultural and historical method identifies not only the genesis of the phenomenon in question, but also the specifics of the development of the "gallant dialogue" in the Russian literature of the 18th century. The result of this study makes it possible to take a new look at the domestic literary process of the 18th century from the point of view of the development of the author 's beginning in Russian literature, to see the manifestation of those literary patterns that will fully manifest themselves in the literary situation of the second half of the 18th century, or more precisely during the reign of Empress Catherine II.
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Duarte, João de Azevedo e. Dias. "Enlightenment and Religion." História da Historiografia: International Journal of Theory and History of Historiography 13, no. 32 (April 12, 2020): 83–114. http://dx.doi.org/10.15848/hh.v13i32.1499.
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This article, through a review of a portion of the relevant literature, problematizes the way in which the connection between the Enlightenment and religion has traditionally been explained, principally by a historiography excessively focused on the 18th century French experience. Alternatively, this article argues that “continuity,” rather than “rupture,” more adequately describes this relationship. However, continuity, as understood here, excludes neither tension nor transformation. If, on the one hand, the Enlightenment is much more akin to religion than has been previously recognized, on the other hand, it has to a great extent shaped modern understanding of religion. This revision of the relationship between the Enlightenment and religion suggests the need to rethink the very identity of the Enlightenment and the issue of secularization. The article uses as a guide the German debate surrounding the question, “What is the Enlightenment?” It concludes with an analysis of Kant’s famous contribution to this debate.
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Dhondt, Frederik. "La représentation du droit dans la communauté des diplomates européens des « Trente Heureuses » (1713–1740)." Tijdschrift voor Rechtsgeschiedenis 81, no. 3-4 (April 8, 2013): 595–620. http://dx.doi.org/10.1163/15718190-08134p11.
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Diplomatic representation in the community of the European diplomacy of the ‘Trente heureuses’ (1713–1740). – The study of Ancien Régime public international law compels researchers to broaden the traditional scope of legal history (treaties and doctrine). A broader understanding of normativity in international relations, inspired by sociology, cultural or international relations history leads to an analysis of diplomatic behaviour. Practice is of paramount importance to grasp the working of implicit principles, expressed in correspondence and legal memoranda. The three decades following the Peace of Utrecht (1713) illustrate how state consent-based international organisation operated in the 18th century, separate from doctrinal concepts. French and British archival material and existing prosopographic literature sketch a map of the European arena. Treaty interpretation and legal reasoning were the backbone of international relations. Consequently, jurists were more than apologists, and fulfilled an indispensable role in an interactional system.
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Toledano Buendia, Carmen. "Robinson Crusoe Naufraga en Tierras Españolas." Babel. Revue internationale de la traduction / International Journal of Translation 47, no. 1 (December 31, 2001): 35–48. http://dx.doi.org/10.1075/babel.47.1.05tol.
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The incorporation of English novels into the Spanish literary system during the 18th century is characterized, in general terms, by their late appearance, especially if a comparison is drawn with other European countries, and by French mediation. One of the most illustrative examples is the assimilation process followed by Robinson Crusoe. This work, written by Daniel Defoe in 1719, appears for the first time in Spain in 1826 — more than 100 years after it was originally written — in an abridged version for children. This paper aims to explore some of the many factors that may play a part in the late appearance of this novel and its reception as a juvenile or children’s book. Apart from the sociopolitical circumstances that turned Spain into a country which was very suspicious of foreign influence, an important factor to take into account is the influence of the French mediation. The introductory role played by mediator systems involves a filtered way of access through which the mediating culture reveals its own points of view and aesthetic criteria. Most of the 19th-century Spanish translations of Robinson Crusoe are secondhand translations from French and inherit the didactic and moralizing interpretation that the French makes of Robinson Crusoe. But the reading of Defoe’s work as juvenile or children’s literature is not only the result of the mediator system; it is also a consequence of the literary tradition to which the text is attached. When this work was imported there was an established tradition of Robinsonades that influenced its reading and interpretation and had created a particular set of expectations in the reader. This study also tries to analyze the different strategies used by Spanish translators in order to adapt Defoe’s novel to the poetic and ideological expectations of its potential readers and to the new function assigned to the text in the new cultural context.
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JIANG, Xiangyan. "A Preliminary Study on the First Selected Translation of The Book of Poetry into French." Asian Studies 3, no. 2 (December 30, 2015): 75–86. http://dx.doi.org/10.4312/as.2015.3.2.75-86.
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This article aims to sketch a preliminary analysis of eight poems from The Book of Poetry, translated into French by the French Jesuit Joseph de Premare (1660–1736) in the early 18th century. Premare implanted the doctrines of Christianity in his translation of the eight poems that were selected from the Greater Odes of the Kingdom (大雅), Minor Odes of the Kingdom (小雅) and the Sacrificial Odes of Zhou (周頌), which were analysed from three aspects: firstly, the theme of the eight odes, king and kingship, allude to the Lord; and the first ode Jing Zhi (敬之), meaning to reverence Tian (敬天) by title, refers virtually to reverence God. Secondly, the Christianized translation is especially obvious in the translation of the words Tian (天), Haotian (昊天), and Shangdi (上帝): these were translated as the God in Christianity. Thirdly, even the story of Paradise Lost in the Bible is implanted in the translation of the ode Zhan Yang (瞻卬). This article also clarifies that because of Premare’s translation the image of the wise king Wen (文王) was shaped and became known in Europe.
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Groves, Peter. "What, if anything, is a caesura? The ontology of the ‘pause’ in English heroic verse." Language and Literature: International Journal of Stylistics 28, no. 3 (June 6, 2019): 263–79. http://dx.doi.org/10.1177/0963947019854001.
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The term ‘caesura’ (or ‘pause’) has featured in discussion of English iambic pentameter for four centuries, and yet it still lacks what the Latin hexameter or the French alexandrine have: a definition of the term that might be usefully applied in stylistic description. Despite the temptation to dismiss it as a prosodic chimera or a mere epiphenomenon of syntax, this article will investigate a rough consensus that emerged amongst 18th-century theorists and practitioners about the bisecting caesura as both a normative element of versification and an aesthetic instrument, and attempt to formalize that consensus into a taxonomy based on linguistic features that will allow the caesura to function as a feature of stylistic description and analysis, not just for the heroic couplet but for the pentameter more generally, in terms of three independent and objectively definable properties that I term ‘balance’, ‘juncture’ and ‘integration’.
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Berger, Tilman. "Die älteste tschechische Übersetzung von Märchen aus Tausendundeine Nacht." Zeitschrift für Slawistik 63, no. 2 (June 1, 2018): 212–35. http://dx.doi.org/10.1515/slaw-2018-0017.
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SummaryThis paper deals with a manuscript from the library of the Regional Museum in Chrudim (East Bohemia) which contains a Czech translation of some of the tales of ‘One Thousand and One Nights’. The manuscript was written at the end of the 18th century in a rather peculiar orthography and belongs to a group of manuscripts which were evidently written by a single person, the painter Josef Ceregetti (1722–1779). The language used in these manuscripts is the literary Czech of that time, with some influence from spoken language. By comparison of the French text of Galland and two contemporary German translations with the Czech text I show that the author seems to have been working with the German translation from the year 1730. The Czech translation was probably intended for a local circle of intellectuals, mainly clerics, and never reached a broader public.
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Grześkowiak, Radosław, and Paul Hulsenboom. "Emblems from the Heart: The Reception of the Cor Iesu Amanti Sacrum Engravings Series in Polish and Netherlandish 17th-Century Manuscripts." Werkwinkel 10, no. 2 (November 1, 2015): 131–54. http://dx.doi.org/10.1515/werk-2015-0016.
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Abstract The Cor Iesu amanti sacrum, a series of engravings made by Anton II Wierix around the year 1600, became one of the most important series of religious emblems from the 17th and 18th centuries. The engravings’ printed reception is well known: there are numerous graphical copies, as well as books written on the basis of the emblems, starting with the work by the French Jesuit Étienne Luzvic, entitled Le cœur devot throsne royal de Iesus pacifique Salomon, from 1626. The article discusses the handwritten reception of the series, which until now has remained virtually uninvestigated. The authors analyze five works of literature, preserved in Polish and Netherlandish 17th-century manuscripts and inspired by the engravings from the Cor Iesu amanti sacrum: Het herte Jesu by an anonymous Netherlandish protestant (a manuscript from Tilburg), Opofferingh van het herte aan den Bruijdegom Iesus Christus by the Netherlandish scientist and doctor Jan Swammerdam (a manuscript from Ghent), and three untitled Polish versions: a poetical collection by the Jesuit Mikołaj Mieleszko, dedicated to the Duchess Katarzyna Radziwiłł in 1657 (a manuscript from Saint-Petersburg) and two different works preserved in monastic libraries (manuscripts from Imbramowice and Stary Sącz).
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Zolotova, Maria B. "Attribution of Decorative Marble Papers in the Study of Russian Binding of the 18th — early 20th centuries: Problems and Solutions." Bibliotekovedenie [Russian Journal of Library Science] 70, no. 1 (June 1, 2021): 89–99. http://dx.doi.org/10.25281/0869-608x-2021-70-1-89-99.
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An important stage in the study and attribution of the Russian binding of the 18th — early 20th century is the description of the flyleaf and other elements of decorative paper. First of all, this applies to paper with marble drawings (marble paper), found in the Russian book since the 18th century. Modern researchers of Russian binding of the 18th — early 20th centuries face a number of problems related to the lack of literature on the topic, including methodological and reference, the lack of specialized collections and exhibitions of decorative paper in Russia and the lack of development in the domestic book science of the terminology for describing the binding materials. This article substantiates the need to create the nomenclature of drawings and link them to a certain chronological period. The author analyses three main groups of problems: terminological, systematization of marble drawings and their chronological correlation, problems of describing paper as a material. The first group includes different interpretations of term and unclear definition of many terms; phenomena of synonymy and polysemy when using particular names of drawings (patterns). Not only historians of the book, but also librarians, restorers, masters of individual binding, second-hand booksellers and bibliophiles have their own independently formed professional dictionary, which gives place to decorative papers. This inconsistency is reinforced by borrowing French, German and English terms, which, in turn, can also be duplicated. The author notes that systematization of decorative papers with marble drawings can be based on the methods of its colouring, but such a technological approach is not sufficient to describe a specific sample of marble paper. The article shows that various patterns periodically gained and lost popularity, then returned to bookbinding practice, but with a number of characteristic changes and additions. Correct description of the paper in binding is impossible without determining its origin (Russian/foreign), the method of production and colouring (manual/machine) and the specific properties of the material itself. At the same time, there are no methods and schemes for describing decorative paper grades. The article highlights that the development of such method will help to significantly narrow the chronological framework when attributing the binding.
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Zolotova, Maria B. "Attribution of Decorative Marble Papers in the Study of Russian Binding of the 18th — early 20th centuries: Problems and Solutions." Bibliotekovedenie [Russian Journal of Library Science] 70, no. 1 (June 1, 2021): 89–99. http://dx.doi.org/10.25281/0869-608x-2021-1-1-89-99.
Full textAbstract:
An important stage in the study and attribution of the Russian binding of the 18th — early 20th century is the description of the flyleaf and other elements of decorative paper. First of all, this applies to paper with marble drawings (marble paper), found in the Russian book since the 18th century. Modern researchers of Russian binding of the 18th — early 20th centuries face a number of problems related to the lack of literature on the topic, including methodological and reference, the lack of specialized collections and exhibitions of decorative paper in Russia and the lack of development in the domestic book science of the terminology for describing the binding materials. This article substantiates the need to create the nomenclature of drawings and link them to a certain chronological period. The author analyses three main groups of problems: terminological, systematization of marble drawings and their chronological correlation, problems of describing paper as a material. The first group includes different interpretations of term and unclear definition of many terms; phenomena of synonymy and polysemy when using particular names of drawings (patterns). Not only historians of the book, but also librarians, restorers, masters of individual binding, second-hand booksellers and bibliophiles have their own independently formed professional dictionary, which gives place to decorative papers. This inconsistency is reinforced by borrowing French, German and English terms, which, in turn, can also be duplicated. The author notes that systematization of decorative papers with marble drawings can be based on the methods of its colouring, but such a technological approach is not sufficient to describe a specific sample of marble paper. The article shows that various patterns periodically gained and lost popularity, then returned to bookbinding practice, but with a number of characteristic changes and additions. Correct description of the paper in binding is impossible without determining its origin (Russian/foreign), the method of production and colouring (manual/machine) and the specific properties of the material itself. At the same time, there are no methods and schemes for describing decorative paper grades. The article highlights that the development of such method will help to significantly narrow the chronological framework when attributing the binding.
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ΡΑΠΤΗΣ, ΚΩΣΤΑΣ. "ΑΣΤΙΚΕΣ ΤΑΞΕΙΣ ΚΑΙ ΑΣΤΙΚΟΤΗΤΑ ΣΤΗΝ ΕΥΡΩΠΗ, 1789-1914: ΠΡΟΣΑΝΑΤΟΛΙΣΜΟΙ ΤΗΣ ΣΥΓΧΡΟΝΗΣ ΙΣΤΟΡΙΟΓΡΑΦΙΑΣ." Μνήμων 20 (January 1, 1998): 211. http://dx.doi.org/10.12681/mnimon.675.
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<p>Kostas Raptis, Middle classes and middle class culture in Europe, 1789-1914: approaches in modern historiography</p><p>The history of the european middle classes from the late 18th to theearly 20th century is a very wide topic and relates to economic, social,political, gender and culture history. This essay gives a brief overviewof the main subjects regarding it. It draws mainly on (pioneer) germanspeaking,but also on english and french literature. Following the currentdebate, it points to the different social and economic groups making upthe so called ((Bürgertum», to their common characteristics, as well astheir specific culture, the ((Bürgerlichkeit)).More specifically this paper is concerned with the followin subjects:— the composition of the «Bürgertum» and the features of its maingroups (professionals, bourgeois of money and bourgeois of knowledge)— the relevant terminology in german, french and english language— the comparison between upper middle class and nobility— the social position and role of the lowermiddle classes— the relation of the bourgeoisie to liberalism and nationalism— the study of the history of the middle classes in the specific contextof a town or a city (as an urban phenomenon)— the position and role of middle class women in a bourgeois society— the middle class family— the bourgeois way of life and culture in general</p>
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Kullmann, Thomas. "The Hamlet Project in Goethe’s Wilhelm Meister’s Years of Apprenticeship." Multicultural Shakespeare: Translation, Appropriation and Performance 15, no. 30 (June 30, 2017): 147–59. http://dx.doi.org/10.1515/mstap-2017-0011.
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Goethe’s novel Wilhelm Meister’s Apprenticeship, published in 1795, provides a fictional account of a theatrical production of Shakespeare’s Hamlet. Its initiator is young Wilhelm, whose experiences with this project, in the context of the novel, mark a decisive stage in his education and personal development; as well as, on another level, in the formation of a German national theatre, the mapping out of a theatrical space peculiar to the German national character. To realize his project Wilhelm has to negotiate with his manager and his fellow-actors; these negotiations can be considered reflections of the cultural aspirations and constraints prevalent late 18th-century Germany: – The project itself, as represented by Wilhelm, appears to be informed by a cultural movement towards emancipation from French culture: The character of Hamlet was interpreted as representing a role model for young Germans. – Informed by a theatrical practice based on French conventions, the manager objects to the lack of dramaturgical coherence of the Shakespeare play. As a compromise, Wilhelm composes an adapted version in which references to Wittenberg, Poland, France and England as well as several minor characters are cut, but the Hamlet scenes and speeches are retained. – Wilhelm and his friends also take account of German audiences’ preferences and capacities.The Hamlet project in Wilhelm Meister can be considered a case study of cultural appropriation. Shakespeare becomes a cultural import, used to define and map a cultural space for the German middle class, which in the nineteenth century set store by the quality of its educational make-up.
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Elezovic, D. M. "The role of Dmitry Kantemir’s writings for the Western educational historiography (a case study of the manuscript “The History of Turkey” of the 18th century)." Rusin, no. 63 (2021): 34–42. http://dx.doi.org/10.17223/18572685/63/3.
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The article uses a case study of the manuscript The History of Turkey written by an anonymous author in French in the 18th century and kept in the Bern City Library archives, to discuss West European writers’ evaluation of Dmitry Kantemir’s works. Dmitry Kantemir was not only a prominent political leader and diplomat, but also one of the most educated people in Eastern Europe of his time. When living in Constantinople, he attended a theological school, then studied history, philosophy, literature, art, theology, and ancient languages (he knew eight languages). Highly regarded in Russia, his writings attracted attention in the West and were used as sources by European historians. As an outstanding scientist and diplomat in Eastern Europe, Dmitry Kantemir earned the recognition of his Western European contemporaries as well as historians of later periods, who highly appreciated his works. This article analyses one historical plot, which has not been in the focus of scholarly studies so far: Kantemir’s History of the Growth and Decay of the Ottoman Empire is mentioned as one of the main sources in the manuscript The History of Turkey and repeatedly quoted there.
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Zipfel, Frank. "The Pleasures of Imagination. Aspects of Fictionality in the Poetics of the Age of Enlightenment and in Present-Day Theories of Fiction." Journal of Literary Theory 14, no. 2 (September 25, 2020): 260–86. http://dx.doi.org/10.1515/jlt-2020-2007.
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AbstractInvestigations into the history of the modern practice of fiction encounter a wide range of obstacles. One of the major impediments lies in the fact that former centuries have used different concepts and terms to designate or describe phenomena or ideas that we, during the last 50 years, have been dealing with under the label of fiction/ality. Therefore, it is not easy to establish whether scholars and poets of other centuries actually do talk about what we today call fiction or fictionality and, if they do, what they say about it. Moreover, even when we detect discourses or propositions that seem to deal with aspects of fictionality we have to be careful and ask whether these propositions are actually intended to talk about phenomena that belong to the realm of fiction/ality. However, if we want to gain some knowledge about the history of fiction/ality, we have no other choice than to tackle the arduous task of trying to detect similarities (and differences) between the present-day discourse on fictionality and (allegedly) related discourses of other epochs. The goal of this paper is to make a small contribution to this task.The starting point of the paper are two observations, which also determine the approach I have chosen for my investigations. 1) In the 18th century the terms »fiction« or »fictionality« do not seem to play a significant role in the discussion of art and literature. However, some propositions of the discourse on imagination, one of the most prominent discourses of the Age of Enlightenment, seem to suggest that this discourse deals more or less explicitly with questions regarding the fictionality of literary artefacts as we conceive it today. 2) The concepts of imagination and fictionality are also closely linked in present-day theories of fiction. Naturally, the question arises how the entanglement of the concepts of fictionality and imagination can be understood in a historical perspective. Can it function as a common ground between 18th-century and present-day conceptions of fiction/ality? Is imagination still used in the same ways to explain phenomena of fictionality or have the approaches evolved over the last 250 years and if yes, then how? These kinds of questions inevitably lead to one major question: What do 18th-century and present-day conceptions of fiction/ality have in common, how much and in what ways do they differ?For heuristic reasons, the article is subdivided according to what I consider the three salient features of today’s institutional theories of fiction (i. e. theories which try to explain fictionality as an institutional practice that is determined and ruled by specific conventions): fictive utterance (aspects concerning the production of fictional texts), fictional content (aspects concerning the narrated story in fictional texts) and fictive stance (aspects concerning the reader’s response to fictional texts). The article focusses on the English, French and German-speaking debates of the long 18th century and within these discourses on the most central and, therefore, for the development of the concept of fiction/ality most influential figures. These are, most notably, Madame de Staël, Voltaire, Joseph Addison, Georg Friedrich Meier, Christian Wolff, the duo Johann Jakob Bodmer and Johann Jakob Breitinger as well as their adversary Johann Christoph Gottsched.The relevance of the article for a historical approach to the theory of fiction lies in the following aspects. By means of a tentative reconstruction of some carefully chosen propositions of 18th-century discourse on imagination I want to show that these propositions deal in some way or other with literary phenomena and theoretical concepts that in present-day theory are addressed under the label of fiction/ality. By comparing propositions stemming from 18th-century discourse on imagination with some major assertions of present-day theories of fiction I try to lay bare the similarities and the differences of the respective approaches to literary fiction and its conceptualisations. One of the major questions is to what extent these similarities and differences stem from the differing theoretical paradigms that are used to explain literary phenomena in both epochs. I venture some hypotheses about the influence of the respective theoretical backgrounds on the conceptions of fictionality then and today. An even more intriguing question seems to be whether the practice of fictional storytelling as we know and conceive it today had already been established during the 18th century or whether it was only in the process of being established.
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Ashrafyan, Konstantin Eduardovich. "«The Silver Age of Piracy»: French pirates in the Atlantic in the first third of the XVI century." Samara Journal of Science 9, no. 4 (November 30, 2020): 232–39. http://dx.doi.org/10.17816/snv202094204.
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The purpose of the study was to find a causal relationship between the activities of king Francis I and the large-scale pirate actions of the captains of the French merchant fleet, Jean Ango. This was necessary to show piracy as a fusion of the military and diplomatic policies of France against Portugal and Spain with the naval experience of warfare on the seas and in the oceans, which had the captains of the merchant fleet of Jean Ango. We can see this connection by the captured and looted of hundreds of ships in Portugal and Spain with the full support of piracy from the French crown. The goal was also to show how France, through piracy and its promotion at the state level, destroyed the system of international agreements and Royal oaths in the Christian world for the sake of its commercial advantage. The author studies and gives examples of numerous acts of piracy, numbering in the hundreds of captured, robbed, and sunk ships, the reasons and conclusions are given why Francis I began to demand Open seas and oceans and why he demanded a revision of the borders of the world in the XVI century. The author has considered and found the answers to the questions of what caused the rupture of international treaties, on the part of Francis I. The author has also revealed and shown the facts of multiple penetrations of France on the territory of Portugal and Spain, which later led to attempts by France to establish settlements in Brazil in 15551559 and Spanish Florida in 15631565, contrary to all international norms and agreements the Popes bulls of 1493 and the Treaty of Tordesillas of 1494 and subsequent ones. The paper shows that the scale and scope of the pirate actions of French pirates in the Atlantic contributed to the formation of piracy as a mass phenomenon and can be called the Silver age of world piracy, which falls on the 16th century, and anticipates the Golden age of piracy of the 17th and 18th centuries. This term is quite appropriate to introduce for this time, especially if it is considered together with the even larger-scale pirate actions of Berber pirates in the Mediterranean, which are quite well known and described in the scientific literature.
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Møller, Peter Ulf. "En kur mod bændelorm og gallomani: Intra-europæisk ‘occidentalisme’ i den russiske 1700-talsforfatter Denis Fonvizins komedie Brigaderen og hans rejsebreve fra Frankrig." K&K - Kultur og Klasse 37, no. 108 (August 22, 2009): 74–91. http://dx.doi.org/10.7146/kok.v37i108.21998.
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A Cure for Tapeworm and Gallomania: Intra-European ‘Ocidentalism’ in the Russian Comedy The Brigadier by Denis Fonvizin and in his Travel Letters from France:Is Europe destined to remain a unit without unity, because of its endlessly differentiated cultural patterns and its divided, centrifugal past? This question seems to emerge as the bottom line of Hans Magnus Enzensberger’s observations from seven European countries, in his famous Ach Europa from 1987. In the microstructure of the disunity, we find national stereotypes as an element of intra-European discourses. Roman Jakobson discussed the complex of intra-European reciprocal images from a structuralist point of view. He proposed a systematic study of »national characterology« as an element in the discourses and mentalities of the various European nations.Inspired by both of these works, the present article is a minor investigation into a major area within intra-European relations, namely the east-west divide. It discusses two works by the Russian 18th century writer Denis Fonvizin, his comedy The Brigadier and his travel letters from France. Both are anti-western classics in Russian literature, greatly appreciated by conservative nationalists in Fonvizin’s days, and later famously applauded by Dostoyevsky. However, for both works it turns out, somewhat paradoxically, that Fonvizin took inspiration from the arsenals of newly imported European ideas and literature. The travel letters offer several examples of stereotypical negative characterisations from Western travel writing about Russia now being used by Fonvizin to describe the French. Holberg’s comedy Jean de France was popular on the Russian stage, and Fonvizin transferred the frenchified fop to a Russian setting with great success. Both of his works became tools for a budding Russian »Occidentalism« of the intra-European kind.
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Ziemba, Antoni. "Mistrzowie dawni. Szkic do dziejów dziewiętnastowiecznego pojęcia." Porta Aurea, no. 19 (December 22, 2020): 35–56. http://dx.doi.org/10.26881/porta.2020.19.01.
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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.
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Garcin, Jean-Claude. "Femmes des Mille et une nuits." Arabica 63, no. 3-4 (May 26, 2016): 261–93. http://dx.doi.org/10.1163/15700585-12341393.
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We can assume that we find for the first time in the 15th century the character of Šahrazād as a courageous woman who had taken upon herself to get the king away from his bias against the women after his wife deceived him. Šahrazād tells him stories in which women have not infrequently more fortitude and deserve more to be trusted than men who are sometimes immature. But there are also from the same century other stories in which ancient themes continue, for instance about crafty and lustful women. In the 16th century, “Dalila the wily” upgrade crafty women, but in the seventeeth century, the Ottoman’s connections with Protestant communities in Germany introduced to the Arabian Nights European witches and bird-women. Anyway men have to avoid to fall in love with women. During the 18th century, a solution to the problem of good relationship between men and women is sketched in the “Masrūr and Zayn al-Mawāṣif” story. The two characters, a christian man and a jewish woman, live happily after they had both converted to Islam. In the same way, the Arabian Nights end when the king gives up his bias against the women and marry Šahrazād, “a good wife [. . .] a pure, a chaste, a devout one”. But he has to keep faith with his wife and preserve responbility for her, according to Islamic Law. Du ixe/xve siècle semble dater le personnage d’une Šahrazād qui s’est donné pour mission de faire revenir le roi de ses préventions sur les femmes, après qu’il ait découvert l’infidélité de son épouse. Šahrazād lui présente des contes où les femmes apparaissent souvent comme plus fortes et dignes de confiance que les personnages masculins, parfois immatures. Mais le recueil enregistre également pour cette époque, des contes où les vieux topoï de la femme rusée et lubrique persistent. Au xe/xvie siècle, le personnage de « Dalila la Rusée » revalorise la ruse des femmes, mais, au xie/xviie siècle, les contacts du pouvoir ottoman avec les protestants d’Allemagne introduisent dans les contes des Nuits, sorcières et femmes-oiseaux venues d’Europe, et les femmes à nouveau sont renvoyées à leur rôle de reproductrices dont il ne faut surtout pas s’éprendre. C’est au xiie/xviiie siècle, qu’une solution s’ébauche. Dans le conte de « Masrūr et Zayn al-Mawāṣif », les deux héros, un chrétien et une juive, trouvent leur bonheur dans une conversion à l’islam. De même à la fin des Nuits, lorsque le roi abandonne ses préventions à l’égard des femmes et épouse Šahrazād, la « bonne épouse [. . .] pure, chaste et pieuse », devient l’épouse du roi revenu de ses erreurs, et au roi s’imposent pour sa part les devoirs de fidélité et d’autorité sur sa femme, comme l’enseigne l’Islam. This article is in French.
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Tsiborovska-Rymarovych, Iryna. "Vyshnivetsky Castle Library of Prince Mychailo Servaty Vyshnivetsky – Historical Book Heritage and Object of Bibliological and Historical Reconstruction." Bibliotheca Lituana 3 (December 22, 2014): 166–82. http://dx.doi.org/10.15388/bibllita.2014.3.15569.
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The article has as its object the elucidation of the history of the Vyshnivetsky Castle Library, definition of the content of its fund, its historical and cultural significance, correlation of the founder of the Library Mychailo Servaty Vyshnivetsky with the Book.The Vyshnivetsky Castle Library was formed in the Ukrainian historical region of Volyn’, in the Vyshnivets town – “family nest” of the old Ukrainian noble family of the Vyshnivetskies under the “Korybut” coat of arm. The founder of the Library was Prince Mychailo Servaty Vyshnivetsky (1680–1744) – Grand Hetman and Grand Chancellor of the Grand Duchy of Lithuania, Vilno Voievoda. He was a politician, an erudite and great bibliophile. In the 30th–40th of the 18th century the main Prince’s residence Vyshnivets became an important centre of magnate’s culture in Rich Pospolyta. M. S. Vyshnivetsky’s contemporaries from the noble class and clergy knew quite well about his library and really appreciated it. According to historical documents 5 periods are defined in the Library’s history. In the historical sources the first place is occupied by old-printed books of Library collection and 7 Library manuscript catalogues dating from 1745 up to the 1835 which give information about quantity and topical structures of Library collection.The Library is a historical and cultural symbol of the Enlightenment epoch. The Enlightenment and those particular concepts and cultural images pertaining to that epoch had their effect on the formation of Library’s fund. Its main features are as follow: comprehensive nature of the stock, predominance of French eighteenth century editions, presence of academic books and editions on orientalistics as well as works of the ideologues of the Enlightenment and new kinds of literature, which generated as a result of this movement – encyclopaedias, encyclopaedian dictionaries, almanacs, etc. Besides the universal nature of its stock books on history, social and political thought, fiction were dominating.The reconstruction of the history of Vyshnivetsky’s Library, the historical analysis of the provenances in its editions give us better understanding of the personality of its owners and in some cases their philanthropic activities, and a better ability to identify the role of this Library in the culture life of society in a certain epoch.
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Bower, Fay. "Early 18th Century French Obstetric Textbook." Australian and New Zealand Journal of Obstetrics and Gynaecology 43, no. 4 (August 2003): 262–63. http://dx.doi.org/10.1046/j.0004-8666.2003.00087.x.
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Michelsen, William. "Erica Simon." Grundtvig-Studier 44, no. 1 (January 1, 1993): 141–44. http://dx.doi.org/10.7146/grs.v44i1.16107.
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Erica Simon26/2 1910 - 11/2 1993William Michelsen writes a personal obituary about the French Grundtvig scholar Erica Simon. He first met Erica Simon in the middle of the fifties, when she was studying the Swedish folk high schools and wanted to meet all the Grundtvig scholars and people who put Grundtvig’s ideas into practice. Erica Simon was a university professor in Scandinavian languages and literature, but she also founded her own folk high scholl west of Lyons. Erica Simon’s interest in Grundtvig and her commitment to the Grundtvig’s ideal of .the school for life. was aroused in the mid-fifties, when she studied at Uppsala and met the Swedish folk high scholl Hvilan in Sk.ne. Erica Simon worked together especially with the Nordic folk high school in Kung.lv, and she wanted to spread the knowledge of Grundtvig’s ideas, not only in France, but all over the world. Like Grundtvig, Erica Simon wanted to find the roots of folk culture behind the influence from the Roman Empire, an influence which underlies the centralized school system dating back to Napoleonic France. Erica Simon’s main subject in her Grundtvig research was his ideas of the connection between folk enlightenment and science or scholarship. Science and folk culture are different matters but have to interact in order to establish a scholarship built on folk culture. In accordance with Grundtvig, Erica Simon stresses medieval Anglo-Saxon and Icelandic literature as the Nordic element in universal history, establishing a vernacular culture in opposition to the Latin school and scholarship. Erica Simon was a passionate scholar and interpreter of Grundtvigian ideas. She often visited Denmark and was on the Committe of Grundtvig-Selskabet, where she gave lectures, and she published papers in the Grundtvig-Studier in 1969 and 1973.Erica Simon was born i Königsberg on February 26th, 1910. She spent her youth in Hannover and afterwards studied language and literature in Geneva and in Paris. She married in 1936 and became a widow in 1942, but remarried, bearing the name Vollboudt. Jacques Kleiner, her son from her first marriage, today lives in Switserland. From 1939-54 she was a secondary school teacher in France, but in 1954 she began studying the Nordic folk high school, doing research in Uppsala in 1955-56. In 1962 she became a doctor at the Sorbonne University in Paris (Doctorat d.tat in 1962), with a dissertation about the Swedish folk high schools in the late 18th century.
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De Maeyer, Philippe. "Mapping in Belgium in the 19th Century in a wider context." Abstracts of the ICA 1 (July 15, 2019): 1. http://dx.doi.org/10.5194/ica-abs-1-56-2019.
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<p><strong>Abstract.</strong> An important phenomenon in cartography in the 19th Century is the emergence of thematic cartography and especially distribution maps. The latter represent the spatial distribution of a particular feature in an area. Distribution maps may be qualitative such as those representing the land use or land cover, geological maps, … or also quantitative, such as maps representing the population distribution by dots or isolines.</p><p> Even if in the 18th C. (or even earlier), some thematic maps were drawn, the real development of the thematic mapping only started in the 19th C. In cartographic literature, large attention was paid to the cholera map of Snow from 1854. It has often been cited (also in geographical information science) as an example of early spatial analysis; what he visually did is today a well-known technique and methodology of buffer analysis in GIS. But the most impressive thematic maps are the early 19th C. chronostratigraphical maps, mostly described as geological maps. This type of inventory maps - important till the end of the 20th C. &ndash; are now completely substituted by digital data.</p><p> If the development of thematical maps was an answer on one hand to industrialisation and changing ideas about the concept of richness, it was on the other hand also only made possible by the development of new printing techniques. Belgium was a forerunner in realizing geological maps. Already in the Dutch period (1815&ndash;1830) systematic field observations were executed in the southern part of Belgium. In this period a map was realized representing ore deposits (“<i>Geologische kaart van een gedeelte der Nederlanden</i>”), under the direction of J.E. Van Gorkum, with scientific input by professor Van Breda; the map was published in the Netherlands in 1834, after Belgian independency.</p><p> The map is also interesting from another point of view as it is representing the triangulation network the Dutch established in Belgium before 1830 in the framework of the Military Reconnaissance. They were part of a systematic mapping project under supervision of the Topographical Bureau with a section responsible for the Northern provinces and one for the Southern provinces, which realized those Military Reconnaissance maps. Captain Erzey executed a triangulation over the southern provinces. Later on, those coordinates served Vander Maelen to realize his 1&thinsp;:&thinsp;20&thinsp;000 and 1&thinsp;:&thinsp;80&thinsp;000 topographical mapping of Belgium.</p><p> On the one hand, the awareness that a new and a more precise surveying and cartography was needed and on the other hand that inventories of different thematic data were needed, must be seen not only in the context of industrialization but also in the change of the role of landownership in the society through the ages.</p><p> In the Middle Ages and the Renaissance, the landownership was a synonym for richness. The land-owners (abbeys, noblemen, …) could collect taxes based on this ownership (the so-called taxation paradigm). In the 19th Century, land also became a good that could be traded. The trading land also induced a need for a stricter legal framework. In France, typically Napoleon erected not only the Cadastre Law to partition the tax collection more fairly but he also mentioned “<i>Un bon cadastre parcellaire sera le complément de mon code en ce qui concerne la possession du sol. Il faut que les plans soient assez exacts et assez développés pour servir à fixer les limites des propriétés et empêcher les procès.</i>” (“<i>A good land cadastre will be the complement of my code regarding the ownership of the soil. Maps must be accurate enough and developed enough to set property boundaries and prevent lawsuits</i>”) (Letter of Napoleon to his Minister of Finance Mollien). This period when land also became a negotiable good fits in a so-called legal paradigm.</p><p> The land registry reform affecting the whole French Empire cannot be seen separately from the reform Napoleon wished to set up for his topographical maps. Napoleon established a commission that had to define the cartographic system of a new topographic map covering the French Empire. Even if the ellipsoid of Delambre and the Bonne projection were retained, the map production could never be launched. The measurements of Captain Erzey in the Dutch period can be considered as the first attempt (in Belgium) to map the territory on a geodetically correct basis.</p><p> During one and a half century the negotiable aspect of land was predominant. Map making was requiring the best available geometric accuracy. The needs of map making changed fundamentally when land also became scarcer, when it became a scarce good. The increasing need for planning in the second part of the 20th C. for the sake of land scarcity finally induced &ndash; when techniques (in particular GIS) would allow it - the development of multi-purpose spatial data systems.</p></p>
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Andrade Filho, João Batista, and Francisco Ari De Andrade. "Canções populares e o sentimento de missão educadora: Juvenal Galeno no contexto do romantismo brasileiro / Popular songs and the feeling of educational mission: Juvenal Galeno in the context of Brazilian romantism." Revista de História e Historiografia da Educação 3, no. 8 (August 30, 2019): 3. http://dx.doi.org/10.5380/rhhe.v3i8.65538.
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A partir do século XVIII, na Europa, muitos intelectuais europeus passaram a alimentar o gosto e o interesse pelas questões populares. O filósofo alemão Johann Gottfried Herder (1744-1803) é considerado um dos expoentes influenciadores de muitos intelectuais, cujas ideias alimentaram o movimento romântico. Contrariando a mentalidade racionalizante iluminista, tais ideias conduziram os adeptos dessa tendência a voltarem-se para os estudos da tradição campesina, buscando no povo e no seu passado glorioso o elemento constituidor da nacionalidade, particularmente na canção e na poesia populares. Aos intelectuais românticos estava esta questão posta como missão educadora. Em terras brasileiras, tal interesse se fortaleceu ainda no período Regencial, alimentado pela lógica do contexto que foi se constituindo logo após a nossa independência política. Deveu-se, sobretudo, à iniciativa dos intelectuais românticos brasileiros, nutridos dos referidos ideais do Romantismo europeu, notadamente francês, moldado pelo Espiritualismo Eclético, e firmes na convicção da missão restauradora de educação da pátria através da instituição de sua história e sua literatura. Em um percurso histórico e compreensivo, intentamos mostrar que as ações do poeta cearense Juvenal Galeno, expressas por suas obras, estavam sintonizadas com a referida causa romântica e assim, definir o mesmo como intelectual com propósito de missão educadora.* * *From the 18th century, in Europe, many European intellectuals began to feed the taste and interest in popular issues. The German philosopher Johann Gottfried Herder (1744-1803) is considered one of the influential exponents of many intellectuals, whose ideas fueled the romantic movement. Contrary to the rationalizing Enlightenment mentality, such ideas led the adherents of this tendency to turn to the studies of the peasant tradition, seeking in the people and in their glorious past the element constituting the nationality, particularly in popular song and poetry. To romantic intellectuals this question was posed as an educative mission. In Brazilian lands, this interest was strengthened even in the Regencial period, fueled by the logic of the context that was becoming soon after our political independence. It was mainly due to the initiative of the Brazilian Romantic intellectuals, nourished by the ideals of European Romanticism, notably French, shaped by Eclectic Spiritualism, and firm in the conviction of the restorative mission of education of the motherland through the institution of its history and its literature. In a historical and comprehensive way, we tried to show that the actions of the Ceará poet Juvenal Galeno, expressed by his works, were in tune with the aforementioned romantic cause and thus, to define the same as intellectual with purpose of educative mission.
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Lu, Jialiang, and Feng Zhao. "French Silk Varieties in Eighteenth Century." Asian Social Science 17, no. 1 (December 30, 2020): 53. http://dx.doi.org/10.5539/ass.v17n1p53.
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The design of French silk was very exquisite. Which has formed a clear specification and strict classification system even teaching materials in Eighteenth Century. Based on the existing material objects and teaching materials, this paper systematically sorts out the variety system of French silk fabrics, makes a detailed classification of varieties, and analyzes the political factors of the prosperity and development of French silk industry in the 18th century.
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Mudry, Albert. "From Mid 16th Century French Court to End 18th Century Danish Court." Otology & Neurotology 40, no. 6 (July 2019): 836–42. http://dx.doi.org/10.1097/mao.0000000000002230.
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Pandey, Uma Shanker. "French Academic Forays in the Eighteenth-Century North India." Indian Historical Review 46, no. 2 (December 2019): 195–206. http://dx.doi.org/10.1177/0376983619889515.
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French adventurers’ academic forays in the 18th century in India has so far received little scholarly attention. Except some stray remarks and mentioning, it has not been taken up systematically. The present article is an exercise to show that some of the French military adventurers had been touched and impressed by Indian culture and civilization. They, therefore, carried out passionate explorations of Indian books and manuscripts, not only to understand India better but also to acquaint the Occident more. in the process, some them emerged as great collectors. they were pioneers also, in the sense that they were forerunners to the British Indologists who appeared on Indian academic horizon in the last quarter of the 18th century. Anquetil Duperron, Polier, and Gentil were among the the great collectors of books and manuscripts during the time.
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L'Hour, M., and F. Richez. "An 18th century French East Indiaman: thePrince de Conty(1746)." International Journal of Nautical Archaeology 19, no. 1 (February 1990): 75–79. http://dx.doi.org/10.1111/j.1095-9270.1990.tb00236.x.
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Lipkowitz, E. "The Physicians' Dilemma in the 18th-Century French Smallpox Debate." JAMA: The Journal of the American Medical Association 290, no. 17 (November 5, 2003): 2329–30. http://dx.doi.org/10.1001/jama.290.17.2329.
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Bochnakowa, Anna. "Les mots français dans le waaren lexicon de ph.a. Nemnich fin du XIIIe siècle." Romanica Wratislaviensia 63 (October 11, 2016): 11–19. http://dx.doi.org/10.19195/0557-2665/63.2.
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FRENCH VOCABULARY IN WAAREN LEXICON BY PH.A. NEMNICHEND OF THE 18th CENTURY The article is a description of French vocabulary included in the multilingual dictionary of merchandise from the 18th century entitled Waaren-Lexicon in zwölf Sprachen by Ph.A. Nemnich. The examples were taken from the French-German part of the publication to illustrate the contents and principles of the lexicon. The presented dictionary is a valuable testimony of multilingual vocabulary in the field of merchandise, but above all an example of a pioneering, comprehensive dictionary of technical language, used in a specific occupational field.
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Butel, Paul, and François Crouzet. "Empire and Economic Growth: the Case of 18th Century France." Revista de Historia Económica / Journal of Iberian and Latin American Economic History 16, no. 1 (March 1998): 177–93. http://dx.doi.org/10.1017/s0212610900007096.
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Among the colonial powers of the early modern period, France was the last to emerge. Although, the French had not abstained from the exploration of fhe New World in the 16th century: G. de Verrazano discovered the site of New York (1524), during a voyage sponsored by King Francis I; Jacques Cartier sailed up the St. Lawrence to Quebec and Montreal (1535). From the early 16th century, many ships from ports such as Dieppe, St. Malo, La Rochelle, went on privateering and or trading expeditions to the Guinea coast, to Brazil, to the Caribbean, to the Spanish Main. Many French boats did fish off Newfoundland. Some traded in furs on the near-by Continent. Moreover, during the 16th century, sporadic attempts were made to establish French settlements in «Equinoctial France» (Brazil), in Florida, in modern Canada, but they failed utterly. Undoubtedly, foreign wars against the Habsburgs, during the first half of the 16th and of the 17th centuries, civil «wars of religion» during the second half of the 16th century, political disorders like the blockade of La Rochelle or the Fronde during the first part of the 17th century, absorbed the attention and resources of French rulers, despite some ambitious projects, like those of Richelieu, for overseas trade. As for the port cities they tried to trade overseas but they were isolated and not strong enough (specially during die wars of religion) to create «colonies». Some small companies, which had been started in 1601 and 1604, to trade with the East Indies, were very short-lived, and the French did not engage seriously in Asian trade before 1664.
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Devi, R. "An Introduction to the Second Veeranaikar Diary." Shanlax International Journal of Tamil Research 4, no. 4 (April 1, 2020): 54–62. http://dx.doi.org/10.34293/tamil.v4i4.2413.
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Human life is subject to change over time. In that way, man made a habit of taking note of events in everyday life. This was later called the diary. The forerunner of the diaries is the Greek memorandum known as “Ephemerides”. The diary-writing system developed in the 18th century among Tamils. Anandarangappillai, who was the head of the French government in Puducherry, records the political and social situation in Puducherry in the 18th century. Many have since written a dairy, In that order Rajagopala Nayakar’s son ll Veeranaikar, who played the second lord (Nayinar) post in the French court’s both during the French rule of Puducherry in the late 18th century, wrote a dairy from 1778 to 1792. The introduction of ll Veeranayakar as well as information about Puducherry, history of Veeranaaykar’s dairy, Hints about printer of Veeranaikar’s diary,process of process printing information’s explained in this article.
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Brown, Marshall, Felicity Nussbaum, and Laura Brown. "The New 18th Century: Theory, Politics, English Literature." Eighteenth-Century Studies 22, no. 4 (1989): 566. http://dx.doi.org/10.2307/2739082.
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Gallagher, Noelle. "Cancer and the emotions in 18th-century literature." Medical Humanities 46, no. 3 (November 6, 2019): 257–66. http://dx.doi.org/10.1136/medhum-2018-011639.
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This essay argues that the emotional rhetoric of today’s breast cancer discourse—with its emphasis on stoicism and ‘positive thinking’ in the cancer patient, and its use of sympathetic feeling to encourage charitable giving—has its roots in the long 18th century. While cancer had long been connected with the emotions, 18th-century literature saw it associated with both ‘positive’ and ‘negative’ feelings, and metaphors describing jealousy, love and other sentiments as ‘like a cancer’ were used to highlight the danger of allowing feelings—even benevolent or pleasurable feelings—to flourish unchecked. As the century wore on, breast cancer in particular became an important literary device for exploring the dangers of feeling in women, with writers of both moralising treatises and sentimental novels connecting the growth or development of cancer with the indulgence of feeling, and portraying emotional self-control as the only possible form of resistance against the disease. If, as Barbara Ehrenreich suggests, today’s discourse of ‘positive thinking’ has been mobilised to make patients with breast cancer more accepting of their diagnosis and more cooperative with punitive treatment regimens, then 18th-century fictional exhortations to stay cheerful served similarly conservative political and economic purposes, encouraging continued female submission to male prerogatives inside and outside the household.