Journal articles on the topic 'Lavardens'

Manuel José de Lavardén, poeta y dramaturgo bonaerense, publicó bajo seudónimo una carta en 1802 en el Semanario de Agricultura, Industria y Comercio de Juan Hipólito Vieytes. Allí cuestionó las lecturas que los eruditos europeos realizaron sobre España y América. El poeta criticó con ahínco los ensayos de ingleses, franceses e italianos que trataron sobre España y América sin nunca haber visitado esos territorios. La epístola de Lavardén evidenció el conocimiento de la cultura impresa europea, su circulación en el Río de la Plata y le sirvió para destacar la civilidad de las costumbres como una estrategia para reforzar la identidad española y americana.

El objeto de este trabajo es una silva de Quevedo titulada «Roma antigua y moderna», cuyo tema es la exaltación de Roma como sede del papado y cabeza de la cristiandad en contraste con la caída de la Roma imperial, emblema de la fragilidad de las glorias terrenas. En este artículo se estudian los antecedentes del tema en Prudencio, Hidelberto de Lavardin, Girolamo Vida, Du Bellay, Tasso, Marino y Campanella, y se hace un pormenorizado análisis del poema de Quevedo intentando aclarar los puntos oscuros del texto y estudiando los diversos temas y motivos para situarlos en su contexto cultural y en su tradición literaria.

Ouvert solennellement le 17 septembre 1991 par le Président de la République Française, ce Xe Congrès Forestier Mondial a réuni à Paris plus de 2 500 participants venus de 136 pays.Pendant deux semaines, les congressistes ont pu participer au débat sur : LA FORÊT, PATRIMOINE DE L'AVENIRLe congrès était organisé en six chapitres :• La forêt, patrimoine protecteurSecrétaires techniques : J.-F. LACAZE et L. S. BOTERO.• La protection du patrimoine forestierSecrétaires techniques : P. BAZIRE et c. PALMBERG-LERCHE.• L'arbre et la forêt dans l'aménagement du territoireSecrétaires techniques : J. GADANT et K. MUTHOO.• La gestion du patrimoine forestierSecrétaires techniques : B. MARTINOT-LAGARDE et J.-P. LANLY.• La forêt, patrimoine économiqueSecrétaires techniques : P. LAVARDE et J.-J. GAUTHIER.• Les institutions et les politiquesSecrétaires techniques : J. CLEMENT, C. H. MURRAY et M.-R. DE MONTALEMBERT.

La llegada de La Celestina a Francia ocurre en 1527 con una primera traducción anónima. Las múltiples ediciones posteriores revelan el éxito que conoce la obra adaptada al gusto del país destinatario. Medio siglo después, Jacques de Lavardin propone una segunda traducción, o bien adaptación libre por no decir glosa, que se inspira todavía más en la versión italiana. El propósito del traductor es claramente didáctico y el texto no deja de ser leído hasta los postreros años del siglo. Una última traducción anónima sale a la luz en 1633 en una edición bilingüe. El estudio diacrónico de la difusión de la Tragicomedia más allá de los Pirineos nos permite reflexionar sobre lo que condiciona el interés de los franceses. No obstante, un análisis comparativo de las versiones determina los rasgos de «Las Celestinas» que los franceses llegaron a conocer a lo largo de los siglos XVI y XVII. Se plantean, finalmente, las consecuencias que tuvieron estas ediciones en la producción francesa que les fue contemporánea.

В статье рассматривается агиографический образ св. Радегунды, созданный на рубеже XI–XII вв. епископом Хильдебертом Лаварденским на основе двух раннесредневековых житий, написанных поэтом и епископом Венанцием Фортунатом и монахиней Баудонивией за 500 лет до появления новой духовной биографии. Автор статьи выявляет социокультурный и духовный контекст написания нового жития, показывает особенности созданного Хильдебертом образа королевы-монахини. Переосмыслив духовные биографии Фортуната и Баудонивии, Хильдеберт сделал более актуальным для своего времени прежний образ Радегунды. Стремление святой королевы вести аскетичную монашескую жизнь соединяется с публичной, мирской и политической ролью на благо общества. Героиня нового жития сосредоточена не на своём личном спасении, а на общественной деятельности. Хильдеберт сделал Радегунду примером для знатных дам своего времени. The article discusses a hagiographic image of St. Radegund, created at the turn of the 11th-12th cc. by the bishop Hildebert of Lavardin on the basis of two early medieval Lives. The former ones were written by the poet and bishop Venantius Fortunatus and the nun Baudonivia 500 years earlier than the new spiritual biography. The author of this article reveals the sociocultural and spiritual context for the writing a new Life, shows the image of the Queen-nun created by Hildebert. By combining and rethinking the spiritual biographies by Fortunatus and Baudonivia, Hildebert made the old image of Radegund more relevant for his time. The desire of the holy Queen to lead an ascetic monastic life is combined with a public, secular and political role for the benefit of society. The heroine of the new life is focused not on her personal salvation, but on social activities. Hildebert presented Radegund as an example for the noble ladies of his time.

Abstract This paper examines some Biblical quotations found in the preface to Archprest of Hita’s Libro de buen amor (fourteenth century). This short prose text is transmitted in an early fifteenth-century codex unicus: Salamanca, Univ. Library, 2663. As for critical issues, I argue that redis (Ps 61, 13) and equs (Ps 31, 9) should not be corrected to read reddes and equus, as has been customary among almost all editors. Besides, in Ecclo 15, 1 the manuscript does not read Dominum, but Deum, which should be kept as well. On the contrary, illi (Ps 21, 31), viam (Ps 118, 30), probably also juxta (Ps 61, 13), as well as the restoration of Job 14, 1 are right conjectures. After or within quotations in Latin, the Tironian et should be transcribed as et, not e[t]. As for literary matters, certain Biblical quotations allow us to identify new Latin sources which were used by the Archprest, including Hildebert of Lavardin († 1133) and Bernard of Clairvaux († 1153). They also suggest that at least certain Biblical verses were not directly quoted by the Archprest from the Vulgate: he rather borrowed them from Patristic and Medieval Latin authors. This indirect procedure clarifies the striking confusion between the books of Wisdom and Ecclesiasticus: the error was probably inherited from an intermediate source.

<p><strong>Abstract.</strong> Maps are a means of communication with their own language. This contribution makes a methodological proposal for a tool for to analyse the cartographic language of thematic maps and atlases. Based on the work of Jacques Bertin and on approaches of the Visual Studies, this methodology works on decoding maps in terms of their basic elements, the signs and graphic objects that compose them. As a tool it should allow comparative research on cartographic productions, both, synchronically and diachronically. It suggests two analytical schemes, one for maps and the other for complex map-editions, e.g. atlases.</p><p> On the example of spatial entities (state territories, natural areas etc.), the first part of this contribution introduces the semiotic analysis-scheme for thematic maps. It shows how to deal systematically with signs, signatures and graphic objects on maps. Such analyses should produce the fundament for comparative approaches, which allow to detect typical patterns in cartography and to identify elements of cartographic languages.</p><p> We are interested in the cartographic languages of maps used in atlases. To do this we have chosen a quantitative analysis of the visual content, maps, diagrams and images. The quantitative method makes it possible to analyse a large corpus of maps and atlases, thus making it possible to make comparisons between contents both diachronically and synchronically, i.e. comparisons in time and space. This is an approach relatively rarely used in cartography. There are few studies that produce a quantitative analysis of cartographic content. Among the existing ones, that of Alexandre Kent and especially that of Muelhenhaus on the Goode atlas series. We are following in the footsteps of these studies. To do this, we decided to adopt a semiological approach to the study of maps. Of course, we cannot talk about maps and semiology without mentioning Jacques Bertin and his book: graphic semiology: diagrams, networks, maps (1963) in which he tried to define a “grammar” by establishing rules of good cartographic practice, even if the book is not exclusively reduced to the map.</p><p> The book itself does not contain any reference, but it can be said that graphic semiology is itself derived from linguistic semiology, developed in particular by Ferdinand Saussure. However, although Bertin's work has influenced many cartographers in the design of maps, the method has been little used in the cartographic analysis itself. Semiology is an approach that has been used mainly in the analysis of images and diagrams rather than in cartography. Although it is true that iconographic analysis studies in semiology claim more Barthes and Saussure than Bertin.</p><p> The map can also be considered as an image. Several iconographic analysis studies have thus integrated the map as an object of study. This is the case, for example, of engelhardt who, in his <i>thesis</i> “<i>the language of graphics: a framework for the analysis of syntax and meaning in maps, charts and diagram</i>” (2002), focuses on several types of iconography, even if the map remains a central element of his analysis. Another example is the work of André Lavarde, who in his article “<i>la flèche : le signe qui anime les schémas</i>” (1996) focuses on the history of the use of the arrow in diagrams, while evoking its use in geographical maps. There are therefore bridges between iconographic and cartographic analysis.</p><p> This research is therefore a continuation of the work of Bertin, Mulhenhaus and to a certain extent Engelhardt. The coding system we have developed for our cartographic analysis is divided into three parts and divided tehemselves into several categories. Each category corresponds to a column in the table. From there, there are two ways to fill in the columns. In the first case by filling in the field with the requested information such as the title of a map. Or in a second case to enter 0; 1; or 2 depending on whether the information that corresponds to the absence, presence or uncertainty of the requested information. So if the map coded uses the Mercator projection then it will be entered 1 in the column “map projection: cylindrical projection” and 0 in the column “map projection: compromise”.</p><p> The table is composed of three parts. The first part concerns the general information of the coded map (image 1). This is for example the name of the atlas, the page, the chapter in which the map is located. Then more general information about the map itself is coded like for example its title, theme, scale, type of projection used, etc. This makes it possible to collect a set of basic data. It should be noted that, as mentioned above, we do not only code maps but also other forms of visual representations of space that can be found in atlases. For example, there are images, satellite photos or diagrams that can represent different geographical areas. If the coded object is not a map, this is specified. There is a category provided for this purpose. When coding, cartography-specific elements, such as map projection, are therefore not taken into account. Not all the columns in our table are intended to be filled by each map or coded image. The codification process is therefore flexible. Although the code does not focus only on maps, they represent the vast majority of the content of the atlases studied. This is why we refer more to the “map” rather than to the “visual representation of space”. However, even if they are in the minority, it is important in the analysis to take into account representations of space other than cartography.</p><p> The second part of the table focuses on the signs used by the maps. First of all, we have chosen to divide them into three categories: symbols that are related to the point of the line and the surface. These are the three elementary figures of geometry that Bertin calls implantations. It is from these three types of locations that the different symbols are created. We have distinguished them between the thematic symbols, which are there to illustrate the theme of the map, to convey its message and the Background symbol present to help the reader to orientate himself in space. This is the case, for example, of the equator's path, which is rarely thematic, but rather serves as a geographical point of reference. Of course, the thematic symbols vary according to the theme of the map. Thus, territorial borders can be considered thematic if it is a political map, but will be considered Background information if it is present on a map representing global forest cover. The purpose of this part is to have as much content as possible on the elements that make a map.</p><p> The third and last part of the table refers to visual variables. To be interested in visual variables is to be interested in the interactions between symbols. It is on this part that we rely most on Bertin's work. We have thus taken 5 of the 7 variables he defined. The orientation and the two dimensions of the plan were excluded from our study because they are constant in the cartographic production. It would therefore be irrelevant to record them each time. This is not the case for the remaining components: size, value, texture, shape, and colour. These are elements that may be present in cartography but are not individually necessary. These visual variables form the basic grammar of the “cartographic language”. Studying the visual variables is a way for us to observe how the different signs interact with each other and to see how an information is convey. These visual rules have been established in the 1960s, therefore it the relevance of using this framework to study historical map can be questioned. But Bertin did not design his rules from scratch, he relied on previous mapping practices. It is therefore interesting to observe how often they have been used.</p><p> The second part deals with map themes and regional structures of atlases. Using principles of Visual Studies, it suggests to observe atlases as a whole as cultural products, each subject to a visual programme that determines the frameworks of its expressions and its claim for representativeness. By comparing elements like projection, scale, maps-themes, regional sequences etc. systematically, one may unveil the specific interpretations of world views which are contained in the atlas’ concepts. As some atlases are published in a long series of editions, they become interesting research objects in an evolutionary perspective.</p><p> In a diachronic perspective the coding scheme suggested here, focussing themes and regional subdivisions of atlases, builds the fundament for longitudinal studies. Both methodological parts should make cartographic and atlas-studies more compatible to cultural and historical research approaches.</p><p> Taking the example of a few maps from French atlases from nineteen centuries to the early 2000s the second part of this contribution wants to give an idea, how this methodology can be used to study the evolution of cartographic language over time under the influence of the global condition and how French cartographers faced the challenge of representing a growing interconnected world and which graphical tools they developed.</p>

AbstractAlthough Latin curricula for secondary schools generally recommend medieval Latin texts as a supplement to classical authors, medieval Latin is not necessarily part of the teacher training programms at university. After giving a brief sketch of medieval Latin studies at German universities, this article explores strategies for transmitting at least a basic knowledge of medieval Latin language and literature to students of Latin philology and teachers. Latin letters of the Carolingian period and the high Middle Ages might be an appropriate theme for complementary reading and comparison with classical models and current forms of communication. Examples from the collections of Alcuin, Einhart and Hildebert of Lavardin are discussed.