Relevant bibliographies by topics / Masque de cour

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Masque de cour'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Masque de cour"

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Desrosiers-Bonin, Diane. "Le masque du Rieur de la cour de Suzanne de Nervèze." Tangence, no. 77 (November 14, 2005): 129–42. http://dx.doi.org/10.7202/011702ar.

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Les premières années de la Fronde ont donné lieu à une floraison d’écrits polémiques ; « il n’est pas mesme jusque des femmes qui ne s’en meslent », remarque avec mépris le bibliothécaire du cardinal Mazarin, Gabriel Naudé. Au nombre de ces femmes libellistes figure Suzanne de Nervèze dont Le Rieur de la cour paraît en 1649. Dans ce petit ouvrage, elle met en place un certain nombre de stratégies textuelles pour légitimer sa prise de parole publique et critique. Portant le masque du Rieur, ce « Démocrite nouveau », elle dénoncera tous les visages de l’hypocrisie courtisane. Cependant, par delà cette leçon morale, c’est le statu quo d’un ordre social et politique en crise qu’elle cherchera finalement à conserver.
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Daye, Anne. "The Role of Le Balet Comique in Forging the Stuart Masque: Part 1 The Jacobean Initiative." Dance Research 32, no. 2 (November 2014): 185–207. http://dx.doi.org/10.3366/drs.2014.0106.

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The prominence of Le Balet Comique in the narrative of Western theatre dance cannot be denied, as every dance history book implies that this performance of 1581 initiated the ballet de cour, while the image of the fugitive gentlemen is reproduced over and over again to represent the work ( McGowan, 2008 , 169). The performance was certainly innovative, but also a development of previous theatre dance in France and Italy. Barbara Sparti questions the basis of the work's fame and places it in a context of earlier Italian dance theatre (2011, 304–322). The impact of the publication in England has not so far been examined. Amongst its many claims to fame, Le Balet Comique was unique in the latter half of the sixteenth century as a publication that brought together information on the performance, costumes, décor, music and dance of a ballet de cour, as well as the planning and intentions of the organisers. The records of other ballets of the period are scattered between published verses, eyewitness accounts, musical scores, costume designs and financial records, most of which remain hidden and uncollated in archives. 1 The following discussion argues for the use of a single text as a model for new invention in dance theatre. In pursuing this argument, it offers new insights, from a dance perspective, illuminating key works that have principally been discussed as texts rather than as performances. Part 1 deals with the exciting period of innovation under the aegis of the first Stuart king, James VI and I.
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Morlin, Isabelle. "Images pittoresques, texte « romanesque »." Études littéraires 37, no. 3 (January 31, 2007): 15–36. http://dx.doi.org/10.7202/014102ar.

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Résumé En 1717 paraît la relation du voyage fait par le chevalier d’Arvieux en Palestine, à la cour des Bédouins (voyage effectué de 1664 à 1665). Au fil de ce récit, on relève trois illustrations représentant les indigènes côtoyés et décrits par le narrateur. Leur fonction première, traditionnelle dans le genre du récit de voyage, semble documentaire. L’image a aussi dans ce récit une valeur discrètement pittoresque et tend à figer les personnages représentés en « types ». Au-delà, l’image semble parfois avoir une troisième fonction, plus originale. Elle participe à la « dérive romanesque » du récit, fréquente dans les récits de voyage, et c’est par la mise en relation avec le texte qu’elle acquiert cette fonction. Ainsi, rien n’indique dans la légende de la première illustration (« Cavalier arabe ») qu’elle pourrait représenter le chevalier d’Arvieux lui-même ; pourtant, elle est insérée au milieu de la description du déguisement « à l’arabesque » que le voyageur-narrateur adopte au début de son voyage, pour déjouer les périls de la route. L’image dans ce récit a donc un statut ambigu : censée représenter l’autre, elle tend en même temps à représenter le voyageur (narrateur) lui-même, sous les oripeaux de l’indigène ; supposée apporter des précisions documentaires et objectives, elle introduit le thème du déguisement, du masque et de la supercherie et, au-delà, révèle le processus de métamorphose identitaire à l’oeuvre dans le voyage.
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Warren, Vincent. "Yearning for the Spiritual Ideal: The Influence of India on Western Dance 1626–2003." Dance Research Journal 38, no. 1-2 (2006): 97–114. http://dx.doi.org/10.1017/s0149767700007403.

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Europeans have imagined India as a land of fabulous riches and exotic legends since the time of ancient Greece. In Greek mythology Dionysus, the god of passion and wine, was said to have come from India, and Alexander the Great's proudest achievement was arriving at the banks of the Indus. When, after 1498, explorers from Portugal, Holland, England, Denmark, and France began to establish trade links with the subcontinent, it seemed the legends were true; rare spices, silks, gold, and precious stones were transported to Europe and added fuel to already inflamed imaginations. The very name of the city of Golconda became a synonym for unimaginable wealth. There was confusion between all things exotic or “oriental.” Turks, Africans, Persians, American “Indians,” and Caribbeans were all from the same imaginary region, “the Indies,” which existed more in the poetic fantasies of Europeans than on a geographical map.As early as 1626 at the court of Louis XIII, king of France, the mysterious figure of Asia appeared in the Grand Bal de la Douairière de Billebahaut, a ballet danced by the king and his noble companions. In 1635 The Temple of Love, a court masque (as le ballet du cour was known in England), was presented at Whitehall Palace in London. In this spectacle, Persian youths voyaged to India to encounter Indamora, Queen of Narasinga, danced by Queen Henrietta Maria herself in a costume designed by Inigo Jones. Back in France, a Sanjac Indien represented the continent of Asia in another court ballet, Les Entretiens de la Fontaine de Vaucluse (1649).
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FUSSMAN, G. "Le 'Masque Court'." Journal Asiatique 279, no. 1 (January 1, 1991): 137–74. http://dx.doi.org/10.2143/ja.279.1.2011210.

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Gatti, Hilary. "Giordano Bruno and the Stuart Court Masques*." Renaissance Quarterly 48, no. 4 (1995): 809–42. http://dx.doi.org/10.2307/2863425.

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It has long been known that Bruno's fourth Italian dialogue, L0 spaccio della bestia trionfante, written and published in London in 1584, was used as a source by Thomas Carew for his masque Coelum Britannicum. This was Carew's only masque; but it was by no means a minor event within the Stuart calendar of court entertainments. However, in spite of general agreement on the quality of Coelum Britannicum as one of the major entertainments of the Stuart court, the use by Carew of Bruno's dialogue has never been extensively or satisfactorily commented on. Both Bruno and Carew scholars have clearly been ill at ease with the relationship and have tended to dismiss it with a few brief and evasive remarks.
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Laam, Kevin. "Marvell’s Marriage Songs and Poetic Patronage in the Court of Cromwell." Explorations in Renaissance Culture 42, no. 1 (March 15, 2016): 59–86. http://dx.doi.org/10.1163/23526963-04201003.

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This paper examines the marriage songs that Andrew Marvell produced in 1657 for the wedding masque of Mary Cromwell, specifically, how they express Marvell’s long-time pursuit of patronage, and more broadly, how they showcase the increasingly courtly predilections of the Protectoral household and government. Marvell represents the politics and personalities behind the marriage in ways that suggest an acute awareness of Cromwell’s growing aristocratic and dynastic ambitions. As a newly appointed civil servant, Marvell also uses the occasion to reflect upon his experience as the beneficiary of the Protector’s largesse. Marvell is a silent but active player in the masque, using it to negotiate his position as a poet in the Cromwellian court.
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MacIntyre, Jean, David Bevington, and Peter Holbrook. "The Politics of the Stuart Court Masque." Sixteenth Century Journal 31, no. 2 (2000): 496. http://dx.doi.org/10.2307/2671641.

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Norbrook, David, David Bevington, and Peter Holbrook. "The Politics of the Stuart Court Masque." Shakespeare Quarterly 51, no. 3 (2000): 373. http://dx.doi.org/10.2307/2902162.

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MOORE, BRUCE. "THE HOBBY-HORSE AND THE COURT MASQUE." Notes and Queries 35, no. 1 (March 1, 1988): 25–26. http://dx.doi.org/10.1093/nq/35-1-25.

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Dissertations / Theses on the topic "Masque de cour"

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Forain, Guillaume. ""A sport for the taste of the court" : présentation et traduction annotée de huit masques de cour de Ben Jonson (1605-1624)." Montpellier 3, 2009. http://www.biu-montpellier.fr/florabium/jsp/nnt.jsp?nnt=2009MON30049.

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Cette étude propose la première traduction in extenso de huit textes écrits par Ben Jonson pour des masques de cour sous Jacques Ier. Genre pluridisciplinaire, équivalent anglais du ballet de cour français et de l’intermezzo italien, le masque eut une existence éphémère (1605-1640), mais brillante. Le premier volume retrace ses origines et le travail des deux artistes qui lui donnèrent sa supériorité sur ses prédécesseurs : Jonson, par la qualité de ses textes, et Inigo Jones, dont les scénographies somptueuses réduisirent ces derniers à un rôle de faire valoir sous le règne suivant. Puis un panorama critique montre que le masque, loin d’être simplement un panégyrique royal, donnait souvent voix à des enjeux politiques complexes. Sont également exposés l’esprit et les principes de cette traduction : il s’est agi de faire entendre à la fois l’aspect idéologiquement et historiquement daté de ces textes (notamment en traduisant en alexandrins rimés les pentamètres iambiques du main masque, le panégyrique proprement dit), mais aussi leur dimension plus moderne, en particulier dans les passages comiques de l’antimasque. Enfin, ce volume comprend de nombreux documents (chronologiques, biographiques, iconographiques) en annexe. Le second volume inclut les textes anglais et leur traduction en regard, justifie le choix des éditions utilisées (Herford & Simpson, Orgel), présente le contexte historique et les grandes lignes thématiques de chaque oeuvre, et fournit de nombreuses notes qui prennent en compte le travail de commentaire antérieur et l’apport critique le plus récent. Cette traduction inédite vise à rendre les masques de Jonson accessibles à la communauté francophone ; mais les mises à jour et interprétations proposées dans le volumineux appareil critique pourront également se révéler utiles aux spécialistes de la période
This study offers the first full-length translation of eight texts written by Ben Jonson for Jacobean court masques. The masque, a cross-disciplinary genre and the counterpart of the French ballet de cour and Italian intermezzo, was short-lived (1605-1640), but dazzling. The first volume traces its origins and the work of the two artists who improved it over its predecessors : Jonson, by the quality of his texts, and Inigo Jones, whose lavish stage designs reduced the text to a mere foil in the next reign. Then, a critical overview of the genre shows that, far from being only a royal panegyric, masques often voiced complex political issues. The spirit and principles of this translation are also put forward : the aim was to express both the ideological and historical outdatedness of these texts (especially by translating into rhymed Alexandrine verse the iambic pentametres of the main masque – the panegyric part proper), but also their more modern dimension, especially in the comic passages of the antimasque. Lastly, there are many chronological, biographical and iconographical documents appended to this volume. The second volume includes the English text and French translation facing each other, accounts for the choice of the editions used (Herford & Simpson, Orgel), presents the historical context and main thematic lines of each masque, and provides numerous notes, taking into account the work of the previous commentators and the most recent critical contributions. This unprecedented translation aims at making Jonson’s masques available to the francophone community ; yet the updating work and interpretations offered in the substantial critical apparatus may prove useful to the specialists of the period
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Lionetto, Adeline. "La lyre et le masque : la poésie des fêtes du manièrisme à l'âge baroque (1549-1583)." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040067.

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Vestiges de magnificences réputées diaprées, les vers produits à l'occasion des fêtes de cour de la seconde moitié du XVIe siècle ont longtemps été considérés comme des objets littéraires dépourvus de tout intérêt. Et pourtant la génération de la Pléiade, bien plus connue aujourd’hui pour ses recueils poétiques devenus classiques, a aussi été à l’origine d’une poésie impromptue qui a donné au poète un rôle fondamental de maître des plaisirs de la cour. Non content de rester à son pupitre ou dans sa « librairie », le poète devait prendre en charge la mise en scène de ses compositions, jouer parfois le rôle de l’un des personnages et travailler en collaboration avec d’autres artistes, d’une manière non plus solitaire mais tout à fait collégiale. Sa poésie non seulement agrémente la fête mais la colore, la suscite et la structure : des vers chantés aux vers gravés dans les décors ou encore sur des petits billets tombant en cascade sur le monarque au moment de son arrivée, la poésie est omniprésente dans la fête dont elle se fait, à divers niveaux, la « légende. Contribuant à dramatiser et à sacraliser l'histoire de France, cette poésie se développe en outre sur l'esthétique des merveilles qui caractérise les fêtes de cette époque. Enfin les genres poétiques qui y apparaissent (mascarades, momeries, cartels, etc.) s'influencent alors les uns les autres et se développent au carrefour de multiples pratiques poétiques
The poems written for court festivals in the second half of the Sixteenth century have long been considered unworthy of the attention of scholars of French literature. However, these colourful traces of famously splendid court festivities involved many of the poets of the generation of the “Pléiade”, remembered today mostly for its classic collections of poetry. Nonetheless, these poets also participated in the practice of composing impromptu poetical pieces, which effectively made them the masters of court entertainment. These poets did not restrict their activities to their study or their “librarie”, but designed the sets and organised the saging of their masques – sometimes even playing some of the parts – and collaborating with other artists. The part played by the poet in these festivals is far from being solitary: it is essentially collaborative. His verses are not a mere ornament of the festivities, but are their very life, giving them shape and colour. Poetry plays a part in all aspects of the festivals at court: it is sung, but also inscribed on elements of the décor and showered down on the monarch when he arrives. In this sense, poetry is the “légende” of the celebrations, serving as a caption and as a way creating a legendary, sacred and dramatic representation of power. This poetry also participates in the aesthetic of the maraviglia characteristic of manneristic and baroque festivals. The poetic genres that they involve (masques, mummeries, cartels etc.) mutually influenced each other and developed as hybrid forms which were grew out of the intertwining of many different poetic traditions
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Albert, Laure. "Recherches sur l'iconographie des fêtes de cour en France (1515-1589)." Thesis, Aix-Marseille, 2012. http://www.theses.fr/2012AIXM3131.

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Évoquer l'iconographie des fêtes à la Renaissance revient à travailler sur les humanistes et les courants de la pensée néoplatonicienne qui influencèrent les artistes de cette époque et aboutirent au syncrétisme des arts dans les divertissements royaux. Dans l'art éphémère de la fête - entrées, mascarades, bals et ballets - les costumes des figures mythologiques, antiques et bibliques remis au goût du jour sur un mode ludique, actualisés par les nouveaux thèmes issus des voyages d'exploration - exotisme américain et tradition du vieux monde - sont transposés dans le contexte du XVIe siècle. Pour accompagner ce langage, tout un decorum est déployé qui fait évoluer la notion de spectacle et de ses lieux de représentation, aidé par l'actualité socio-politique faite tantôt de paix et d'alliances tantôt de guerres (de religions). La fête est un moyen idéalisé d'affirmer le pouvoir royal. En cela, elle devient un vecteur de communication, voire de communion. Somptueuses et novatrices, elles sont les prémisses de la magnificence des fêtes des siècles suivants
Dealing with the iconography of fetes in the Renaissance means investigating into humanism and the neo Platonist currents of thought which influenced the artists of the time and led to the syncretism of arts in court celebrations.In the ephemeral art of revels -entries, masquerades, balls and ballets- the costumes of mythical figures from the Bible or the Antiquity were then brought back to the fashion of the sixteenth century with a playful twist and updated through the new themes inspired by the Great Explorations, such as the contrast between the exoticism of the New World and the traditions of the Old World. Along with those codes, the establishment of a new decorum allowed the evolution of the notion of performance and of the places best suited for theatricals. Social and political issues of a time fraught with religious wars, alliances and peace, also contributed in paving the way for such changes.Celebrations thus proved the quintessential instrument of the assertion of royal power, which turned them into vectors of communication, not to say communion. Both sumptuous and innovative, they foreshadowed the magnificent fetes of the following centuries
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Haslem, Michelle. "Familial politics and the Stuart court masque." Thesis, University of Liverpool, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367810.

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This thesis contends that the monarch-centred view of the masque, which has prevailed since the publication in the 1960s and 1970s of Stephen Orgel's seminal works on the genre, needs to be challenged in the light of recent scholarship on the cultural agency of other members of the royal family. In my introduction I argue that while the New Historicism has been crucial in elucidating the theatricalization of power in the early Stuart court, its insistence on the inevitability of the collusion between art and sovereign power needs to be questioned. The masque has long been seen as a monolithic and univocal celebration of monarchical power, despite the fact that it was promoted at court not by King James but by other members of the royal family. Adopting a loosely chronological approach, this thesis retells the story of the 'Jacobean' court masque by recovering the role played in the commissioning and performance of masques by James's wife, his children, and his male favourites. The chapters set out to hear voices other than that of the King, and discover that, while panegyric was part of each masque, it was rarely as unequivocal as traditional criticism has suggested. On the contrary, the annual masques were frequently appropriated to express the oppositional agendas of factions at court, and above all, of members of James's own family. I argue that Queen Anne set a precedent for the disruptive use of the masque which she exploited to present herself as independent from the King, and to emphasise her importance as the mother of the royal children. Prince Henry, and later Prince Charles, both used the masque to contest the pacifist policies of the King, while Buckingham's success as a favourite was linked to his skilful exploitation of the masques as an integral part of his self-fashioning. Above all by shifting the focus away from King James to consider the more active participation in the masque of other members of the royal family, this thesis offers a possibility of moving beyond the current impasse of the subversion / containment debate to a more nuanced reading of the culture of the early Stuart court which recognises the delicate process of negotiation and accommodation in which the masquers and their audiences were engaged.
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Ravelhofer, Barbara. "The Stuart masque : dance, costume and remembering." Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311066.

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Phillips, Moira E. "Courtly psychosis, the rhetoric of preferment in the court masque." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ49885.pdf.

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MacDonald, Mary Jacqueline. "Silent shadows : supernumeraries in British court masques, 1594-1640." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7193/.

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This thesis investigates the contribution and significance in performance of supernumeraries in British court masques, 1594-1640. The six selected masques include a variety of performance venues and authors, with offerings by an assortment of monarchs (and others). There is also a range of performance dates between 1594 and 1640, including: a Scottish court masque and an Elizabethan court masque, two Jacobean masques, and two Caroline court masques, which were performed for or with a variety of monarchs or their consorts. The thesis is driven by practice-based research in relation to the venue, staging, costumes, props, lighting, and blocking with a view to determine the contribution and significance of these performers. Whilst mute roles are the focus of the analysis, this does not include either musicians or the main masquers. The investigation suggests the non-speaking supernumeraries were significant roles in performance and offered a contribution to the genre.
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Middaugh, Karen Lee. "“The golden tree”: The court masques of Queen Anna of Denmark." Case Western Reserve University School of Graduate Studies / OhioLINK, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=case1061385436.

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Vallee, Marc. "Intérêt de l'aide inspiratoire lors de l'utilisation du masque laryngé au cours de l'anesthésie générale." Montpellier 1, 1996. http://www.theses.fr/1996MON11033.

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Aigle, Pierre-Etienne Paille François. "Evolution du statut nutritionnel de personnes âgées au cours de leur hospitalisation en court séjour gériatrique enquête à propos de 82 patients /." [S.l] : [s.n], 2004. http://www.scd.uhp-nancy.fr/docnum/SCDMED_T_2004_AIGLE_PIERRE_ETIENNE.pdf.

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Books on the topic "Masque de cour"

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Une cour au pays du masque. Paris: L'Harmattan, 1997.

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The Stuart court masque and political culture. Cambridge: Cambridge University Press, 2008.

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Knowles, James. Politics and Political Culture in the Court Masque. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137432018.

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The masque of Stuart culture. Newark: University of Delaware Press, 1990.

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Darkowska-Nidzgorska, Olenka. Marionnettes et masques au coeur du théâtre africain. Saint-Maur: Sépia, 1998.

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Scholz, Gottfried. Tanzfeste der Könige: Die englische Court Masque im Spiegel der europäischen Kulturgeschichte. Wien: Böhlau, 2005.

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Sir William Davenant, the court masque, and the English seventeenth-century scenic stage, c1605 -c1700. Amherst, NY: Cambria Press, 2008.

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Ben, Jonson. Ben Jonson's plays and masques: Authoritative texts of Volpone, Epicoene, The alchemist, The masque of blackness, Mercury vindicated from the alchemists at court, Pleasure reconciled to virtue : contexts, backgrounds and sources, criticism. 2nd ed. New York: W.W. Norton, 2001.

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Marriage, performance, and politics at the Jacobean court. Burlington, VT: Ashgate, 2009.

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Perpetuall monuments: Die Repräsentation von Architektur in der italienischen Festdokumentation (ca. 1515-1640) und der englischen court masque (1604-1640). Münster: Lit, 2000.

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Book chapters on the topic "Masque de cour"

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Grantley, Darryll. "Masques and Murderers: Dramatic Method and Ideology in Revenge Tragedy and the Court Masque." In Jacobean Poetry and Prose, 194–212. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19590-9_11.

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Cave, Richard Allen. "A Second Interlude: the Court Masques." In Ben Jonson, 136–43. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21189-0_9.

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Knowles, James. "Introduction: ‘Friends of All Ranks’? Reading the Masque in Political Culture." In Politics and Political Culture in the Court Masque, 1–20. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137432018_1.

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Knowles, James. "‘Vizarded impudence’: Challenging the regnum Cecilianum." In Politics and Political Culture in the Court Masque, 21–52. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137432018_2.

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Knowles, James. "‘Crack Kisses Not Staves’: Sexual Politics and Court Masques in 1613–14." In Politics and Political Culture in the Court Masque, 53–92. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137432018_3.

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Knowles, James. "‘No News’: News from the New World and Textual Culture in the 1620s." In Politics and Political Culture in the Court Masque, 93–130. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137432018_4.

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Knowles, James. "‘Hoarse with Praising’: The Gypsies Metamorphosed and the Politics of Masquing." In Politics and Political Culture in the Court Masque, 131–72. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137432018_5.

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Knowles, James. "’‘Tis for kings, / Not for their subjects, to have such rare things’: The Triumph of Peace and Civil Culture." In Politics and Political Culture in the Court Masque, 173–209. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137432018_6.

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Limon, Jerzy. "Performativity of the Court: Stuart Masque as Postdramatic Theater." In The Return of Theory in Early Modern English Studies, 258–77. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230299986_12.

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West, Russell. "The Sun King: James I and the Court Masque." In Spatial Representations and the Jacobean Stage, 59–81. London: Palgrave Macmillan UK, 2002. http://dx.doi.org/10.1057/9781403913692_3.

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