Littérature scientifique sur le sujet « Du Moulin, Charles, Juristes »

Refusing to Kiss the Slipper re-examines the Reformation in francophone Europe, presenting for the first time the perspective of John Calvin’s evangelical enemies. This book brings together a cast of Calvin’s opponents from various French-speaking territories to show that opposition to Calvinism was stronger and better organized than has ever before been recognized. It examines individual opponents, such as Pierre Caroli, Jerome Bolsec, Sebastian Castellio, Charles Du Moulin, and Jean Morély, but more importantly, it explores the anti-Calvinist networks that developed around such individuals.

The Gallican evangelicals of the 1550s and 1560s, represented here primarily by Jean de Monluc, François Bauduin, and Charles Du Moulin, stayed on the path blazed by early French evangelicals and continued to seek evangelical reform within the existing French church. Monluc, bishop of Valence, adopted Protestant ideas and practices in his diocese. He worked with the lawyer Bauduin and Huguenot nobleman Antoine of Navarre to try to forge a religious compromise at the Colloquy of Poissy. Calvin turned against Bauduin, whom he labeled a moyenneur. Legal expert Charles Du Moulin lived briefly among the Reformed in Switzerland, Germany, and Montbéliard before returning to France, where he outwardly abjured the Protestant faith but increasingly wrote about religious matters from an evangelical perspective. Du Moulin turned bitterly against the Calvinists, however, for he feared they were taking over the evangelical movement in France.

La Parisienne is frequently associated with prostitution, whether in the narrow sense of the streetwalker or courtesan or the general sense of the object and subject of consumption. Tracing her development in nineteenth-century art and literature, this chapter examines the way the Parisienne as courtesan is re-presented in cinema in Charles Chaplin’s A Woman of Paris (1923), Alain Cavalier’s La Chamade (1968), and Baz Luhrmann’s Moulin Rouge! (2001). Cinematic courtesans have their prefigurations in both real life courtesans of the Second Empire, as well as in representations in French art, literature, and visual culture (Manet, Degas, Toulouse-Lautrec, Balzac, Zola, Dumas fils). Motifs associated with the Parisienne courtesan include the familiar tropes associated with Paris as a demimonde: desire, pleasure, and consumption. Alongside these tropes are the visual and narrative motifs on which the iconography of the Parisienne courtesan is based: fashion or style (often conceived to denote luxury and leisure), transformation (usually from provincial to high class), ambiguity (insofar as her class origins, motivations, and emotional allegiances are generally obscure), and the ménage à trois (films featuring Parisienne courtesans often involve the choice between an earnest but poor lover and a rich benefactor).