Littérature scientifique sur le sujet « Francesco Bordoni »

Francesca Cuzzoni and Faustina Bordoni, singers famous for their 1720s London rivalry, were not necessarily the warring protagonists history has made them out to be. While opera historians have long acknowledged the role audience factions played in creating the rivalry, the contribution made by the opera company itself has not been considered. Working from the premise that the Royal Academy shaped its operas around this important aspect of its stars' public personae, I focus on Handel's Admeto (1727) to examine both the way opera was structured to take account of the rivalry and the concomitant play with the singers' identities provided in the work. I argue that, in employing the miniature portrait and female disguise as its two central plot devices, and in the theatricality of its music, Admeto explores notions of authenticity and identity, female mutability, and anxiety and disavowal.

Escasa y mal documentada, la migración francesa en Chiapas durante el siglo XIX puede encontrar una veta de investigación? en los casos de Borduin y Dugelay, padre e hijo, en la ciudad de San Cristóbal de Las Casas. El primero, conocido como «francés», aunque procedente del Bajo Canadá, se convirtió desde 1839 en figura central local, entre otros aspectos, por su apreciada profesión en medio de continuos brotes epidémicos. Más de cuatro décadas después, en pleno auge de la influencia francesa en México, Diego Dugelay gozó por su parte el privilegio doble del origen de su padre y el poder social, político y económico, heredados de su madre. Además del testimonio individual ambas trayectorias, alguna vez contrastantes y complementarias, muestran también ciertos mecanismos, aspiraciones y paradojas ocurridas en Chiapas durante su primera apertura hacia los «hermanos de allende los mares». ABSTRACT Scarcely and poorly documented, the French migration in Chiapas during the 19th century may find a vein of research[*] in the cases of Borduin and Dugelay, father and son, in the city of San Cristóbal de Las Casas. The first, known as “French” although in reality originating from francophone Canada, converted after 1839 into a central local figure, among other aspects, due to his esteemed profession amidst continuous epidemic outbreaks. More than four decades later, in the boom of French influence in Mexico, Diego Dugelay for his part enjoyed the double privilege of his father’s origin and the social, political and economic power inherited from his mother. In addition to the individual testimony, both trajectories, at times contrasting and others complementary, also demonstrate certain mechanisms, aspirations and paradoxes occurred in Chiapas during its first opening toward the “overseas brothers.”

Atividades de leitura e escrita têm sido desenvolvidas com diferentes abordagens no âmbito da formação de professores de Ciências da Natureza. Ancorado nos pressupostos teóricos e metodológicas da Análise do Discurso de Linha Francesa (AD), esse artigo objetiva identificar as marcas de autoria em textos produzidos por licenciandos em Química da Universidade Federal de São João del-Rei (UFSJ) em MG. Os textos produzidos a partir dos diferentes gêneros textuais são chamados de diário de bordo, sendo esses construídos e apresentados no decorrer da unidade curricular Química e Sociedade. Mediante a construção do corpus de análise e do dispositivo teórico e analítico, uma categoria analítica emergiu. As análises mostraram que os diferentes diários possibilitaram o estabelecimento de várias relações inter, intra e extratextuais. Nesse sentido, os tipos de repetição (empírica, formal e histórica) foram apresentados, mostrando a necessidade de incentivo de diferentes ações na formação inicial de professores de Química para além do relatório técnico.

Francesco Bordoni (1574?-1654), originaire de Florence, fut un sculpteur spécialiste du marbre et du bronze. Elève de Pietro Francavilla, il s’aguerrit à Florence dans la bottega de Giambologna, à l’époque de Ferdinand de Médicis, et il y participa aux chantiers du Grand-Duc, comme ceux occasionnés par son mariage (1589). Ensuite, il suivit Francavilla à Pise pour travailler aux chantiers de Ferdinand I. Vers 1601, il s’installa en France avec son maître. Cependant Francavilla revint bientôt à Florence, alors que Bordoni restait à Saint-Germain-en-Laye. Là, comme à Fontainebleau, il collabora avec le fontainier Tommaso Francini et fournit des sculptures pour les grottes et les fontaines des jardins, suivant le modèle de la villa de Pratolino. Plus tard il revint à Paris, où il travailla encore pour les souverains et les Concini. Il termina le piédestal de la statue équestre d’Henri IV (Pont-Neuf, Paris), commencée à Florence par Giambologna et Pietro Tacca. Il n’en subsiste que les quatre esclaves, signés par Bordoni (Musée du Louvre). Sa carrière continua sous le règne de Louis XIII. Dans les années 1630, il importa des marbres d’Italie et devint premier sculpteur du roi, il créa le sol en marbres et l’autel de la Chapelle de la Trinité de Fontainebleau avec les statues de Saint-Louis, de Charlemagne et quatre anges de bronze. Artiste profondément lié à la famille des Médicis et à la monarchie française, Bordoni participa aux stratégies de l’image voulues par ses grands clients. Cette thèse, fondée sur une large documentation d’archives, approfondit son œuvre dans ses rapports entre la sculpture italienne et française et dans son rôle avec Henri IV et ses successeurs
Francesco Bordoni was a Florentine sculptor, a specialist in bronze and one Pierre de Fracheville’s disciples. He grew up in Florence in the “bottega” of Giambologna during the period of Ferdinando de’ Medici. He attended the yards of the Grad-Duke such as the ones for Ferdinando’s weddings. Later he followed Francheville to Pisa where he worked at Fedrinando’s monuments. Before 1601 he moved to France with his master. Therefore Francheville soon returned to Florence whereas Bordoni remained in Saint-Germain-en-Laye. In Saint-Germain-en-Laye as well as in Fontainebleau, he collaborated with Tommaso Francini for the sculptures of grottoes and fountains of the gardens following the model of the villa of Pratolino. Later he went back to Paris where he worked again for the king and for the Concinis. He concluded the basement of the equestrian statue of Henri IV (Pont Neuf, Paris) which had been commenced in Florence by Giambologna and Pietro Tacca. The four slaves which adorned the basement, signed by Bordoni, are at Louvre Museum. His career went on during the period of Louis XIII. In the 30’s he imported some marbles from Italy, he became the first sculptor of the King, he created the floor in marble and the altar of the Chappelle of Fontainebleau. He was an artist deeply bound to the Médicis and to the French monarchy. Tanks to his works he shared in the strategies of the images wanted by his great Patrons. The aim of my study is the relation with the Italian and French sculpture and his role in the reorganization of the Kingdom of Henry IV and of his successors