Дисертації з теми "Jean de (1550?-1623)"
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Goeury, Julien. "L'autopsie et le théorème : une poétique des "Théorèmes" de Jean de La Ceppède." Paris 4, 1998. http://www.theses.fr/1998PA040275.
Beaurepaire, Florence de. "Jean de La Ceppède : imitation des pseaumes de la pénitence de David." Dijon, 1997. http://www.theses.fr/1997DIJOL028.
Salliot, Natacha. "La rhétorique dans la théologie : les controverses religieuses en France sous le règne d'Henri IV : autour du livre de la Saincte Eucharistie de Philippe Duplessis-Mornay." Paris 4, 2007. http://www.theses.fr/2007PA040275.
Under Henri IV, religious controversy between Protestants and Catholics reached a climax in both oral and written compositions, ranging from voluminous theological treatises to more circumstantial publications such as narratives of conversions or conference accounts. Definig a space of struggle, discourses continuously resorted to new strategies to dominate the enemy. Any ploy belonging to the art of discourse thus became a weapon; in addition to dialectics, polemicists did not hesitate to use extrinsic evidence or historical arguments, to resort to ethos and pathos, according to varying audiences and implicit political stakes. Always in pursuit of efficiency, they aspired to making the truth manifest by combining rapid responses, rejoinders and refutations endowed with a literary dimension. As attacks increased, the arsenal of weapons employed was refined, and rhetoric, the art of persuasion, was introduced into theology. The publication of Duplessis-Mornay’s treatise of 1598, attacking Mass and the entire doctrine and practic of the Roman Catholic Church, sparked a vast Catholic onslaught; centred on a discussion of the validity of the references summoned, this offensive carried on until the 1620’s. Boulenger, Fronton du Duc, Jean de Bordes, Richeome and most probably Arnauld de Pontac (under the name of Du Puy), undertook to attack the book and discredit its author. Finally, future cardinal Du Perron entered the fray, appropriating the notoriety of the affair at the famous conference of Fontainebleau on 4 May 1600
Maag, Karine Yvonne. "Geneva as a centre of Calvinist higher education, 1559-1620." Thesis, University of St Andrews, 1994. http://hdl.handle.net/10023/13598.
Servelo, Jean-Jacques. "Jean Boucher (1550-1646) ou la théocratie révolutionnaire." Aix-Marseille 3, 2001. http://www.theses.fr/2001AIX32008.
Marchal-Weyl, Catherine. "Le personnage de la scène espagnole à la scène française, 1629-1663 : contribution à l'analyse de deux esthétiques dramatiques." Nancy 2, 2002. http://docnum.univ-lorraine.fr/prive/NANCY2/doc151/2002NAN21007_1.pdf.
Despite the differences that oppose both dramatic arts, French imitations of the Spanish Golden Age theatre blossomed between 1630 and 1660. This study first recalls the cultural context in which these adaptations took place and the most striking features of the comedia. Then the analysis focuses on the characters in the tragi-comedies and comedies of three authors whose works are representative of the general trends : Rotrou, Boisrobert and Scarron. The choice of their reference models and the changes they made to them reveal that their interest is linked with the aristocratic value system praised by the Spanish theatre and its game of false appearances built on disguises. The adapters also distorted the structure of the comedia, introducing an imbalance between the characters, which tend to have fixed features. The comparison between French adaptations and their Spanish sources clarifies the evolutions and permanent features of this imitation movement which contributed to the development of the French theatre during the XVIIth century. It stresses that although both dramatic arts rely on the same principles, like propriety and verisimilitude, they led to opposite ideas of dramatic illusion
Métin, Frédéric. "La fortification géométrique de Jean Errard et l’école française de fortification (1550-1650)." Thesis, Nantes, 2016. http://www.theses.fr/2016NANT4055.
In the beginning of the 17th century, Italians engineers created a new manner of fortifying cities in order to make them able to resist the power of guns. Jean Errard (1554-1610), a protestant from Lorraine, was trained in this new manner, and he became the principal engineer of French King Henri IV, who commissioned him to write a book on that subject. Errard had already published a Practical Geometry and an edition of Euclid’s Elements. His involvement in the controversy about Scaliger’s quadrature of the circle sheds light on his high abilities in mathematics, as recognized by his peers. His Fortification reduicte en art et demonstrée ("Fortification reduced into art and demonstrated") published in 1600, is the first French book which explains the principles of military architecture by analyzing the forces involved and using Euclidean geometry to justify the reliability of the fortresses, according to the constraints. We study the context of the second half of the 16th century, when Errard was trained. We describe his career as a military engineer and as a writer, trying to clarify several points of his biography. Our analysis of his book on fortification reveals a special method that we call geometric fortification. We trace the reception of this geometric fortification amongst the engineers as well as the teachers in France. We consider both cases of private teachers and Jesuit colleges professors. We finally paint a picture of the writings in the first half of the 17th century, in order to show how what we call a French School of Fortification was edified upon Errard’s works
Tribout, Bruno. "Les récits de conjuration sous le règne de Louis XIV (1651-1715)." Paris 4, 2007. http://www.theses.fr/2007PA040286.
In my thesis, I analyse a series of conspiracy narratives published in the reign of Louis XIV by such authors as Sarasin, Retz, Saint-Réal, Vertot, Le Noble, etc. Though pertaining to a variety of literary genres, the corpus texts share a paradoxical aesthetics alternating between praise and condemnation, rendering their political significance difficult to decipher. To this end, the first part of my thesis reconstitutes the historical, theoretical and aesthetical context in which conspiracies occurred. This approach highlights various aspects of the same paradox : from historical point of view, the corpus texts appeared when the nobility tended to disregard conspiracy as a means of action ; in the history of ideas, philosophers could not always keep the theory of absolutism clear of the compromising topic of conspiracy and, in literature, praise for the king and praise for conspirators were often intertwined to convey a dual message of virtue and obedience. Thus it is at the level of aesthetics that an answer to the political ambiguity of the corpus texts should be sought. With this in mind, in the second part of my thesis, I analyse firstly the specificity of each text and show that despite their link to history or the historical novel, they do not form a genre apart. Instead, the coherence of the corpus texts is to be found in the aesthetics of paradoxical praise for peace and in the reassuring virtues of narratives which, to the readers’ delight, use the threat of the fall of empires as a means of showing the benefits of a stable and glorious monarchy
Cureau, Sandra. "Édition critique des œuvres poétiques de Jean Auvray (1580?-1624), poète rouennais Précédée d'une introduction sur la poétique de l’auteur et sur la genèse de ses textes." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040219.
Jean Auvray (1580 ?-1624), a Norman poet who composed pious poems as well as bitter and even bawdy satires, holds a significant place among the authors featured in anthologies of French baroque poetry. The man and the poet remain largely unknown to most modern readers, however. For the most part, knowledge of his works is limited to a few extracts and bravura passages of verse. Yet, unlike other “minores” of his time, he left behind a large number of poems, which he took the trouble to have printed under his own name. His personality, his career and the abundant and various production he has handed down to us reveal a writer whose path differs from the usual “models” we know from literary history or even historical sociology. In our research, we have attempted to reconstruct this path, at once remarkable and exemplary. The first section establishes some biographical and bibliographical landmarks that enable us to sketch out a portrait of the man and the poet in his time. It then analyzes the various critical judgements passed on the “sieur Auvray”, in order to open new avenues towards a better understanding and analysis of his works. The second section consists in a critical edition of his complete “poetical essays”, in chronological order of publication
Chalaye, Sylvie. "Du noir au nègre à travers le théâtre français (1550-1960) : l'image du Noir de Marguerite de Navarre à Jean Genet." Paris 3, 1995. http://www.theses.fr/1996PA030053.
This research aims to analyze the image of the black man in french drama, as seen by whites, from the renaissances to the twentieth century, and in particular from the first representations of the black magus to theatrical attempts to destroy the "nigger" character on the eve of decolonization. We intend to consider the black man as dramatic character. Above all, however, by studying the theater, we strive to understand how cliches and stereotypes from which the "nigger" originated were formed. Whilst the black man was only a vague color during the renaissance, he was enveloped in a shell of prejudice which gradually locked him into the image of the "nigger"; we attempt to analyze these successive strata of ideological and cultural concretions. The theater is consequently primarily considered here as reflection of society and the survey makes ample use of the press to assess the changes in mentalities and to draw a history of how the public reacted to the black man in drama. The study is presented in chronological order and implements the political and economic environment within which the plays and shows under consideration lie. Closely linked to the political context, representations of the "nigger" were both objets of censorship and instrumental in propaganda. This history of the image of the image of the black man in theater is also regularly clarified by means of a study of the iconography and in particular of representations of blacks in art, as artist' aesthetic research, as well as the ideological influence they undergo, are often at one with those of playwrights
Holtz, Grégoire. "Pierre Bergeron et l'écriture du voyage à la fin de la Renaissance : les voyages de Jean Mocquet, François Pyrard de Laval et Vincent Le Blanc." Paris 4, 2006. http://www.theses.fr/2006PA040052.
Studying the career of a traveler's ghost-writer helps understanding the issues at stake in a travel account and the process of its creation. Pierre Bergeron gave their shape to the travels of Pyrard, Mocquet and Leblanc by constantly qualifying their content and form throughout the process of publication. Tracing the career of this polygraph puts to the light the specific editorial techniques used in the case of travel accounts and the rhetorical nature of these texts in the context of colonial propaganda. But political propaganda is only one aspect of the editor's program : the travel accounts edited by Bergeron lie somewhere between scientific studies and adventure novels. They are clearly directed towards the most knowledgeable people of the time, looking for both scientific reports and entertaining readings. The analysis of Pierre Bergeron's editorial practices helps better understanding both scientific and literary cultures of the Early Modern times
Da, Rosa Bustamante Cristina. "Conteurs du nouveau monde : les voyageurs français dans un Brésil naissant." Poitiers, 2009. http://www.theses.fr/2009POIT5010.
This doctoral thesis undertakes a comparative and contrastive study between the narratives of André Thevet in Les Singularités de la France Antarctique and of Jean de Léry in Histoire d'un faict en terre du Bresil. Our aim is to re-discuss their styles, which are generally characterised as a form of "travel literature" (littérature de), in order to highlight their testimonial and oral aspects. These literary works, which were told orally multiple times before being written or transcribed, reveal a gradual evolution from oral texts registered in writing to modern written texts, which means : originally composed in writing. This approach places the art of writing back in its historical context and thus leads to a new interpretation of these works, which are so typical of the 16th Century
Le, Baillif Anne-Marie, and Jean de Virey. "Jean Virey seigneur du Gravier, dramaturge de la seconde moitié du XVIe siècle : étude et édition critique de ses pièces." Paris 4, 1996. http://www.theses.fr/1996PA040029.
Jean Virey du Gravier wrote three plays between 1595 and 1600. The subjects he has chosen are connected with his military life. At odet de Matignon's death he found in Maccabees' the argument for his first play La Machabée, tragédie du martyre des sept frères et de Solomone leur mère. This play is devoted to the Marechale de Matignon the mother of the dead young man. The second play refers to the difficulties in the way of Henry IV to reach the throne of France. To reach this aim, Judas machabee assumed the personality of king Henry IV in: La Tragédie de la divine et heureuse victoire des machabées sur le roi Antiochus. The third play mixes two figures Jeanne d'Arc and Charles Contaud Maréchal de Biron. They have both saved the kingdom conducting the army to the victory and with this fact the king to the crowning
Mangattale-Cezette, Mitsué. "La représentation des passions dans le théâtre tragique de la Renaissance : Garnier, La Taille, Montchréstien." Toulouse 2, 2007. https://tel.archives-ouvertes.fr/tel-00272376.
In Jean de La Taille, Robert Garnier and Antoine de Montchrestien's tragedies, three Renaissance's French playwrights, passions become the mainspring of action and characterize roles in the play. Renaissance's tragic theater combines the pathos produced by deplorations and passions' dramatic construction which guides progressing action's rules. Influences coming from Bible, History and Seneca define imitation's conditions but passions' poetics and rhetoric lead imitation to reinvention underlining Renaissance's specificities. The moral point of view in passions' representation is studied through the pathos/catharsis mechanism, choosing a character becoming as important as action's structure. The process of catharsis in Renaissance's tragedies follows from a teaching pathos ; passions edify on moral and poolitic views. Passions' representation is directed by passions' tragic philosophy leading to a Christian theology. Tragedies representing human fault and God's punishment thus combine ancient and Christian conceptions about passions' theology
Normand, Maxime. "Sagesse classique : Sapiential biblique et littérature morale dans la seconde moitié du dix-septième siècle en France." Paris 4, 2007. http://www.theses.fr/2007PA040037.
In this doctoral thesis, our goal is to assess, describe and interpret the intertextuality of the Wisdom Books (Job, Proverbs, Ecclesiastes, Wisdom, Ecclesiasticus) in the major works of the four great classical moralists : Pascal, La Rochefoucauld, La Fontaine and La Bruyère. An examination of the literary and historical context reveals how biblical wisdom literature permeates the classical period. In our first part, we analyse the sapiential intertextuality by focusing on the use of commonplaces or topoi. This topical use of the Wisdom Books is particularly significant in the Fables of La Fontaine and the Caractères of La Bruyère. In our second part, we examine the philosophical and theological impact of the Wisdom Books. Ecclesiastes, in its criticism of illusions and in its "epicurean" moments, appears as a fundamental reference for the four moralists. For them, the Wisdom Books seem more particularly devoted to the expression of human misery. However, religious and inspired wisdom infuses many pages of Pascal's work. In our third part, we show that the Wisdom Books constitute a rhetorical model for the moralists, especially concerning brevity and discontinuity. This model, weakly constraining for La Rochefoucauld, stronger, but not preponderant in La Fontaine and La Bruyère, proves to be essential for Pascal, and especially the Pascal of the Pensées
Andrivet, Patrick. "Représentations politiques de l'ancienne Rome en France des débuts de l'âge classique à la révolution." Clermont-Ferrand 2, 1994. http://www.theses.fr/1994CLF20057.
In the france of the 17th and the 18th century some prominent writers like corneille, bossuet, montesquieu and rousseau, simple essayists like saint-evremond, and revolutionaries like marat and robespierre did not adhere to the admiration of ancient rome that had become traditional in europe since the renaissance. The author makes this point by a detailed study of the works of these writers who, in spite of texts written with certain precautions of style, denounce the excessive cult of rome of modern europeans, its aspiration to universal domination, its institutions and the corruption which takes over after several centuries of existence. These studies are accompanied by analyses which link these critical opinions of rome to the political views which are implicit or explicit in each work. Views which are implicit or explicit in each work
Hatakeyama, Kana. "La faute dans la tragédie française du XVIIe siècle." Thesis, Bordeaux 3, 2016. http://www.theses.fr/2016BOR30007.
The purpose of this doctoral thesis is to study the French tragedy in the seventeenth century researching into the notion of tragic flaw, hamartia, and to show the originality and the diversity of the French classical tragedy. This notion, commented by Aristotle in "Poetics" originally differs from either an intentional crime or an accidental one. The tragic flaw presupposes the participation of an agent without denying the presence of fortuity. Although a tragic hero is responsible for his misfortune, as it proceeded from his fault, the result exceeds his intention. And this disparity between intention and misfortune makes the audience feel compassion for the hero suffering from his misfortune. If this compassion is one of the emotions caused only by tragedies, the tragic flaw constitutes in this respect an essential element of tragedy. But is the concept of fault identical in the Christendom society of the seventeenth century? To answer this question, I deal with the tragedies of seven dramaturges, Alexandre Hardy, Pierre Du Ryer, Jean Rotrou, Tristan L’Hermite, Pierre Corneille, Jean Racine and Jean-Galbert de Campistron, to cover the seventeenth century. In the first section of this work, I examine the notion of fault in the theoretical texts. The second section consists in studying the tragic figure. The third section is about the nature of the fault, the private fault and the politic fault. The fourth section concerns the status of fault on the dramaturgical level, before examining moral questions in the final section. This work reveals the importance of Aristotle’s Poetics in the French tragedy of the seventeenth century
Benard, Mylène. "Les romans personnels et libertins au XVIIe siècle." Clermont-Ferrand 2, 2007. http://www.theses.fr/2007CLF20019.
Heringuez, Samantha. "La représentation de l'architecture dans l'oeuvre des peintres romanistes de la première moitié du XVIe siècle : jean Gossart, Bernard Van Orley et Pieter Coecke van Aelst." Thesis, Tours, 2010. http://www.theses.fr/2010TOUR2020.
Rooted in a fertile Gothic, but turned to other horizons, the first Romanists painters of the XVIth century have not only knocked down all the conventions of the traditional Flemish painting, but they have also broadcasted the classic language of ancient and renaissance architecture discovered during their stay in the Peninsula. By introducing gradually motives all’antica inside their pictorial works, they have encouraged to a certain extent the builders of the Low Countries to get acquainted with this new aesthetics come from Italy. Despite the interest which they represent, their fictitious architectures have never been studied. Through the study of the architectural backgrounds of three major figures of the first Romanism, Jean Gossart, Bernard van Orley and Pieter Coecke van Aelst, we shall try to determine the sources of the Italianism of their language to evaluate their effective knowledge in classic architecture and to bring a new testimony on the development of the Renaissance in the Low Countries
Litwin, Christophe. "Généalogies de l'amour de soi : Montaigne, Pascal, Rousseau." Paris, EHESS, 2011. http://www.theses.fr/2011EHES0059.
My dissertation is an inquiry into the passion of self-love and the quarrel on its Interpretation that emerges after the Renaissance: for both the Augustinians and the Humanists, self-love is regarded as a specifically human kind of dissoluteness. The first however interpret it as the original corruption of charity to which mankind cannot remedy without God’s supernatural grace and the gift of faith; the second, influenced by their reading of Aristotle, Plato and Cicero, tend on the contrary to regard self-love less as the corruption of clarity, than as a depraved modification of the natural love every living has for itself. I address the anthropological, moral, political, aesthetical and theological implications of this quarrel through the works of Montaigne, Pascal and Rousseau
Roche, Bruno. "Le rire des libertins dans la première moitié du XVIIe siècle." Clermont-Ferrand 2, 2009. http://www.theses.fr/2009CLF20011.
Reguig, Delphine. "Le corps des idées : pensées et poétiques du langage dans l'augustinisme du second Port-Royal." Saint-Etienne, 2003. http://www.theses.fr/2003STET2078.
Thanks to urgent argumentation caused by controversy, the "second" Port-Royal, led by Arnauld, made use of the Cartesian dualism of body and mind in order to renew Augustinian semiotics. Port-Royal was at the origin of reflections about meaning, which go beyond linguistic and grammatical matters in order to include the moral disposition of the speaker in his verbal experience. For speech to produce meaning, language must be used as a faculty suppressing the distance between body and soul, between expression and thought, between the world and inner life, between man and God. The necessity of effective and meaningful speech may account for Port-Royal’s influence on literary circles. The novel La Princesse de Clèves and Racine's tragedies, in particular, reflect Augustinian concerns about the value of speech, its relation with human inner life, and the relation it establishes between man and the world
Picon, Marina. "Normes et objets du savoir dans les premiers essais leibniziens." Thesis, Lyon, École normale supérieure, 2015. http://www.theses.fr/2015ENSL1058.
Does Leibniz’s doctrine of demonstrative knowledge rest upon a theory of cognition? Having shown in previous articles that such was not the case in his mature works, we now turn to his early writings. The Nova Methodus discendae docendaeque Jurisprudentiae (1667) contains a reasoned inventory of the disciplines that should constitute the new encyclopaedia. As in later projects, Leibniz precedes this inventory with a classification of the types of knowledge based on the logical criteria according to which propositions are divided in histories, observations and theorems. Particular attention is given to the definition of the latter as propositions « demonstrable ex terminis ».This norm of scientific necessity once defined, what real (in re) foundation does Leibniz give to demonstrative knowledge? Following the various threads offered by his polemic against the Italian humanist Marius Nizolius, we study Leibniz’s attempt to ground the validity of propositions of eternal truth on universals subsisting independently of the existence of individuals. But one has to wait until the first Paris writings (1672-1673) to see the emergence of his mature answer to that problem: first conceived after the model of the significatio which a definition « expresses », the notion of idea reaches its latter ontological status as an archetype subsisting in God’s mind. The principal features of Leibniz’s theory of demonstrative knowledge are thus in place, prior to and independently of what he will later call his « doctrine of the understanding »