This thesis examines the history, political climate and evolution of l'Academie royale de Peinture et de Sculpture, Paris (1648) as well as Nicolas Poussin's aesthetic contribution to its classical syllabus, and his influence on Charles Le Brun's classicizing perceptions via-a-vis the Academy during his tenure as Protector, Chancellor (for life), and Director. Explored too is the confrontation between the ancient guild system (la Maitrise), and the emerging idea of the ennoblement of the arts. Poussin's Israelites Gathering the Manna and Rebecca and Eliezer, analysed during les Conferences of the Academy, along with certain of the paintings of Charles Le Brun are considered to the conclusion that, at the outset, there was considerable flexibility with regard to les regles.

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In dieser Arbeit werden die Unterschiede in der Genuskongruenz der belebten Substantive zwischen den ein- und zweisprachigen russischen Muttersprachlern und Muttersprachlerinnen mit Hilfe einer empirischen Studie untersucht. Speziell werden die vier Sonderfälle betrachtet: Hybridnomen (z.B., doktor „Arzt/Ärztin“), Substantive der dualen Genera (z.B., sirota „Waise“), weibliche Vornamen in der Verkleinerungsform mit den Suffixen –ik/ -ok (z.B., Irch-ik), Substantive, die männliche Personen bezeichnen, aber deren Form mit einem Vokal endet. Die Analyse der Ergebnisse dieser Studie ergibt folgende Feststellungen. Die fortgeschrittenen russischen Herkunftssprecher/-innen können mit den grammatischen Strukturen, die keine Variabilität darstellen – d.h. mit den Substantiven der dualen Genera und mit männlichen Personenbezeichnungen mit femininen Endungen - das Niveau eines/einer Muttersprachlers/Muttersprachlerin erreichen. Mit den Substantiven, die variable Genuskongruenz erlauben (weibliche Vornamen mit Suffixes –ik/-ok, Hybridnomen) wurde eine verdeckte Restrukturierung der Sprache beobachtet. Die Sprecher/-innen nutzen die grammatischen Strukturen ohne sichtbare Fehler, aber trotzdem anders als es die Muttersprachler/-innen tun würden. Im Fall der Nutzung der gemischten Kongruenz liegt die Restrukturierung daran, dass die Herkunftssprecher/-innen das generische Maskulinum nicht erwerben. Es sollte jedoch beachtet werden, dass die Nutzung der Genuskongruenz stark vom Sprachniveau eines/einer Sprechers/Sprecherin abhängt. Außerdem wurde festgestellt, dass Referentialität eine besondere Schwierigkeit für die Herkunftssprecher/-innen darstellt. Was die einsprachigen Muttersprachler/-innen angeht, wird es gezeigt, dass die Abhängigkeit dieser Sprecher/-innen bei der Wahl der Genuskongruenz von dem lexikalischen Kriterium die Tendenz der russischen Sprache zum analytischen Sprachbau beweist. / In this dissertation, I raise the issue of the grammatical gender in Russian as a heritage language. In particular, this thesis aims to determine the major principles of use of gender agreement patterns with the four classes of exceptional nouns (hybrids referring to females, common gender nouns, female names ending in -ik/ -ok, male terms and male names ending in -a/ -ja) in heritage Russian. For this purpose, I have conducted an experimental study on gender agreement, which consists of two big tasks, a translation task and a multiple-choice task. A detailed analysis of the results of the study has led to the following conclusions. Advanced heritage speakers are able to achieve the target-like language proficiency in gender agreement in transparent contexts and in some situations of form-meaning mismatch. The use of agreement patterns strongly depends on the speakers’ language proficiency. Less proficient speakers tend to have more problems with referential nouns. Importantly, this dissertation provides evidence for the importance of variability for successful heritage language acquisition. Variability of grammatical structures leads to inconsistency of input which makes it harder for heritage speakers to acquire these structures and leads to incomplete acquisition. As a result, heritage speakers fail to acquire the generic component of the semantic structure of hybrid nouns. This in turn results in the divergence in the use of agreement patterns by monolingual and bilingual speakers with the exceptional nouns, which allow variability (hybrids, female names ending in -ik/ -ok). This divergence is realised without overt errors and represents an example of covert language restructuring. Apart from that, the thesis touches upon the question of the development of standard Russian and provides evidence for the increase of analytic features in the Russian language.

Giovanni Legrenzi was a prolific composer of vocal music and maestro di cappella at the Basilica di San Marco but his vocal works are not often studied as a part of the Venetian lineage with composers such as Willaert, de Rore, Zarlino, Monteverdi, Cavalli, and Vivaldi. Despite his being a prolific composer who had significant influence on the work of other musicians in the traditional canon, references to Legrenzi in standard music publications (Grout, Taruskin, Grove Music Online, etc.) are at best sparse, and largely biographical. This dissertation is one step to correct that pattern by creating a performance edition of Sacri e festivi concenti, Opera nona, one of Legrenzi's significant works near the beginning of his Venetian period. This collection of sacred music was published on 12 June 1667 in Venice though Legrenzi's exact whereabouts at the time remain uncertain. This phase of his career can be defined by his having sought more prestigious and lucrative employment. Having lived and worked in rural Lombardy and Ferrara, he made unsuccessful overtures in places such as Milan, Bologna, Vienna, and Paris. A full score has been produced by transcribing from the part books of the Bologna Museo copy, which will allow consumers to have insight into Legrenzi's music. A performance edition of these Vespers settings is important because it would increase access to, and understanding of, Giovanni Legrenzi's music. This era of Italian music between Monteverdi and Vivaldi is often underperformed by practitioners. One goal of this project is to broaden the work's circulation through a music publisher that would be willing to include portions of the chapters outlined in this proposal. Doing so would offer the work as a good specimen of the period to a wider audience of performers and scholars alike.

The early trumpet arias by Giovanni Legrenzi and Carlo Pallavicino are important works in the trumpet repertoire that have remained relatively unpublished and unstudied. This dissertation will look at the history of the trumpet in opera, discuss the development of the trumpet aria, and provide examples of how to approach the performance of the trumpet aria. Through study and performance of the early trumpet arias by Legrenzi and Pallavicino, trumpet soloists will be able to learn the necessary techniques to collaborate with singers and perform all trumpet arias.

Dans le but de contribuer aux connaissances sur les formes de représentation des "nouvelles élites" à l’époque précédant le règne personnel de Louis XIV, notre thèse porte sur le décor du château de Vaux-le-Vicomte, celui-ci n’ayant dans son ensemble pas encore fait l’objet d’une étude approfondie. Les vastes décors, réalisés sous la responsabilité de Charles Le Brun pour Nicolas Fouquet entre 1657 et 1661, comptent parmi les plus célèbres de l’histoire de l’art français. Cependant, leur réception a été largement influencée par un regard mythique porté au Grand Siècle et de nombreuses légendes autour de la chute de Fouquet, ce qui nécessitait une approche différenciée. La précision des fonctions d’une "maison de plaisance" et de sa perception contemporaine est suivie d’une analyse iconographique et formelle des plafonds peints, du mobilier et des sculptures ornant les façades et le jardin. S’y ajoute une étude des stratégies de transmission littéraire développées parallèlement à la genèse du château. Le concept de représentation fonctionnait sur plusieurs niveaux, poursuivant des effets visuels éblouissants ainsi que la mise en place d’une iconographie complexe. Dans un contexte de distinction et de légitimation des "nouvelles élites", une approche comparative a révélé des stratégies très variées dans ce groupe social. Dans le cas de Fouquet, l’effort pour favoriser son ascension à travers des moyens artistiques présente un leitmotiv du décor. Le manque étonnant de gestes de modestie par rapport au roi mettait à l’épreuve le décorum d’un homme d’état et démontrait l’orientation de Fouquet à l’époque des premiers ministres puissants. / With the objective to contribute to the knowledge of forms of representation pursued by rising elites in seventeenth century France, preceding the personal reign of Louis XIV, the present dissertation focuses on the decoration of the château Vaux-le-Vicomte, which has so far been inadequately examined in its entire meaning. The decoration was realized under the responsibility of Charles Le Brun from 1657 to 1661 for the surintendant des finances Nicolas Fouquet. Its history of reception has been highly marked by a mythically transfigured perception and influenced by numerous legends about the rise and fall of Fouquet, which required an abstracting approach. A closer reflection on the functions of a ›maison de plaisance‹ and its contemporary perception was followed by an iconographic and formal analysis especially of the ceiling paintings, the interior furnishings and the sculptures in the gardens. Furthermore, we explored the literary transmitting strategies developed to promote Vaux-le-Vicomte and the respective objectives of its decoration. The concept of representation appeared to be very complex, also reflecting Le Brun’s artistic ambitions as well as several contemporary theoretical debates in an academical context. Concerning the legitimizing and approval strategies of the rising elites, a comparative perspective showed their very divergent access to art as a medium of distinction. The efforts of Fouquet to promote his further ascension were decisive for the decoration of Vaux-le-Vicomte, thereby entirely lacking signs of modesty regarding the king and therefore straining the decorum appropriate for a minister.

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Im Jahr 1690 und in der ersten Hälfte des Jahres 1691 bis zu Speners Wechsel von Dresden nach Berlin setzen sich die Problemstellungen fort, die im Jahr vorher begonnen hatten: Der Konflikt mit dem sächsischen Kurfürsten Johann Georg III. lässt sich nicht lösen, so dass Spener, der bis dahin auf Grund seiner Überzeugung von Gott nach Dresden berufen worden zu sein, erst die sächsische Residenz verlässt, als er sich eines neuen Rufes als Propst nach Berlin gewiss ist. Die durch die erweckliche Bewegung unter Leipziger Studenten begonnenen Streitigkeiten mit den dortigen Geistlichen eskalieren weiter und finden ihre Fortsetzung an anderen Orten wie etwa in Erfurt. Parallel zu den Ereignissen in Sachsen spiegeln die Briefe Speners Auseinandersetzungen in Gießen, Hinterpommern und Hamburg, die am Anfang der dort entstehenden als „Pietismus“ bezeichnete Frömmigkeit stehen. Thematische Fragen sind dabei u.a. die Möglichkeit und Grenzen privater Konventikel, die Lehre der Perfektibilität oder des Perfektionismus im christlichen Leben, der Chiliasmus und die Möglichkeit extraordinärer Offenbarungen, die in den Briefen dieses Bandes behandelt werden.:siehe Sekundärdatei 'Inhaltsverzeichnis (PDF) SpBr-D-4 / In 1690 and in the first half of 1691 until Spener's move from Dresden to Berlin, the problems that had started the year before continued: The conflict with the Saxon Elector Johann Georg III. cannot be resolved, so that Spener, who until then was convicted to be called to Dresden by God, only left the Saxon residence when he was certain of a new call as provost in Berlin. The disputes with the clergy of Leipzig, which began as a result of the awakening movement among students escalated further and continued in other places such as Erfurt. Parallel to the events in Saxony, Spener's letters reflect the conflicts in Giessen, Hinterpommern and Hamburg, which stand at the beginning of the piety that arose there, known as “Pietism”. Thematic questions include the possibility and limits of private conventicles, the doctrine of perfectibility or perfectionism in the Christian life, chiliasm and the possibility of extraordinary revelations, which are dealt with in the letters of this volume.:siehe Sekundärdatei 'Inhaltsverzeichnis (PDF) SpBr-D-4

Dans un climat de réforme globale, touchant l’ensemble de la société hollandaise, émerge un certain nombre de compositions picturales nouvelles, peintes, au cours la première moitié du XVIIe siècle, par de jeunes artistes amstellodamois avides de reconnaissance. Prenant généralement pour sujet le repos de soldats, retranchés dans de sombres intérieurs, ces scènes se diffusent rapidement dans les Pays-Bas de l’époque. Les différents experts et théoriciens de l’époque les identifient alors comme des scènes de cortegaerd, terme issu du français « corps de garde ». Renvoyant dans un premier temps à la brûlante actualité de la guerre de Quatre-Vingts Ans (1568-1648), de telles œuvres s’en éloignent néanmoins rapidement au gré d’une transformation, aussi subtile que radicale, opérée par ces peintres sur l’iconographie du mercenaire pillard : celui-ci quitte, en effet, peu à peu, dans ces scènes, les tristes oripeaux du maraudeur pour revêtir les luxueux atours de l’officier éclairé et raffiné. En miroir de cette progressive assimilation de la figure de l’officier à celle de l’amateur, doit également être perçue celle du peintre à l’officier, régnant en maître sur son atelier. Initiée dans les années 1630, cette double mutation croisée des images du soldat et de l’artiste témoigne de la mise en place d’un intense mouvement de légitimation. Si une guerre de l’art a bien eu lieu en Hollande au cours de la première moitié du siècle, il s’agit avant tout d’une guerre de conquête de marchés et de statuts, menée par d’ambitieux artistes s’identifiant eux-mêmes comme les membres d’un corps moderne et indépendant de la peinture, portant haut les couleurs d’un discours théorique nouveau. / Amid a climate of overall reformation, which encompassed the whole of Dutch society, a group of ambitious young artists from Amsterdam developed a new kind of compositions during the first half of the XVIIth century. These painters were mostly known in the Netherlands for their depictions of relaxing soldiers in dark interiors. Those works were quickly given the label cortegaerd by art experts and theorists from the time, a term that derives from the French military term corps de garde, or guardroom. While initially referring to the brutal actualities of the Eighty Years War (1568-1648) in their art, these artists seem to have quickly moved away from the image of the pillaging mercenary towards a radically different iconography. Indeed, the Dutch soldier rapidly started to leave behind its sad rags for the luxurious attire of the enlightened officer and amateur. Mirroring this painted transformation of the officer into the art lover, painters similarly created visual parity between themselves, as masters reigning over their workshop. Beginning in the 1630s, this twofold transformation testifies to the existence of an intensity of ambition. If a war of art really did take place in Holland during the first half of the XVIIth century, it was therefore a war of conquest of new markets and social statuses by young artists who saw themselves as members of a modern painting corps. This desire for artistic legitimacy was launched by an emerging class of painters who were not only eager to establish their independence from a dominant form of painting, but also become the standard-bearers for a new theoretical discourse.

Notre étude du récit des quatre premiers voyages que fit Pierre-Esprit Radisson parmi les Amérindiens, au milieu du XVIIe siècle, présente une nouvelle hypothèse sur cette première tranche de la vie du célèbre coureur de bois. L'approche systémique que nous avons adoptée a permis l'analyse rigoureuse des aspects les plus volatifs de l'expérience humaine: perceptions, sentiments, attitudes, qui ont influencé l'évolution de la carrière de Radisson et de son beau-frère Des Groseilliers. Ce témoignage constitue une source originale d'une grande richesse, tant par les événements exclusifs que Radisson y raconte, que les informations nombreuses et précises qu'il nous livre sur les moeurs iroquoises, les stratégies politiques des jésuites ou les émotions personnelles de l'auteur. Un témoignage à redécouvrir. / Québec Université Laval, Bibliothèque 2013