Louis Tronson (1622-1700), élu en 1676 troisième supérieur de la Compagnie des prêtres de Saint-Sulpice, est connu principalement, dans l’histoire de la spiritualité, comme éditeur du Traité des saints ordres attribué à Jean-Jacques Olier (1676), auteur des Examens particuliers (1690), et hôte des entretiens d’Issy sur le quiétisme (1694-1695). L’objet de ce travail est de mieux mettre en perspective la place de cet homme dans l’histoire de la théologie catholique. Tronson joue en effet un rôle déterminant dans l’explicitation théologique de la vocation sacerdotale. Réfléchissant, à la lumière de son expérience de formateur de futurs prêtres, sur les « marques de vocation », il élabore de véritables grilles de discernement, au demeurant assez souples. Parmi ces critères, une place particulière revient à l’« inclination » ou « attrait ». Résonance subjective et intime de l’appel divin, l’attrait n’est cependant pas subjectiviste : il suppose au contraire un objet qui attire, c’est-à-dire le sacerdoce, envisagé comme « état » et « fonctions », deux mots très utilisés par Tronson qui, bien loin de s’opposer, se complètent. Ainsi cet auteur peut-il proposer une vision du sacerdoce qui soit à la fois sacramentelle et sociale, spécifiquement christologique et enracinée dans la société de son temps. / In the history of Catholic spirituality, Louis Tronson (1622-1700), who was elected third Superior of the Society of the Priests of Saint-Sulpice in 1676, is known mainly as editor of the Treatise on Holy Orders attributed to Jean-Jacques Olier (1676), as author of the Particular Examens (1690) and as host of the Conferences at Issy about quietism (1694-1695). The purpose of this work is to propose a better insight into the role of Louis Tronson in the history of Catholic theology. Indeed, this role was decisive in defining the theology of priestly vocation. By considering the "marks of vocation" in the light of his own experience in training future priests, Tronson drew up reliable yet flexible charts for discernment. Among these criteria "inclination" or "attraction" is of special importance. Although a subjective and intimate echo of divine calling, attraction is not a subjectivistic notion : on the contrary it supposes that there is an object which attracts, in this case the priesthood itself. Tronson frequently uses the words "estate" and "functions" to characterize it : far from being opposed, both terms complete each other and allow Tronson to offer a view of the Catholic priesthood which is both sacramental and social, specifically christological and rooted in the society of his time.

Encore souvent perçu comme une véritable révolution esthétique, l’impressionnisme fait depuis quelques années l’objet d’une importante recontextualisation visant à remettre en question cette vision. Sans dénier au mouvement ses apports novateurs, cette thèse étudie la relation de ses membres avec la tradition picturale. S’appuyant sur un important corpus de textes critiques, de revues spécialisées et de catalogues d’exposition de l’époque, ainsi que sur de très nombreuses comparaisons iconographiques étayées, elle dégage quatre grandes sources d’inspiration : le XVIe siècle vénitien, le XVIIe siècle espagnol, le XVIIe siècle néerlandais, et le XVIIIe siècle français. C’est à l’aune de ce rapport à la peinture ancienne, et par le biais d’une typologie des différents positionnements à son égard, que la « crise » connue par l’impressionnisme au début des années 1880 est réexaminée, et que, plus généralement, une nouvelle approche du mouvement est proposée. / Impressionism is often perceived as a genuine aesthetic revolution. However, over the course of past years, it has been reconsidered and this vision called into question. Without rejecting the groundbreaking characteristics of Impressionism, this thesis studies the relationship between the Impressionists and pictorial tradition. Referring to a large corpus of reviews, specialized articles, exhibition catalogs of the period, and supported by many iconographic analogies, it lists four major inspirations: the Venetian 16th century, the Spanish 17th century, the Dutch 17th century, and the French 18th century. In the light of this connection between Impressionism and Ancient painting, and with the help of a typology summing up the different positions regarding this connection, this thesis reexamines the crisis that Impressionism underwent during the early 1880’s and suggests a new approach to the movement.

The aim of this thesis is to examine the meanings and functions of paradox in the late Renaissance. My understanding of Renaissance paradox, in contrast to that of most critics and historians, rests entirely on contemporary definitions of the term, rather than on its present-day meaning. Paradoxes as they are envisaged in this study begin to appear in the wake of the humanist rediscovery and dissemination of Cicero's <i>Paradoxa Stoicorum</i>. In this work, paradoxes are characterized as 'admirabilia contraque opinionem omnium', a definition that draws attention to two important traits of paradox, repeatedly invoked in the Renaissance: its association with wonder, and its opposition to common opinion. This thesis examines the history of classical paradox as it was revived, expanded beyond the narrow confines of Stoic ethics, and adapted to new purposes so successfully that it became a recognisable genre of polemical writing, with hundreds of works in Latin and the vernacular being described as paradoxes. Previous studies of Renaissance paradox have centred almost exclusively on its literary and vernacular manifestations, and on the paradoxical encomium in particular. My own work charts the rise to prominence and the ensuing transformations of paradox in a range of disciplines: rhetoric and ethics, theology, law, medicine, and natural philosophy. I compare the different associations that paradoxes acquire in all these areas, and the argumentative strategies that they deploy. My analysis of specific examples of paradox is informed by the methods of both literary analysis and intellectual history. Paradoxes, I argue, offered their authors the possibility of departing from established norms and of voicing novel views in a period of intellectual unrest. In their challenge to received and common opinion, they paved the way for more radical ideas in the following century, and they have much to tell us about dissident ways of thinking in the late Renaissance.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

In December 1640 the Long Parliament brought accusations against Lord Keeper Finch and six judges of the three main Westminster courts. These asserted the illegality of decisions and opinions given by these judges. This thesis examines those accusations and argues that the government of Charles I engaged in a defensible process of political management of the law and the judges to legitimate its policies particularly after the suspension of parliament in 1629. This policy emerged as a response to the government's difficulties in enforcing the payment of the Forced Loan caused by its dubious legality. The policy took advantage of important features of the contemporary relationship between the law and the government and it had five features. The most senior and able lawyers were recruited as government law officers and counsel. They amassed and used a substantial and well researched body of legal authority to support royal rights. The chief justices were appointed from amongst the government lawyers and were used as political managers of their courts. New incentives were offered as rewards for the most senior judges. Judicial views on aspects of government policy were sought in advance and the Privy Council was used to by-pass the judges if necessary. These features are examined in relation to government revenue policies including distraint of knighthood fines and the forest laws, and religious policies in relation to the application of the writ of prohibition to the economic condition of the Church and High Commission. The application of this analysis to the Ship Money Case is considered. It is concluded that the judges were manipulated rather than coerced and often successfully avoided the pressure by technical stratagems. Most importantly the government showed that it generally had the law on its side. That had serious political implications but went a long way towards exonerating the judges.

Diploma thesis Philosophy in the work of John Amos Comenius is focused on demarcation main points in the work of John Amos Comenius, great thinker, philosopher, pedagogic and theologic authority. I deal with philosophy and with influences of most important people, atmosphere of 17th century, significant finding and inventions and his live on his work. Comenius was great thinker of education and pedagogue in praxis and metodology. This is another part of my work, I focused on education in praxis and of course his work in books. I mention ODO - Opera didactica omnia, huge work of pedagogic metodology and Obecná porada o nápravě věcí lidských - his masterpiece. This work have to unify his work in one big complex. Than I am trying to compare it with our today reality and find similar problems in our school and education proces.

Research on English Catholic Music after the Reformation has focused almost entirely on a small number of Catholic composers and households in England. The music of the English Catholic colleges, convents, monasteries and seminaries that were established in Continental Europe, however, has been almost entirely overlooked. The chief aim of this thesis is to reconstruct the musical practices of these institutions from the Reformation until 1700, in order to arrive at a clearer understanding of the nature of music in the post-Reformation English Catholic community. To this end, four institutions have been selected to serve as case studies: 1. The Secular English College, Douai. 2. St Alban’s College, Valladolid. 3. The Benedictine Monastery of Our Lady of the Assumption, Brussels. 4. The Augustinian Monastery of Our Lady of Nazareth, Bruges. The music of these institutions is evaluated in two ways: firstly, as a means of constructing, reflecting and forming English Catholic identity, and secondly, in terms of the range of influences (both English and Continental) that shaped its stylistic development. The thesis concludes that as a result of the peculiarly domestic nature of religious practice among Catholics in England, and interactions with Continental Catholicism, the aesthetic and ideological bases for English Catholic music were markedly different from those of its Protestant counterpart. The marked influence of Italianate styles on the sacred music of English Catholic composers and institutions in exile demonstrates a simultaneous process of cultural alignment with the aesthetic and theological principles of the Counter-Reformation, and dissociation from those of English Protestantism. Finally, it is clear that music was an important formational tool in both the seminaries and convents, where it shaped both community and self-identity, and created affinities with the locales in which these institutions were situated – although it is also clear that these uses of music had the potential to conflict.

Au XVIIe siècle, Dijon, capitale de la province, est le lieu où résident les membres des organes politiques, administratifs et financiers. La ville connaît alors un remarquable essor de la construction privée. Les bâtisseurs sont principalement les officiers des cours souveraines, parlementaires ou conseillers à la chambre des comptes, qui satisfont leur besoin de représentation sociale en commandant des demeures dignes de leur rang : l’hôtel est bien l’illustration de ceux qui détiennent le pouvoir, le lieu à la fois d’une démonstration sociale, architecturale et artistique.Cette étude, première synthèse sur les hôtels particuliers dijonnais de 1610 à 1715, est abordée selon trois axes de réflexion : les commanditaires, les architectes et leurs réalisations. L’analyse architecturale des hôtels, qui laisse une large part à la distribution, permet une étude comparative avec Paris et les autres grandes villes parlementaires du royaume. / In the seventeenth century, Dijon, capital of the province, was the place where proposed members of the political, administrative and financial bodies chose to live. The city therefore experienced a remarkable boom in the construction of private residences. The builders were mainly officers of the sovereign courts, members of parliament or advisors to the Board of Auditors who wanted to satisfy their need for social representation by ordering houses worthy of their rank : the private mansion was the illustration of people of power, place both a demonstration of social standing, architectural and artistic.This study, the first synthesis of the private mansions of Dijon from 1610 to 1715, is approached according to three lines of thought: the commissioners, the architects and their constructions. The architectural analysis of mansions which leaves a large part to the distribution, allows the comparison with Paris and other major cities of the parliamentary kingdom.

L’objet de cette thèse est de montrer, dans un corpus français compris entre 1601 et 1675, que l’extase est employée comme la condition du sens de ces discours. La première partie, qui porte sur la fin de l’extase mystique, vise à répondre aux besoins préliminaires d’une définition de l’extase au XVIIe siècle, afin de disposer des outils lexicaux, notionnels et historiques pour mener à bien la recherche poétique. Sont précisés le lexique de l’extase, les conséquences induites par la transformation d’un principe métaphysique en un phénomène humain, et la situation de l’extase face au discernement spirituel qui a abouti à sa faillite. La deuxième partie, qui est consacrée aux récits d’extases, permet de mesurer les conséquences poétiques des premières conclusions, en distinguant la poétique narrative de deux objets qui se trouvent à l’un et l’autre bout des mutations de l’extase au cours du siècle, à savoir l’extase visionnaire dans la Vie de Thérèse d’Avila et l’extase devenue invisible dans les relations spirituelles de Claudine Moine. Ces deux extases sont traitées comme des objets sémiotiques, dont les procédures narratives posent à la narration un problème d’ordre temporel qui a pour effet de faire échec au récit de sainteté que Thérèse d’Avila entend mener, et de rendre impossible dans les écrits de Claudine Moine la conjonction du sujet de l’histoire racontée avec le sujet de la narration. Enfin, la troisième partie traite de l’énonciation de l’extase dans un corpus principalement poétique. Elle isole les figures historiques employées pour représenter une telle énonciation, précise la façon dont l’affectivité extatique s’articule à la parole, et éclaire l’incidence de l’économie affective de sujet extasié sur les modes de figuration objective de l’extase. / This dissertation aims to show, through an analysis of a French corpus dating from 1601 to 1675, that ecstasy is used as the condition of the meaning of these speeches. The first part, which focuses on the end of mystical ecstasy, seeks to meet the primary needs of a definition of ecstasy in the 17th century, in order to gather the lexical, notional and historical tools for poetical research. It clarifies the lexicon of ecstasy, shows the results of the transformation of a metaphysical principle into a human phenomenon, and explains the situation of mystical ecstasy facing the discernment of spirits that led to its fall. The second part, which focuses on the narratives of ecstasy, allows to evaluate the poetical consequences of the previous conclusions. It distinguishes indeed between the narrative poetics of two objects located on both ends of the mutations of ecstasy during the century: the visionary ecstasy in the Life of Teresa of Avila, and the invisible ecstasy in the spiritual relations of Claudine Moine. These two kinds of ecstasies are considered as semiotic objects, whose procedures result in a temporal problem: ecstasy stymies the narrative of holiness that Teresa of Avila intends to tell, and hinders the identification between the subject of the story and the subject of the narration in Claudine Moine’s writings. Finally, the third part deals with the enunciation of ecstasy in a corpus that is mainly poetical. It isolates the historical figures that are used to represent this enunciation, specifies how the ecstatic emotions are linked to verbal expression, and determines the impact of the ecstatic subject’s emotional economy on the objective modes of figuration of ecstasy.

This thesis studies the life and work of Lars Skytte (1610-1696), a Swedish Ambassador to Portugal who converted to Catholicism and became a Franciscan theologian, in relation to the concept of Truth. For Skytte, Truth and Catholicism are synonymous. The thesis focuses on his semi-autobiographical book Peregrinatio sancta fratris Laurentii a D. P. Sueci (1658). As a sort of intellectual biography, this study aims at situating Skytte within the context of post- reformation rhetoric and theological thought. The main question guiding the thesis is in what way Lars Skytte argues for the Truth of the Catholic Church, as opposed to what he terms ‘schismatic’ and ‘heretical’ movements. Following a set of identified arguments for the Catholic Church as the religio vera, the thesis looks at how they are employed in various ways to answer the overarching question.