Cette thèse porte sur l’éloquence sacrée telle que le prédicateur franciscain Francesco Panigarola, l’une des figures majeures de l’art oratoire post-tridentin, la conçut en tant que rhéteur et la pratiqua du haut de la chaire. De son œuvre nous avons retenu les textes en italien : d’une part les écrits polémiques, les traités rhétoriques et pédagogiques, où s’exprime la réflexion de Panigarola sur le statut et les finalités de l’éloquence sacrée, d’autre part ceux qui attestent des procédés oratoires mis en œuvre dans l’exercice de la prédication. L’étude associe à la fois une approche chronologique, centrée sur le profil biographique, et une approche systématique concernant quelques grandes questions rhétoriques et stylistiques. L’objectif est de restituer l’orateur franciscain à la culture de son temps et de mettre en lumière certaines constantes de son style oratoire asian, notamment le statut privilégié accordé aux ressources de l’imagination visuelle. La première partie suit les étapes de la formation humaniste et religieuse de Panigarola ; la présentation de quelques documents inédits permet de jeter une lumière nouvelle sur ses activités de controversiste et de diplomate. La seconde partie analyse la théorie du discours oratoire sacré qu’il développe dans ses traités rhétoriques à l’usage des prédicateurs : Il Predicatore, les Regole per far la memoria locale et le Modo di comporre una predica. L’étude vise à mettre en évidence l’originalité des initiatives stylistiques et des procédés rythmiques, lexicaux et morphosyntaxiques de Panigarola, qui marquèrent l’entrée de la prédication dans le domaine de la littérature italienne. La dernière partie est consacrée à la définition de la doctrine panigarolienne de l’image ainsi qu’à la description des stratégies visuelles et auditives déployées dans ses sermons. Comment le franciscain réussissait-il à « faire voir », par les mots et à travers eux, les concepts qu’il voulait transmettre ? Quelles étaient les ressources du style qu’il déployait pour rendre son discours « visualisable » ? Ces questions ont été examinées du point de vue de l’enargeia « visuelle » et « sonore », et des procédés techniques dont elles sont le fruit. / Our theme in this thesis is sacred eloquence, such as that of the Franciscan preacher Francesco Panigarola, a major figure of post tridentine oratory art, envisaged it as a rhetor and practised it from his pulpit. We have selected texts in Italian from his works: on the one hand, controversial writings, rhetorical and pedagogical treatises, where Panigarola reflects upon the status and finalities of sacred eloquence, and on the other hand, those which bear witness of the oratorical procedures utilized for sermons. Our study links, at one and the same time, a chronological approach, focussing on the biographical profile and a systematic approach to a few major rhetorical and stylistic questions. Our objective is to replace the Franciscan orator within the culture of his times and throw light on certain recurrent themes in his asianic style, particularly the pre-eminent status granted to the resources of visual imagination. Our first part takes us through the stages of Panigarola’s humanistic and religious formation; the presentation of a few previously unpublished documents sheds new light on his activities as a controversialist and diplomat. The second part analyses the theory of sacred oratory art, which he developed in his rhetorical treatises for the use of preachers: Il Predicatore, the Regole per far la memoria locale and the Modo di comporre una predica. The aim of our study is to show the originality of his stylistic initiatives and the rhythmic lexical and morpho-syntaxic methods of Panigarola, which marked the arrival of preaching in the world of Italian literature. The last section is devoted to the definition of Panigarola’s doctrine of the image, together with the description of the visual and auditory strategies employed in his sermons. How did the Franciscan succeed in “bringing to sight”, by his words, and through them, the concepts he wished to transmit? What were the stylistic resources he used to make his speech “seeable”? These questions have been examined from the point of view of “visual” and “resounding” enargeia, and the technical procedures which gave it birth.

Le recensement des tableaux du XVIIe siècle conservés dans les églises sarthoises a permis de constater une forte activité des peintres manceaux à cette époque, jusque là encore très mal connue. Pourtant, elle a contribué à l’élaboration d’une manière propre aux milieux artistiques manceaux d’alors qui ont su prolonger loin dans le siècle la séduction du maniérisme, sans pour autant raidir celui-ci. La prédominance, puis la persistance du maniérisme s’expliquent par l’immense diffusion de la gravure anversoise à la charnière des XVIe et XVIIe siècles. Plus tard, l’autorité des maîtres parisiens, italiens et flamands reposa sur la reproduction de leurs oeuvres par l’intermédiaire des estampes. Éloignée des grands foyers artistiques, la peinture mancelle était en général conservatrice et répétitive, cherchant tout d’abord à vivement frapper le fidèle. Les tableaux religieux de l’époque post tridentine étaient surtout des oeuvres fonctionnelles, limitées à l’interprétation stricte des scènes, et pour lesquels pouvaient suffire des talents médiocres, et où le recours à la copie était très courant. Cette thèse permet de constater que le milieu des peintres manceaux, tout en gardant ses particularités provinciales, fût dynamique, ouvert aux apports nouveaux et riche en personnalités intéressantes. Leurs oeuvres ont constitué une sorte de tournant dans la production régionale dont l’évolution a suivi les mêmes directions que les grands courants parisiens, quoique avec un écart inévitable. Sont d’abord étudiés la Commande, les Peintres, la Création, les OEuvres et l’Évolution de la peinture mancelle (I). Vient ensuite le Dictionnaire des peintres manceaux (II), et enfin le Catalogue des oeuvres (III). / The inventory of 17th-century paintings in churches in the département of Sarthe reveals that painters in Le Mans, hitherto little known, were prolific at that time. This hive of activity gave rise to an artistic scene in the province of Maine, in and around the city of Le Mans, which prolonged the style of mannerism well into the century, until it was replaced by the authority of Parisian, Italian and Flemish masters. A far cry from main artistic centres, Maine painting was generally conservative and repetitive. Above all, it sought to strike religious believers. Religious works by Maine painters during the post-Tridentine era were functional works, content to merely portray a scene. They required little or no talent and copying was very widespread. This thesis shows that the painting scene in and around Le Mans, although doggedly provincial, was dynamic, open to new contributions and full of interesting characters. Their work marked a turning point in regional production and its evolution followed the same trends as the major Parisian currents, albeit with an evitable delay. We shall examine commissioning, the artists, creation, works and the evolution of painting in Le Mans (I). This will be followed by the dictionary of Maine painters (II) and the catalogue of works (III).

À l’aube de la Contre-Réforme, on exigea des prélats de vivre plus sobrement et de tempérer leur passion pour l’art et l’architecture. Malgré cela, de nombreux palais furent construits, rénovés et décorés avec faste. Le rôle des palais et de leurs décors dans la mise en scène du pouvoir a été bien démontré, mais peu d’attention a été portée à la fonction dévotionnelle de ces demeures, pourtant destinées aux plus hauts membres du clergé. Cette thèse de doctorat propose la première synthèse des pratiques de dévotion privée des cardinaux à Rome entre 1550 et 1610 à partir de l’étude du mécénat de leurs palais. L’analyse des chapelles domestiques et des studioli des palais Salviati alla Lungara, Altemps, Farnese à Caprarola, del Drago à Bolsena et de la villa d’Este à Tivoli montre l’importante préoccupation des cardinaux pour leur Salut et le rôle de l’art pour susciter, au sein de la demeure, une méditation sotériologique. Ces observations permettent de suggérer que ces exercices se déroulaient non seulement dans les chapelles, mais aussi dans des pièces traditionnellement identifiées comme des studioli. Nous proposons plutôt de les désigner comme des ermitages ou romitori et de les considérer comme des lieux tout aussi importants que les chapelles dans l’élaboration de la piété domestique des cardinaux post-tridentins. À travers les thèmes de la Passion du Christ, de la vie de la Vierge ou des vertus cardinales et théologales, les fresques qui ornent ces espaces furent utilisées comme des outils de contemplation spirituelle du mystère de la Rédemption. L’inclusion de copies d’images miraculeuses ou d’« objets de substitution », au sens qu’ont donné à cette expression Alexander Nagel et Christopher Wood (2010), garantissait en outre aux cardinaux la vie éternelle en échange des prières effectuées dans les pièces où les icônes étaient exposées. Cette admission au paradis était également mise en scène par le déplacement physique ou métaphorique du cardinal dans les logge peintes de verdure ou les jardins des palais. Plus qu’une simple analyse des œuvres et des pièces singulières, cette thèse établit des relations entre les différents espaces des palais, de manière à montrer que le comportement dévotionnel privé des cardinaux dans la Rome de la Contre-Réforme était envisagé comme un parcours spirituel, dans lequel l’art occupait un rôle fondamental. / At the dawn of Counter-Reformation, prelates of the Roman Church were required to live more simply and to moderate their enthusiasm for art and architecture. Nonetheless, many palaces were built, renovated and decorated with pomp by these same prelates. The role of art and architecture in staging the power has been well demonstrated, but less has been said about the devotional function of houses owned by important clergymen. This thesis proposes the first synthetic study of cardinals’ private devotional practices in Rome between 1550 and 1610 by looking at the patronage of their palaces. The analysis of the domestic chapels and studioli of the Salviati alla Lungara and Altemps palaces in Rome, the Farnese palace in Caprarola, the Del Drago palace in Bolsena, and the Villa d’Este in Tivoli demonstrates the important concern of the cardinals for their salvation and the role of art to arouse soteriological meditation within their domestic spaces. This careful examination allows us to propose that these devotional practices were carried out not only in the chapels, but also in rooms traditionally identified as studioli. Rather, we propose to designate them as hermitages or romitori, and to attach to them the same importance as the chapels in the daily piety of the post-Tridentine cardinals. The frescoes decorating these devotional spaces depicted the themes of the Passion of Christ, the life of the Virgin and other biblical figures, and of the cardinal and theological virtues, serving as tools for spiritual contemplation of the mystery of Redemption. The inclusion of copies of miraculous images or “substitute objects”, as proposed by Alexander Nagel and Christopher Wood (2010), further guaranteed the cardinals eternal life thanks to the prayers carried out in the spaces where the icons were exhibited. This admission to paradise was also occasionally staged by the physical or metaphorical movement of the cardinal towards the logge painted with greenery or the palace’s gardens. Thus, more than a simple analysis of singular works or rooms, this thesis establishes a relationship between the spaces of the palaces to show that the cardinal domestic devotional behavior was then viewed and organized as a spiritual journey, in which art played a fundamental role.

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This thesis examines the missionary work of the Italian Capuchin Lorenzo da Brindisi. Renowned in his own day as a preacher, Bible scholar, missionary, chaplain, and diplomat, as well as vicar general of his Order, Lorenzo led the first organised, papally-commissioned Capuchin mission among the non-Catholics of Bohemia in the Holy Roman Empire from 1599 to 1602, and returned there, again under papal mandate, from 1606 to 1613. This thesis examines Lorenzo’s evangelistic and polemical activities in Central Europe in order to shed light on some of the ways the Capuchins laboured in religiously divided territories to confirm Catholics in their faith and to win over heretics. The introduction explains, principally, the thesis’s purpose and the historiographical background. Chapter one provides a brief biographical sketch of Lorenzo’s life followed by details of his afterlife. Chapter two examines his leading role in establishing the Capuchins’ new Commissariate of Bohemia-Austria-Styria in 1600, and specifically its first three friaries in Prague, Vienna, and Graz. Chapter three treats his preaching against heresy. Chapter four focuses on how Lorenzo, while in Prague, involved himself directly in theological disputations with two different Lutheran preachers. The first dispute, with Polykarp Leyser, took place in July 1607, and dealt with good works and justification. The second, with a Lutheran whose name is not known for certain, and which occurred in August 1610, concerned Catholic veneration of the Virgin Mary. Chapter five analyses the Lutheranismi hypotyposis, Lorenzo’s literary refutation of Lutheranism following additional contact with Polykarp Leyser in 1607. The conclusion considers briefly the effectiveness of Lorenzo’s apostolate and closes with a review of the thesis as a whole.

This master thesis deals with the spiritual progress pointing to a national self-awareness in the Enlightenment era from the beginning until 1848. The Enlightenment is an European phenomenon, which is characterized by a change of thinking, and self-awareness. This idea of tolerance and human emancipation contributed to the reforms of fundamental social, political and ecclesiastical changes. These changes result not only from a philosophical influences, but also from royal reforms during the reign of Maria Theresa and Joseph II in particular. The Teresian enlightened Catholicism and Josephinian reformism fully started the journey from the Enlightenment to liberalism. Powered by TCPDF (www.tcpdf.org)

The work deals with the dissemination, duration, transformations and reception of the cult of an important Jesuit Saint, St. Francis Xavier, in the early modern Czech lands. Its goal is to contribute to the better understanding of the reality of the re-catholicization after the Battle of White Montain and the forms of Czech spirituality of the 17th and 18th century. This particular cult was selected because of the fact that St. Francis Xavier was closely related to the main (or most prominent) participant of the re-catholicization, i. e. the Jesuit order, where he in the informal hierarchy of Saints occupied the second place immediately after the founder of the Society St. Ignacius of Loyola. Moreover, St. Francis Xavier belonged among the five new Catholic Saints canonized in 1622 (St. Ignacius of Loyola, St. Francis Xavier, St. Teresa of Avila, St. Philipp Neri, and St. Isidore of Madrid), who represented an important constituent of the revived post-Tridentine Catholic spirituality. However, although the existing secondary literature presupposes that the reverence to St. Francis Xavier was widespread in the Czech Baroque, no systematic study of this theme was realized untill now. First chapter deals with the specification of the theme of the work, maps existing knowledge and sources available and...

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Ce mémoire est a comme sujet les arguments produits dans les litiges qui impliquent les conceptions sur la santé mentale, présente dans les justifications et les actions des acteurs sociaux impliqués dans les discussions relatives à la maladie mentale au Rio Grande de Sul, dans un contexte de Contre-Réforme Psychiatrique. Cette étude vise à déterminer si c'est à partir de certaines relations sociales parmi les acteurs sociaux que les justifications et les actions sont produites. L'objet de cette étude est composé par les relations sociales et les arguments produits par les membres du Forum Gaucho de Santé Mentale à Porto Alegre. On utilise l’analyse relationnelle ainsi que la référence théorique de Michel Foucault et la sociologie pragmatique de Luc Boltanski. Il a été constaté qu’à partir d’une mise en cause sur la manière dont la configuration du Forum Gaucho de la Santé Mentale se concentre sur les principes de la justification employée par les acteurs sociaux appartenant au groupe, qu'il y a des idées différentes sur la santé mentale au sein du Forum et qu’il existe une prévalence de certains principes de la justification dans le discours une fois qu’il y a une prévalence de certains acteurs sociaux qui dépeint le discours. Pour bien mener cette investigation, dix représentants du Forum Gaucho de la santé mentale à Porto Alegre ont été interviewés et on a utilisé comme procédure méthodologique l'observation, ainsi que l'interview avec l'utilisation d'un script écrit. Après l'achèvement des entretiens, on a fait l'analyse de contenu. / Esta dissertação tem como tema os argumentos produzidos nas disputas envolvendo as concepções sobre saúde mental, presentes nas justificações e ações dos atores sociais envolvidos nas discussões referentes à Reforma Psiquiátrica, no Rio Grande de Sul, em um contexto de Contra-Reforma Psiquiátrica. O presente estudo tem como finalidade verificar se é a partir de determinadas relações sociais entre os atores sociais que as justificações e as ações são produzidas. O objeto deste estudo são as relações sociais e os argumentos produzidos pelos integrantes do Fórum Gaúcho de Saúde Mental de Porto Alegre. Utiliza-se a análise relacional, bem como o referencial teórico de Michel Foucault e a sociologia pragmática de Luc Boltanski. Foi verificado, a partir do questionamento de como a configuração do Fórum Gaúcho de Saúde Mental incide sobre os princípios de justificação mobilizados pelos atores sociais pertencentes ao grupo, que há concepções diferenciadas sobre saúde mental dentro do Fórum e há a prevalência de determinados princípios de justificação no discurso porque há uma prevalência de determinados atores sociais que veiculam este discurso. Para a realização desta pesquisa, foram entrevistados dez representantes do Fórum Gaúcho de Saúde Mental de Porto Alegre e utilizou-se como procedimento metodológico a observação, bem como a entrevista com o uso de um roteiro escrito. Após a realização das entrevistas, efetuou-se a análise de conteúdo. / The subject of this thesis is composed by the arguments produced in disputes involving conceptions about mental health present in the justifications and actions of social actors involved in discussions relating to Psychiatry Reformation in Rio Grande de Sul, in a context of Psychiatry Counter-Reformation. This study aims to check whether it is from certain social relations among the social actors that justifications and actions are produced. The object of this study is composed by the social relations and the arguments produced by members of the Forum Gaucho of Mental Health in Porto Alegre. It is used the relational analysis as weel as the theoretical reference to Michel Foucault and to the Luc Boltanski’s pragmatic sociology. It was found from the question of how the configuration of the Forum Gaucho of Mental Health focuses on the principles of justification employed by social actors belonging to the group, that there are different ideas about mental health within the Forum and there is the prevalence of certain principles of justification in the speech because there is a prevalence of certain social actors who portrayed the speech. To carry out this survey, ten representatives of the Forum Gaucho of Mental Health in Porto Alegre were interviewed and it was used as a methodological procedure the observation, as well as the interview using a script writing. After the nterview completion, it was the analysis of content.