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édition critique du commentaire au Parménide de l'humaniste Marsile Ficin, avec traduction française annotée et introduction

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Alexander the Great (356-323 BCE) was the king of Macedon and one of the greatest military commanders in the ancient world. Before his death at the age of thirty-three, Alexander had conquered Greece, the Persian Empire, and northern India. Alexander provided a model of a secular ruler for leaders in medieval and Renaissance Europe. Furthermore, with the revival of antique culture during the Renaissance, the life of Alexander became a favourite classical subject in art and literature. My thesis seeks to examine the artistic interest in the life of Alexander during the Italian Renaissance. During the late Middle Ages and the Renaissance, artists portrayed episodes from the life of Alexander for elite patrons, who commissioned monumental frescoes and panel-paintings, along with pieces of maiolica pottery, tapestry and sculpture for use in the rituals of court life. While Alexander represented a model of secular authority for the patron, he was also intrinsically linked with art. Alexander's court artists, particularly Apelles, had a legacy that was eagerly emulated by modern artists. This thesis begins by tracing the long literary tradition of Alexander. Accounts by ancient authors, medieval romances, and new humanist texts all informed the production of images of the ancient king. I will explore the earliest representations of Alexander influenced by the humanist themes of uomini famosi and Petrarch's I Trionfi, followed by the reception and the appeal of portraits of Alexander created by Andrea del Verrocchio, Valerio Belli, and Giulio Romano. I will argue that, based on evidence in the form of drawings, Raphael had life-long artistic interest in Alexander, and many of his designs were adapted by other artists, including a fresco by Sodoma at the Villa Farnesina, and finely decorated maiolica pottery. Finally, I will consider the monumental cycles of frescoes executed by artists for patrons, who had a profound personal connection to the ancient monarch. While the artistic interest in the life of Alexander seems to derive from the fact that he was an all'antica subject, as I will demonstrate throughout this thesis, this interest took many forms for patrons, artists, and viewers. / Thesis (Ph.D, Art History) -- Queen's University, 2013-04-17 11:47:31.549

This thesis is on the theory and practice of comic sexual euphemism in Renaissance France and England. The term ‘comic sexual euphemism’ means the use of non-literal descriptions for sexual topics for the purposes of comedy, similar to an innuendo or double-entendre. Crucially, instances are often more explicit than straightforward literal statement, so fail to be euphemistic. I use ancient, early modern, and modern theory, as well as my own theoretical insights, and apply this to three types of Renaissance text: texts associated with the court from England and France, medical texts from France and their English translation, and theatre from England and France. Primary authors include Baldesar Castiglione, Pierre de Brantôme, Sir John Harington (who translated Ludovico Ariosto into English – Ariosto is also translated into French by Jean Martin), Laurent Joubert, Jacques Ferrand (translated into English by Edmund Chilmead), Thomas Middleton, Ben Jonson, Edward Sharpham, John Marston, and Pierre de Troterel. At the court of both countries a dangerous line was walked between protecting women and gossiping about them, between proving yourself witty regarding sexual material and going too far. In the world of French medicine, where you might expect professional and clinical language, there is instead a trend towards outrageous sexual humour. As at court, if deemed to have exceeded social norms, this could get writers into trouble. The stage was in some ways a safer environment in which to use comic sexual euphemism, as it was expected more in comic drama. This does not, however, lessen how vibrant and multi-faceted such language could be in early modern drama. Interestingly, similar imagery is found across texts and genres. In this period overall there was a tension between the rhetorical rules which forbid the discussion of the sexually obscene and the clear delight writers took in breaking these.