The following dissertation will examine the architectural masques of architect and poet, John Hejduk. Hejduk's masques are more than the text or the drawing; like their inspiration, the Stuart Court Masque, the architectural masque is a compendium of text, symbol, history, and performance, which is meant to lead the viewer to a greater comprehension of the citizen's role in the creation of community. There has been as yet no study of the direct links to the Stuart Court Masque, the invention poet Ben Jonson and architect Inigo Jones, or what the links in Hejduk's masques to the emblem books, which are the heart of the Court Masque. The following dissertation will undertake an explication of two key Hejduk texts as means to demonstrate the architectural meaning of Hejduk's Architectural Masques as a descendant of the Stuart Court Masque. The dissertation examines Hejduk's pedagogical biography, the history of the Court Masque and emblem book (which is the basis of the Architectural Masques), Hejduk's own dumb' emblem book, Silent Witnesses, and finally, Victims, his first masque which is the application of his theory to the masque. The methodology of the dissertation involves an explication of Hejduk's texts, drawing on an understanding of his own education as an architect and educator. The examination of his two texts, Silent Witnesses, and Victims, are to be the basis for drawing out the imagination as a student and a teacher. Such textual examination is meant to encourage the reader, and future architects, of the deep influence of the past in creating art of the present and future. / Ph. D.

Although recent scholars have attempted to recuperate the cultural and literary value of Francis Quarles' Emblemes, traditional emblematic interpretations categorize the images as merely illustrations of the poetic utterance. The investment of this paper shifts critical attention away from the content of Quarles' text as the only source of meaning and argues that meaning is contingent on the interpretation of both word and image. In order for the images of the text to have full consideration, I have stepped away from the traditional emblem metaphor of body and soul in favor of an incarnational metaphor that joins image and word in a hypostatic union of interpretation.

Henry Peacham fait publier, en 1612, un ouvrage qu’il a longuement retravaillé à partir de manuscrits qui en constituent la matrice. Ainsi, Minerva Britanna voit le jour alors même que l’Angleterre pleure la mort du jeune Henri, prince héritier de la couronne et destinataire du recueil d’emblèmes d’Henry Peacham. Cette thèse propose une étude de l’art emblématique de ce polygraphe anglais peu connu et peu acclamé par la critique. Elle prend appui sur l’examen minutieux de son recueil, Minerva Britanna et s’attache à démontrer la qualité graphique des pictura emblématiques ainsi que la polyvalence des thèmes abordés par l’emblémiste.Un premier temps aborde la question de l’art emblématique d’Henry Peacham sous un angle biographique et bibliographique. Cette partie initiale nous donne l’occasion de découvrir la genèse de l’ouvrage ainsi que sa composition avant de nous pencher sur le développement du genre emblématique en Angleterre. L’étude vise plus précisément à démontrer que l’ouvrage de Peacham prend des accents militants et que l’auteur se veut le porte-parole des artistes anglais dont le statut demeure très instable.La deuxième partie se penche sur la question générique. On remarque que Minerva Britanna tient à la fois du conduct book anglais mais également du genre des specula principum en passant par celui du memento mori. Cela nous permet de mettre en évidence la polyvalence de ce recueil d’emblèmes mais également l’éclectisme du style peachamien. Ce deuxième temps est, en outre, l’occasion de faire le point sur les sources de l’auteur et sur la manière dont il clame son désir d’originalité tout en revendicant ses diverses sources d’inspiration.Enfin, une troisième partie vise à démontrer Minerva Britanna constitue une analyse des premières années du règne jacobéen. Il est ainsi question de politique intérieure puisque le recueil évoque tour à tour la philosophie du règne, la notion d’absolutisme monarchique, mais aussi les difficultés d’ordre religieux auxquelles doit faire face le roi. La politique extérieure du royaume est scrutée de près. Minerva Britanna témoigne en effet de l’épineux projet d’Union entre l’Angleterre et l’Écosse, ce qui nous amène également à nous pencher sur la question de l’identité nationale ainsi que sur l’ouverture au monde du royaume d’Angleterre. / Henry Peacham had a masterpiece published in 1612: Minerva Britanna. This collection of emblems represents the outcome of years of work on several manuscripts which he revised and which make up the main sources of the book. Minerva Britanna was published at the time when England was mourning for Prince Henry, deceased heir to the throne and addressee of Peacham’s book of emblems. This thesis aims at putting forward the worth of the emblematic art of this polygraph English artist who is not very famous and not often praised by critics. This analysis is based on a detailed study of Minerva Britanna and its purpose is to demonstrate the graphic quality of the emblematic picture as well as the variety of the themes treated by the emblemist.First, I shall deal with Henry Peacham’s emblematic art from a biographical and bibliographical angle. This will also enable the reader to discover the book’s genesis as well as its composition before analyzing the development of the emblematic genre in England. I will show that Peacham’s book takes on militant overtones and that the artist wants to present himself as the spokesman of English artists whose status was greatly unstable.Then, I will turn to the notion of genre. I will show to what extent Minerva Britanna can be seen as typical of the English “conduct book”, but also as representative of the specula principum and memento mori genres. This will clearly put forward the variety of this emblem book but also the eclecticism of Peacham’s style. I shall deal with the importance of the author’s source material in order to prove that Peacham skilfully handles both his thirst for originality and his desire to honour those who inspired his work.Finally, a third and last part will show that Minerva Britanna is also a historical analysis of the first years of James as King of England. I shall deal with domestic politics so as to examine the philosophy of James’s rule and the notion of monarchic absolutism but also the religious difficulties that the King had to face. James I’s foreign policy will also be under study. I shall demonstrate that Minerva Britanna is a testimony of the burning issue that was the Union scheme between England and Scotland. This will lead me to consider the question of national identity as well as England’s position concerning the New World.