This thesis explores the influence of French royal image-making on English monarchies at the turn of the eighteenth century. It investigates the relevance of Louis XIV (r. 1643-1715) to English royal iconography during the reigns of William III (r. 1689-1702) and Queen Anne (r. 1702-1714) across a wide range of source material - from panegyric and portraiture, to medals, sculpture, and architecture. In doing so, it foregrounds the intricate interplay between political communication and different forms of artistic imagination in the early modern period. The thesis conceptualises the relation between post-revolutionary English monarchical image-making and its French counterpart as one of contest with and emancipation from French influence. The specific political circumstances add a particular poignancy to the investigation of this narrative, as the almost continual crises which the English monarchy suffered at the time stand in sharp contrast with the (dynastic) stability of the French monarchy and its highly influential court culture. Despite these elements of rupture and contrast, however, the story of seventeenth-century English monarchical image-making is one of continuity in respect of its gradual disengagement from the French model. In contrast to his immediate predecessors, I contend, William's image-making presents him as Louis's competitor, rather than his imitator. In the course of William's reign, Louis's monarchical model thus turns from model to foil. This development evolves further in Queen Anne's reign, culminating in Louis's mort avant la lettre, as Anne's image-making dispenses with the Ludovican model both as model and as foil. English post-revolutionary image-making, I argue, not only mirrored, but actively contributed to the decline of the Ludovican model, whilst maintaining the figure of the monarch as central to public political discourse. Through the lens of monarchical image-making, therefore, this thesis offers a critical outlook onto late seventeenth-century Anglo-French political and artistic relations.

This dissertation aims to focus on the way in which Marc Antony has been portrayed in Antiquity by a careful and critical study of what the ancient (mainly literary) sources have to reveal about this historical personage. A number of primary sources present a very negative view of Antony under the influence of various political persuasions, and this will be compared and contrasted with later ancient views. The study will pursue this under key themes such as the personality of Antony, his military and political career as well as the role that he played in the East. Modern scholarly interpretations of Antony’s character and actions will also be brought into the discussion, so that an objective evaluation of the contribution which Antony has made to the history of the Roman Republic, insofar as objectivity is possible, may be arrived at. / Language Services / M.A. (with specialisation in Ancient Languages and Cultures)

La notion de métafiction, concept de la critique littéraire contemporaine, caractérise ces fictions qui subvertissent les catégories conventionnelles romanesques, et invitent à une aventure sémiologique. Nos recherches nous amènent à proposer la notion de métafiction comme méthode d'investigation du tissu textuel des romans du corpus. Elle interroge la fabula et révèle, dans l'entrelacs des matériaux narratifs, la bibliothèque qui dialogue avec elle, déterminée par le contexte historique d'une époque. L'historiographie agit comme un medium du métatexte et génère un système sémiotique représentable par « un labyrinthe de nœuds interconnectés » : une « sémiosphère », terme que nous empruntons à Lotman. Le parcours intertextuel propose une lecture à plusieurs niveaux et invite à revisiter ironiquement l'Histoire et ses impostures. L'écriture « baroque » d'Umberto Eco les livre généreusement à la sagacité critique d'un Lecteur Modèle, finalement confronté aux dimensions ontologiques de l'œuvre. / The notion of metafiction, concept taken from contemporary critics of litterature, defines these fictions subverting conventional categories of novels and invites the reader to a semiologic adventure. Our researches lead us to make the proposition of metafiction as an investigation method to explore the textual network of the novels in our corpus. It questions fabula in order to disclose, in the tracery of narrative materials, the library dialoguing with it, in the historical context of a period. Historiography acts as a medium for the meta-text and generates a semiotic system one can depict under the shape of a labyrinth made of interconnected nodes : a « semiosphere », as defined by Lotman. The intertextual journey offers a multi-levels reading and invites to re-visit, with irony, History and its impostures. The Umberto ECO's « baroque » writing brings them with generosity to the critic acumen of the « Model Reader », eventually confronted to ontological dimensions of the work.

This dissertation examines representations of legal, theological, and medical modes of case thinking and case narration in the novella collections of four early modern authors: Giovanni Boccaccio (1313-1375), Marguerite de Navarre (1492-1549), Matteo Bandello (c.1485-1562), and Miguel de Cervantes (1547-1616). It further investigates how these collections perform and problematize practices of narrating and interpreting cases while framing such practices within the context of the navigation of daily news. Indeed, keen observers of the capacity of informal and formal networks to circulate information and opinions in unpredictable ways and on scales unprecedented, these authors also used the novella genre—and the polysemy of the term “novella”—to intervene in contemporary debates on the value of novelty and on the merits of popularizing expert knowledge. I argue that the early modern novella’s role as a literary mediator between professional forms of the case and popular forms of the news report was instrumental to its durable transnational European success. Over the course of this dissertation, I show how these collections depict the art of storytelling qua case narration as an essential ethical component of professional casuistries and of everyday information exchanges. I draw attention to specific professional inflections of the case-novella-news nexus, in order to highlight how each author conceives—and makes the case for—the indispensability of storytelling to spiritual and civic life. I demonstrate that a juridical approach to cases and novelty takes precedence in Boccaccio’s Decameron. I show that, in contrast, Marguerite de Navarre’s Heptaméron relies on distinctly theological conceptions of cases and news. I proceed to compare the type of moral casuistry found in the Heptaméron to that found in Matteo Bandello’s Novelle. Finally, I investigate the consequences of Cervantes’ predilection for a medical approach to case analysis, novelty, and news in his Novelas ejemplares. The broader ambition of this investigation is twofold: first, to contribute a literary and historical perspective to contemporary methodological debates on the value of case thinking in the human sciences and in the liberal professions, and second, to pave the way for an exploration of the casuistical foundations of modern journalism at a time when its epistemological and ethical priorities are sorely in need of being reassessed.

Anna of Denmark (12 December 1574 - 2 March 1619), the wife of King James VI/I of Scotland, England, and Ireland, was an intelligent and interesting woman who has, up until recently, been largely ignored by history. It has only been within the past two decades that any in-depth analysis of Anna has been done, and most of that analysis has focused on Anna's work with the Stuart court masque. The intent of this thesis has been to expand upon current scholarship regarding Anna, as well as to synthesize the various facets of Anna's life in order to put together a more comprehensive understanding of who Anna was and the various ways in which she expressed personal agency and autonomy as a queen consort as opposed to a queen regnant, and how she used the roles of royal wife and mother to further her own goals and interests. The work is divided into an introduction, three chapters, and a conclusion. The introduction offers a brief analysis of the primary and secondary sources, and details how these sources were used within the broader scope of the paper. This introductory section also examines Anna's early life in Denmark, her wedding, and her initial journey to Scotland. The second chapter focuses on Anna's relationships with her husband and children, and particularly how Anna established a niche for herself within first the Scottish, and later the English courts. By studying these relationships it is possible to study the ways in which Anna, as a queen consort, was able to create a court presence for herself. Chapter three analyzes Anna's relationships with other courtiers and, more specifically, what these relationships tell modern scholars about how Anna was able to exercise political influence and power both directly and indirectly. Anna's interactions with her courtiers illustrate how well she understood not only human nature, but the nature of court culture and politics. The fourth chapter presents an in-depth study of Anna's masquing career, and looks at how Anna used the court masque to not only establish a female presence on the stage, but also to fashion a public image for herself. Anna used the Stuart court masque in a way that no one had previously: she used it to express her social and political opinions, and through the court masque Anna was able to portray both who she was and how she wanted to be perceived. The final chapter covers Anna's final days and her lasting impact on English history. Anna of Denmark deserves to be brought out of the shadows of history, and this thesis has attempted to do just that. She was a bright, engaging young woman who, unfortunately, has largely been overshadowed by her husband and children. By studying Anna's various roles as wife, mother, friend, benefactor, and patron, it has been possible to bring forth a much more complete understanding of who this queen consort was and why she is important to a broader understanding of early modern English history.

À la cour anglaise de la reine consort Henriette Marie (1625-1642), la traduction est utilisée comme outil politique, dont l’un des rôles est d’imposer l’héritage linguistique, culturel et catholique de la reine à l’Angleterre calviniste. La cour d’Henriette Marie devient un véritable pôle d’importation de la littérature et de la culture française et catholique en Angleterre. Pendant le règne de Charles Ier, le mécénat de la reine attire de nombreux traducteurs et traductrices en quête de faveurs royales; pour les obtenir, ces derniers produisent des versions anglaises des genres littéraires en vogue en France (comme les romans pastoraux, la littérature dévote, ou encore les pièces de théâtre). Les activités de ces traducteurs et traductrices n’ont jamais fait l’objet d’études systématiques, ce qui en fait un projet intéressant du point de vue de l’histoire de la traduction et de l’histoire littéraire. La présente étude porte sur les rôles de la traduction et des traducteurs à la cour anglaise de la reine Henriette Marie entre 1625 et 1642. La traduction y est définie comme une pratique instigatrice de liens culturels, politiques et sociaux dans le contexte de l’histoire transnationale entre l’Angleterre et la France. Pour mener à bien mon projet, je m’appuie sur des travaux se rapportant aux aspects culturels et idéologiques de la traduction dans la culture de cour des Stuart et des études récentes sur les traductions imprimées en Angleterre prémoderne. J’étudie le mécénat, la production littéraire et la circulation des textes; puis les réseaux politiques, sociaux, idéologiques et enfin les réseaux de l’imprimé liés à la production de traductions à la cour de la reine pendant le règne de son mari, Charles Ier. Pour ce faire, j’étudie la culture de cour en Angleterre et en France au début du XVIIe siècle, le rôle de la traduction dans cette culture, l’impact de la culture de l’imprimé et de l’histoire matérielle sur le choix des textes à traduire, puis la manière dont ils circulent. En explorant l’histoire culturelle et littéraire du point de vue de la matérialité et de l’agentivité, je reconstitue des réseaux politiques, culturels et idéologiques entre l’Angleterre et le continent européen. Cette thèse par articles réunit deux chapitres rédigés en français dans lesquels je précise le contexte et la démarche de la recherche, ainsi que quatre études de cas rédigées en anglais. Par l’analyse d’un corpus de traductions imprimées à l’extérieur de la Grande-Bretagne, le chapitre 3 souligne l’importance des réseaux culturels transnationaux en Angleterre prémoderne et nous aide à comprendre la production et la circulation des traductions imprimées en Europe au XVIIe siècle. Le chapitre 4 fait état des concepts de l’agentivité et du mécénat en histoire de la traduction et culmine par l’analyse du cas de Thomas Hawkins, agent traduisant, lié à la cour d’Henriette Marie notamment par les traductions qu’il dédicace à la reine. Le chapitre 5 porte sur le rôle des femmes et de la littérature catholique à la cour de la reine Henriette Marie. J’y explore la participation des femmes à la création et à la diffusion de traductions, notamment celle des femmes mécènes, ou encore celles des femmes qui dédicacent des œuvres à des personnalités connues de l’entourage de la reine. Enfin, le chapitre 6 explore les réseaux transnationaux d’échanges culturels entre l’Angleterre et le continent européen à partir d’un traité catholique rédigé par l’auteur français Jean Puget de la Serre, imprimé à Bruxelles, puis dédicacé à Henriette Marie et Charles Ier. Ensemble, ces chapitres visent à dresser un portrait représentatif du contexte culturel, politique et idéologique complexe dans lequel circulaient les traductions imprimées. En annexe, je recense le corpus inédit de traductions imprimées entre 1625 et 1642 et lié à la cour anglaise d’Henriette Marie. Le corpus est en évolution constante; il compte actuellement 78 entrées. L’approche retenue pour le projet est à la fois ascendante et descendante : j’emploie les méthodes d’analyse macro-historiques sous la forme de l’analyse des structures de pouvoir, des institutions et des mécènes, puis, afin de dresser un portrait complet du rôle des traducteurs à la cour de la reine, j’analyse les paratextes, les textes, et les correspondances des traducteurs dans les livres imprimés. La complémentarité de ces approches fait l’originalité de mon projet de recherche et vise à assurer une représentation fidèle des actions entreprises par les agents traduisants à la cour anglaise d’Henriette Marie. De plus, je contribue à la recherche en histoire de la traduction en offrant des données indispensables sur les traducteurs de la première modernité anglaise, leurs pratiques et les réseaux dans lesquels ils opéraient. / At the English Court of Queen consort Henrietta Maria (1625–1642), translation was used as a political tool, partly to impose the queen’s linguistic, cultural and Catholic heritage on Calvinist England. Her court was a veritable hub of imported literature, as well as French and Catholic culture. During the reign of her husband, Charles I, the queen’s patronage attracted male and female translators who sought her protection by publishing English versions of literary genres that were trending in France at the time (such as pastorals, dévot literature, or plays). However, the place of translation in the literary activity that made her court so remarkable has never been systematically studied. The purpose of this project is therefore to offer a comprehensive analysis of the role played by translators and translation in the literary culture of Henrietta Maria’s English Court. In this thesis, translation is defined as a practice instigating cultural, political and social ties in the transnational history linking England and France. My research draws on scholarship pertaining to the cultural and ideological aspects of translation in Stuart Court culture and builds on recent studies on the intersection between translation and print in early modern Europe. I study patterns of patronage, literary production, and text circulation; then I probe the political, social, religious, and print networks involved in the production of translations associated with the Queen’s court and extending well beyond its social or geographical boundaries. Specifically, I examine early 17th-century English and French court culture, the place of translation within this culture, and the impact of print culture and material history on the selection and circulation of translated texts. By studying the cultural and literary history from the perspective of materiality and agency, I recreate the political, cultural and ideological networks that operated between Great Britain and continental Europe. This article thesis begins with two chapters written in French in which I specify the context and chosen approach, and which are followed by four case studies written in English. Through an analysis of translations that are printed outside of Great Britain, the case study in chapter 3 highlights the significance of transnational cultural networks in early modern England and helps us understand the production and circulation of printed translations in 17th-century Europe. Chapter 4 consists of an exploration of the concepts of agency and patronage in translation history and culminates with the case of Thomas Hawkins, a translating agent with ties to the queen’s court and continental Jesuit Colleges. The fifth chapter addresses the role of women and Catholic recusant literature at the court of Henrietta Maria. In it, I investigate the participation of women in the creation and distribution of translations, notably as patrons, translators, and printers. In the final chapter, I explore transnational networks of cultural exchange between England and Europe with, as a starting point, a Catholic treatise written by French author Jean Puget de la Serre, which was printed in Brussels though dedicated to Henrietta Maria and Charles I. Together, these chapters offer a comprehensive analysis of the role played by translators and translation in the literary culture of Henrietta Maria’s English Court. The thesis is followed by the corpus of translations linked to the English Court of Queen Henrietta Maria and printed between 1625 and 1642 that I have established. The corpus continues to expand as I pursue this research, and currently comprises 78 titles. The approach I have selected for this project is both top-down and bottom-up: I use macrohistoric analysis methods to investigate power structures, institutions, and patronage; then, to establish a comprehensive overview of the roles of translators at the queen’s Court, I analyze paratexts, texts, and the correspondence of translators in printed books. The synergy between these approaches lends originality to the project and ensures an accurate representation of the actions of translating agents at the English Court of Henrietta Maria. My work contributes to research in translation history by providing some much needed insight into early modern translators, their practices, and the networks in which they were involved.

No description available.

This thesis presents a new approach to the royal female portrait in the Hellenistic world. Until now, it has been studied for its feminine or royal characteristics. There is, therefore, no complete definition because of the division of information. An intersectional approach fills this gap by bringing together the two constituent characteristics of these portraits. Moreover, this research enriches the field of study concerning Hellenistic queens because the iconographic aspect remains mostly absent given the scattering of sources and the need for archaeological studies on this type of sculpture. This dissertation will study the sculptural portraits of five Hellenistic queens: Eurydice of Macedonia, Apollonis of Cyzic, Arsinoe II Philadelphus, Laodike III, and Cleopatra VII Philopator. These statues are of different materials, dimensions, and regional styles. This work focuses mainly on the Macedonian, Lagid, Seleukid, and Attalid kingdoms because they have enough sources to conduct a study. The contact with the Egyptian world led to an interaction between the Greek and Pharaonic cultures that will be included in this research. This research is based on three objectives. The first is to intersectionally define the royal female carved portrait using the erection decrees and scientific literature. Inspired by existing catalogs, the second objective is to group the portraits of the five queens in their own catalog, with a classification appropriate to their characteristics. The last is to create a chronological framework through a stylistic and contextual analysis of her portraits. / Ce mémoire présente une nouvelle approche concernant le portrait royal féminin sculpté dans le monde hellénistique. En effet, celui-ci n’a jusqu’à maintenant été étudié que pour ses caractéristiques féminines ou royales séparément. Il n’y a donc pas de définition complète vu la division des informations. Une approche intersectionnelle vient pallier ce manque en regroupant les deux caractéristiques constituantes de ces portraits. De plus, cette recherche vient enrichir le domaine d’études concernant les reines hellénistiques puisque l’aspect iconographique est trop souvent absent, vu l’éparpillement des sources et le manque d’études intersectionnelles archéologiques à ce sujet. Dans ce mémoire seront donc étudiés les portraits en sculpture de cinq reines hellénistiques: Eurydice de Macédoine, Apollonis de Cyzique, Arsinoé II Philadelphe, Laodicé III et Cléopâtre VII Philopator. Ces statues varient grandement en matériau, dimension, de plus qu’en style régional. L’étude se concentre principalement sur les royaumes macédoniens, lagides, attalides et séleucides. Ils sont ceux ayant assez de sources pour conduire une étude. Le contact avec le monde égyptien entraîne une interaction entre la culture grecque et pharaonique qui sera définitivement incluse dans cette recherche. Cette recherche repose sur trois objectifs. Le premier est de définir intersectionnellement le portrait royal féminin sculpté en utilisant les décrets d’érections et la littérature scientifique. En s'inspirant de catalogues déjà existants, le deuxième objectif est de regrouper les portraits des cinq reines dans leur propre catalogue avec une classification appropriée à leurs caractéristiques. Le dernier est de créer un cadre chronologique par une analyse stylistique et contextuelle de ces portraits.

No description available.

Les auteurs amérindiens se servent de l'écriture depuis la deuxième moitié du vingtième siècle pour affirmer leur identité et contribuer à la survivance de leur culture. Pour certains, toutefois, la motivation d'écrire va plus loin : pour Tomson Highway, il s'agit d'un chemin nécessaire vers la guérison de ses blessures. Il a connu l'enfer des pensionnats catholiques pour jeunes Autochtones et les conséquences que l'assimilation découlant de la Loi sur les Indiens a provoquées. Par l'écriture, Highway se libère : il s'agit d'un exutoire et d'un passage obligé. En se basant sur les notions de paratopie identitaire et spatiale issues de la théorie de Dominique Maingueneau, ce mémoire analyse le regard que porte l'auteur cri sur sa nation à travers ses personnages. Deux oeuvres sont à l'étude, soit le roman Champion et Ooneemeetoo (1998) et la pièce de théâtre Dry Lips devrait déménager à Kapuskasing (1989). Du roman, il ressort qu'à l'image de l'auteur, les personnages souffrent d'une double paratopie qui nuit à leur affirmation culturelle et identitaire. N'arrivant pas à trouver leur place chez les leurs ni à Winnipeg, c'est par l'entremise de l'influence des Blancs qu'ils arrivent à un semblant d'équilibre. Dans la pièce de théâtre, c'est un portrait peu flatteur que Highway fait de la vie postcoloniale des Amérindiens. L'influence des Blancs contribue à faire disparaître la culture et les traditions autochtones. L'espoir que la situation s'améliore sur les réserves repose entre les mains de ceux qui sont prêts à faire bouger les choses, mais ce n'est pas le cas de la majorité.