Ce mémoire porte sur la représentation de la fureur dans la tragédie en musique "Roland" de Philippe Quinault et Jean-Baptiste Lully, créée en 1685. Il cherche à préciser, dans une perspective historique et rhétorique, les moyens littéraires, musicaux et scéniques par lesquels sont rendus les excès du personnage furieux sur la scène classique du second XVIIe siècle. Le premier chapitre vise à rassembler les figures mythiques de la fureur dans une perspective d’ordre historique, des origines antiques aux diverses reprises dramatiques du répertoire français, en passant par la célèbre épopée de l’Orlando furioso, rappelant ainsi les bases de la topique de la fureur. Il s’intéresse également au développement d’une esthétique de la fureur propre au genre dramatique, ainsi qu’à son rapport au sublime, idéal d’expression classique. Guidé par la question de la représentation et de ses effets sur le spectateur, le second chapitre propose une analyse rhétorique de la scène de fureur dans Roland. L’étude de cette scène en fonction des différentes parties de la rhétorique – inventio, dispositio, elocutio et actio – démontre qu’une dynamique de contraste et d’alternance entre force et douceur se situe au cœur de la rhétorique du dérèglement qui conduit les représentations de la fureur. / This dissertation addresses the representation of fury in Jean-Baptiste Lully and Philippe Quinault’s 1685 opera, Roland. It seeks to define the rhetorical means through which fury is conveyed on the classical stage of the second half of the XVIIth century, whether they be found in the music, text or staging. The first chapter considers the mythological figures of fury in a historical perspective, from ancient origins to the famous Orlando furioso and its numerous reinterpretations in the French dramatic repertoire, therefore gathering the basis of the topic of fury. This section also addresses the development of the aesthetics of fury, and its relation to the sublime ideal of classical expression. Guided by the idea of performance and of its effects on the audience, the second chapter studies Roland’s wrath in a rhetorical perspective. Following the traditional rhetorical divisions – inventio, dispositio, elocutio and actio –, the study of this scene shows that dynamics of contrast and balance between strength and softness lie at the core of the rhetoric of disturbance which conducts the representation of fury.

Réalisé en cotutelle avec l'université de la Sorbonne Nouvelle-Paris 3 / Les romans édifiants des XVIIe et XVIIIe siècles – des fictions narratives en prose qui affichent clairement leur volonté de transmettre des valeurs chrétiennes et d’influencer le comportement de leurs lecteurs dans le sens de ces valeurs – développent une poétique spécifique, basée sur la recherche et le dévoilement de la vérité chrétienne à travers la fiction mondaine. Ils posent ainsi de front une question qui a hanté les écrivains et les théoriciens de l’Âge classique, à savoir la conciliation du plaisir romanesque et de la moralité. La topique du roman édifiant (personnages, lieux et temps), sa matérialité (titres, divisions internes, ensembles d’œuvres) et sa voix (narrative et rhétorique) concourent à l’élaboration d’effets de sens qui servent la visée persuasive et religieuse des ouvrages tout en créant des récits et des imaginaires propres à satisfaire le goût du lectorat pour le roman. Cette étude vise à réintégrer dans l’histoire du roman un corpus d’œuvres négligées par la critique en faisant apparaître leur contribution à l’élaboration du roman : du roman d’Ancien Régime d’abord, mais aussi du roman à thèse moderne et, par extension, de toute la fiction idéologique. / Edifying novels of the seventeenth and eighteenth centuries - narrative prose fictions that clearly put forth their will to convey Christian values and influence the behavior of their readers in the sense of these values - develop a specific poetics, based on the research and the unveiling of Christian truth through mundane fiction. They therefore emphasize a problem that has haunted writers and theorists of the Classical Age, namely the reconciliation of novelistic pleasure and morality. The narrative topics of the edifying novel (characters, places and times), its materiality (titles, internal divisions, groups of works) and voice (narrative and rhetorical) contribute to the development of significations that serve the persuasive and religious aim of the works while creating stories and imaginary worlds capable of satisfying the taste of the audience for the novel. This study aims to reintegrate in the history of the novel a body of works neglected by literary critics by showing their contribution to the development of the novel: the novel of the Old Regime, but also the modern novel of thesis and by extension, the entire ideological fiction.

The thesis concerns the artworks by Johan Sylvius in the staircase, upper vestibule, upper north guard room and upper gallery of the Drottningholm Palace, as painted performances. They are studied as performative cultural encounters with a historically situated beholder but will also be regarded in relation to their spatial and artistic surrounding. From the theoretical framework of performativity and reception aesthetics, the results indicate that the images have the potential to inscribe the beholder within certain postulates on power relations and politics of identity, through working with splendour, naturalism, narrative and the function of the rooms they are located in. The results further point to the images’ manners of effecting the beholder on several levels through an employed pluralism and lastly, that they both build upon and re-produce the relation between monarch/nobility, where the former is the sole figure who both grants status and can remove it in an instance.

In recent years, urban historians have established that the period from 1560 to 1660 was a key era for London’s development from a relatively small European urban centre into a large dynamic global capital. This dissertation attempts to intervene in London scholarship by drawing attention to the economic, political, religious and – most significantly – cultural importance of clothing in the city in this period. Using material, visual, literary and archival sources, it explores the ways clothing contributed to the development of early modern London and, in turn, how London’s rapid growth changed the making, wearing, and meaning of clothing. This dissertation places material evidence at the fore using extant objects from museum collections. It also employs the new methodology of reconstruction to explore craft, ingenuity, and emotional self-expression in dress. As clothing infused economic and social life, it draws upon on a wide range of evidence, from London guild records, to portraits, travel accounts, personal letters, diaries and account books, plays, sermons and poems. With a focus on urban experience, this dissertation discusses not only elite luxury consumption, but also investigates the wardrobes of guildsmen, immigrant craftspeople, apprentices and maids – asking what they wore, what they thought about what they were wearing, and how they used clothing to navigate through the city during this time of rapid change. A chapter on the ‘London Look’ shows how inhabitants and visitors documented the visual and material styles of the city. Exploring the collaborative processes by which clothing was made, worn and appreciated by craftspeople and consumers, a chapter on making and buying clothing demonstrates how clothes were made and charts the emergence of a new consumer culture. Existing scholarship on sumptuary laws is challenged in a chapter that demonstrates how laws were enforced in the city while also integrating extant objects into the discussion for the first time. Finally, using a sample of London wills, the dissertation shows how Londoners owned, bequeathed and inherited clothing, and imbued it with emotional meaning. In sum, this dissertation aims to integrate scholarship on early modern London with material culture studies, and to promote the new methodology of reconstruction for historians. In revealing how London was conceived during a time of rapid change, clothing can be used as a lens through which to explore wider discourse about a city that by 1657 was being described as ‘Londinopolis.’ Clothing helped to make London into a wealthy, dynamic, and diverse urban centre, and these changes dramatically shaped the way clothing was made and appreciated.

Made available in DSpace on 2016-04-28T14:16:42Z (GMT). No. of bitstreams: 1 Nei da Silva.pdf: 516447 bytes, checksum: 6d666c266e984fe810adc14be330d706 (MD5) Previous issue date: 2009-10-07 / Secretaria da Educação do Estado de São Paulo / In seventeenth-century England, the saltpeter was one of the most studied materials, for its commercial value and the issues involving its origin and obtaining. At mid-century, the British dependence in saltpetre export took several science men to engage attempt in the studies and researchs on this material. Among these scholars, we will accent important studies groups worried about commonweal, as Samuel Hartlib and his associates; which would become the Royal Society of London; and, still, scholars as Benjamin Worsley , Robert Boyle and Thomas Henshaw / Na Inglaterra do século XVII, o salitre era um dos materiais mais estudados, por seu valor comercial e pelas questões que envolviam sua origem e sua obtenção. Em meados do século, a dependência inglesa na exportação de salitre levou vários homens de ciência a empenharem esforços nos estudos e pesquisas sobre esse material. Entre esses estudiosos, daremos ênfase a importantes grupos de estudo que se preocupavam com o bem-comum como foi o de Samuel Hartlib e seus associados; o do que se transformaria na Royal Society de Londres; e, ainda, o de estudiosos como Benjamin Worsley, Robert Boyle e Thomas Henshaw

Cette thèse examine le discours puritain ainsi que les différentes manifestations de la présence indienne et de la voix indienne (Indian agency) dans la littérature Puritaine des XVIIème et XVIIIème siècles en général et dans les récits de captivité indienne en particulier. Les récits de captivité manquent évidemment d’objectivité en ceci qu’ils présentent une version unique des faits (celle des auteurs puritains des récits). Le problème de la subjectivité se pose d’autant plus lorsque l’on examine les paroles censées avoir été prononcées par les Indiens (les paroles que leur attribuent leurs anciens captifs). Ce constat nous a amené à poser la question suivante : par-delà la définition du récit de captivité au sens concret du terme (otages puritains entre les mains des Indiens dans le contexte précis de l’Amérique du Nord coloniale), n’y aurait-il pas lieu de postuler l’existence, au sein de ces récits (« en filigrane ») d’autres formes, plus abstraites, de captivité, comme celle que constituerait l’« l’emprisonnement » de la « voix » indienne dans des récits écrits par des blancs ? Cette voix indienne, comment se manifeste-t-elle dans les récits du corpus? Quels discours les auteurs attribuent-ils à leurs anciens ravisseurs ? / This study is dedicated to the analysis of seventeenth-and early eighteenth-century Puritan discourse and the way in which the agency of Indian appears in writings penned by the Puritans, a prominent subsection of which falls under the genre known as Indian Captivity Narrative. My main intention was to go beyond the initial characterization of captivity narratives and claim that these texts are not only about the actual physical and moral experience of the white Christian captives among the Indians, but also deal with more abstract and less often addressed forms of captivity. One such (less immediately obvious) form of captivity is, metaphorically speaking, that of the Indian “voice” in white narratives. This study therefore addresses the following questions: How does the Indian voice come across in such prose? What kinds of discourse do Mary Rowlandson, Hannah Swarton, and other former captives attribute to their former abductors? How do these former captives render and reconstruct dialogues that purportedly occurred between them and their Indian captors? This presentation of the Indian voice is not only conditioned by the former captive’s attitude (i.e., by the author’s voice), but it is also altered by the specific bias of those in charge of controlling the contents of the narrative, i.e., the editors and the publishers, such as Cotton and Increase Mather, who were the most influential representatives of the political and religious establishment of the time.

La tesis presenta dos partes. La primera sitúa el estudio en sus coordenadas histórico-artísticas. Además, expone los principios teóricos que rigen el posterior análisis textual (Musicología, Semiótica, Retórica, Poética y Literatura Comparada) y sus implicaciones con la Música. La segunda parte constituye el objeto de estudio principal de la tesis: el análisis de los textos de cuatro comedias de Calderón de la Barca insertas en el marco de la Fiesta Teatral barroca: Celos aun del aire matan, La púrpura de la rosa, El laurel de Apolo y El golfo de las sirenas. Centrando nuestra atención en las virtualidades musicales de la escritura calderoniana, defendemos la intencionalidad musical de estas obras ya desde la misma concepción de la historia. Junto a este objetivo fundamental, analizamos otros elementos de la dramaturgia de Calderón: argumentos, temas, tópicos y motivos, estructura dramática, diálogos, personajes, espacio, tiempo y los variados elementos musicales que aparecen. / This Thesis contains two different parts: The first one places the research in its historical-artistic background. Besides, it states the theoretical principles which guide the textual analysis that follows (Musicology, Semiotics, Rhetoric, Poetics and Comparative Literature) and their relation to music.The second part consists of the main purpose of the Thesis research: the text analysis of four plays by Calderón de la Barca belonging to the musical court plays of Baroque Period: Celos aun del aire matan, La púrpura de la rosa, El laurel de Apolo and El golfo de las sirenas. Focusing on the potentalities of the Calderon´s writing, we support the musical intention of these works from the very conception of the plot. Together with this essential aim, we analyze other items of Calderon´s drama: plots, topics, commonplaces and motifs, dramatic structure, dialogues, characters, space, time and all the different musical elements which appear

Ce mémoire porte sur la représentation de la fureur dans la tragédie en musique "Roland" de Philippe Quinault et Jean-Baptiste Lully, créée en 1685. Il cherche à préciser, dans une perspective historique et rhétorique, les moyens littéraires, musicaux et scéniques par lesquels sont rendus les excès du personnage furieux sur la scène classique du second XVIIe siècle. Le premier chapitre vise à rassembler les figures mythiques de la fureur dans une perspective d’ordre historique, des origines antiques aux diverses reprises dramatiques du répertoire français, en passant par la célèbre épopée de l’Orlando furioso, rappelant ainsi les bases de la topique de la fureur. Il s’intéresse également au développement d’une esthétique de la fureur propre au genre dramatique, ainsi qu’à son rapport au sublime, idéal d’expression classique. Guidé par la question de la représentation et de ses effets sur le spectateur, le second chapitre propose une analyse rhétorique de la scène de fureur dans Roland. L’étude de cette scène en fonction des différentes parties de la rhétorique – inventio, dispositio, elocutio et actio – démontre qu’une dynamique de contraste et d’alternance entre force et douceur se situe au cœur de la rhétorique du dérèglement qui conduit les représentations de la fureur. / This dissertation addresses the representation of fury in Jean-Baptiste Lully and Philippe Quinault’s 1685 opera, Roland. It seeks to define the rhetorical means through which fury is conveyed on the classical stage of the second half of the XVIIth century, whether they be found in the music, text or staging. The first chapter considers the mythological figures of fury in a historical perspective, from ancient origins to the famous Orlando furioso and its numerous reinterpretations in the French dramatic repertoire, therefore gathering the basis of the topic of fury. This section also addresses the development of the aesthetics of fury, and its relation to the sublime ideal of classical expression. Guided by the idea of performance and of its effects on the audience, the second chapter studies Roland’s wrath in a rhetorical perspective. Following the traditional rhetorical divisions – inventio, dispositio, elocutio and actio –, the study of this scene shows that dynamics of contrast and balance between strength and softness lie at the core of the rhetoric of disturbance which conducts the representation of fury.

This thesis develops an analytical approach to the instrumental music of Orlando Gibbons (1583-1625) based on close readings of historical theory sources, primarily by Thomas Morley, John Coprario and Thomas Campion. Music of the early seventeenth century can be difficult to analyse, since it falls between the more extensively studied and theorised practices of classic vocal polyphony and common-practice tonality. Although English music theory of this period is recognised as strikingly modern in many respects, innovative aspects of English compositions from the same period receive little attention in standard accounts of the seventeenth century. I argue that concepts taken from this body of historical theory provide the basic terms of a technical vocabulary for analysis, which should be further refined through application to real compositions. Successive chapters deal with common counterpoint models or patterns, imitative invention and disposition, cadential progressions, and overall tonal structure. I argue that these analyses show Gibbons's music to be a contribution to new ways of conceiving of instrumental polyphony and tonal structure, which deserves re-evaluation in the context of broader seventeenth-century trends. In particular, Gibbons's use of extended cadential expectations as an expressive element, fascination with sequential progressions, and sectional structuring by harmonic area have clear parallels with later practices. At the same time, early seventeenth century style allows the composer considerably more freedom of harmonic procedures and implications than the musical styles which immediately followed it. Analysis grounded in historical theory provides the best approach to understanding and appreciating this unique musical language.

Notre étude se propose de mettre au jour le dynamisme et la vie de procédés métathéâtraux proprement français qui ont pu paraître en sommeil pendant plus de deux siècles.À partir de pièces reposant sur les jeux de spécularité au sein du fonds dramatique du Siècle d’Or et de celui du théâtre français du dix-septième siècle, elle compare d’abord dans ces deux corpus les modalités de spécularité ainsi que les emprunts et aménagements français en la matière afin d’essayer de comprendre leurs causes et de dégager les archétypes formels, sémantiques et enfin scénographiques spécifiquement français. Elle révèle ensuite les facteurs qui ont permis à ces procédés de retrouver une nouvelle vigueur dans le théâtre français au vingtième siècle, tout en étudiant les changements opérés dans ces structures spéculaires et en repérant les tendances dominantes de la modernité à cet égard. Alors qu’un mouvement parallèle de remise à l’honneur des jeux spéculaires se remarque sur la scène espagnole du vingtième siècle, elle met enfin en lumière le fait que malgré la langue, ce sont les pièces spéculaires françaises qui ont inspiré maints pays d’Amérique latine dont Cuba, où l’activité théâtrale se signale par un étonnant dynamisme, de puissantes dramaturgies. Elle expose aussi évidemment sur les raisons de cet intérêt différencié pour le procédé, et pour sa pratique par des auteurs français, de l’autre côté de l’Atlantique.En partant d’un concept nouveau recouvrant sept formes majeures de spécularité dramatique et permettant d’établir une typologie examinant leurs modalités françaises de création et de fonctionnement, cette thèse se donne donc pour but de retracer et mettre au jour les transferts et les métamorphoses qu’a subis, depuis ses origines jusqu’au vingtième siècle, ce que nous avons nommé le « théâtre à son miroir français », afin de dégager l’universalité non seulement de ces formes mais aussi et surtout de certaines de leurs significations et de leurs réalisations scéniques. / Our study aims to reveal the life and dynamism of the genuinely French meta-theatrical devices that may have seemed dormant for more than two centuries.It is based on plays which are founded on mirror dynamics, chosen within the drama of the Spanish Siglo de oro and the French seventeenth century theatre. It first compares the modalities of the specular mechanisms and the French borrowings and adjustments in both these corpuses in order to try and understand their causes and to bring out the formal, semantic and stage archetypes that are specifically French. Then it sets out the factors that enabled these devices to undergo a revival in the French theatre of the twentieth century, while studying the changes that appeared in the specular structures and identifying the dominant modern tendencies that characterize these structures. Although it is true that the mirror dynamics are also brought to life on the twentieth century Spanish stage, this study finally reveals that it is the French specular plays – though the language would indicate otherwise – that inspire many countries in South America including Cuba where the dramatic creativity finds its originality in its surprising dynamism and its powerful dramatic arts. This study also brings out the reasons that explain such a distinct interest of Latin American playwrights for the device and for its practice in the French theatre. This thesis produces a new concept covering seven major specular theatrical forms, which enables the establishment of a typology to study the French modalities of creation and operation. Its purpose is to retrace and reveal what transfers and metaphors « the theatre at its French mirror », as we chose to call it, has undergone, from its origins to the twentieth century, in order to bring out the universality not only of these forms but, most of all, of some of their meanings and stage achievements.