1,720,964 research outputs found
Gender Equality and the Role of Women Theatre Professionals in Late Seventeenth- and Early Eighteenth-Century France
No full textThis chapter will examine the theatre as one of the few areas where women were able to enjoy full professional equality with men throughout the greater part of the seventeenth century. Inevitably, most commentators on this period have concentrated on the actress on stage. The focus of this chapter, however, is on the contribution women made to the “theatre industry” more generally—as actresses, of course, but also as administrators, box office employees, ushers and in the myriad other roles required for the operation of the theatrical enterprise. Many of these women occupied positions of great (and frequently financial) responsibility over decades; evidence of the respect in which they were held is discernible in account books and other documents. A number of actresses took on such functions following their retirement from the stage, no doubt as a means of supplementing the pension they received from the troupe, and access to them was so fiercely contested that they had to be allocated by ballot. The conclusion of the chapter, therefore, will examine a consideration of the ways in which theatrical troupes “looked after their own,” whether male or female, both once they had ceased to perform and beyond, considering in particular the options open to elderly actresses
A Defence and Illustration of Marie de Gournay: Bayle’s Reception of ‘Cette Savante Demoiselle’
Get PDFThe assassination of Henri IV by François Ravaillacin 1610 sparked an immediate pamphlet polemic regarding the Jesuits and their position in France. First in the fray was the Lettre déclamatoire by the assassinated king’s Jesuit confessor Pierre Coton, which triggered the anti-Jesuit satire L’Anti-Coton. Amongst other replies, Marie de Gournay’s pro-Jesuit text Adieu de l’ame du roy de France et de Navarre Henry le Grand à la Royne, avec la Defence des Peres Jesuistes appeared at this point, shortly followed by Le Remerciment des Beurrières de Paris, the latter of which treats of Gournay as a public woman
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Des livres d’entrées? Vers une poétique de récit de voyage dans les relations d’entrées de Puget de la Serre
Get PDFDans les pages qui suivent, nous aimerions démontrer que les récits peu étudiés de La Serre se situent à un carrefour de genres entre le récit de voyage et la relation d’entrée. Loin de n’être « guère passionants », ils constituent, au contraire, un exemple fort intéressant de la nature polymorphe des récits de voyage à l’époque et illustrent la façon dont La Serre s’approprie divers discours pour glorifier la reine. Cet article ne vise pas à faire une analyse historique des entrées de Marie de Médicis, ni à analyser le décalage entre la version de La Serre et la ‘réalité’ des événements (dans la mesure où nous ne pouvons parler d’une seule ‘réalité’ à propos d’ un cérémonial aussi construit qu’une entrée royale peut l’être). L’approche adoptée est essentiellement littéraire : nous aimerions étudier comment plusieurs éléments communs aux trois textes de La Serre – certains assez typiques des livres d’entrées, d’au tres plutôt étrangers au genre – peuvent être perçus comme les traits d’une poétique du récit de voyage. C’est dans cette optique que nous espérons apporter une contribution nouvelle aux travaux de plus en plus nombreux sur les entrées royale
Appropriations of a political machine: Translations of Pierre Le Moyne's Gallerie des femmes fortes (1647)
No full textThis article examines the published translations into Italian (1701) and Spanish (1702) of Pierre Le Moyne's Gallerie des femmes fortes (1647). Through an analysis of a number of peritexts, rather than the text itself, it aims to examine how Le Moyne's Gallerie, a volume fundamentally rooted in the political, ideological and aesthetic climate of 1647 France, was appropriated in other socio-cultural and political climates. Freed from its original moment of creation and, to a lesser degree, from its creator, the book becomes a changing entity to be shaped at will by a new creator or creators, within a new set of sociocultural parameters. Analysis of the prologues, in particular, of translators Laura Maria Foschiera and Fernando Bravo de Lagunas y Bedoya, throws light on their respective socio-cultural contexts and intended readerships, and highlights the importance of peritexts in shaping the book-as-object and its reception. Of particular interest is the Lima translation (1702) largely believed to have been lost up until now
Des noeuds que l'amour ne rompt point'? Sisters and friendship in seventeenth-century French tragedy and tragi-comedy
Get PDFThis article grew out of a desire to investigate the commonly held theory that female friendship is under-represented in literature. Notwithstanding recent research (chiefly on nineteenth and twentieth century English-language fiction) which has nuanced Virginia Woolf’s famous lamentation of the absence of literary representations of female friends,1 the idea that female friendship is a rare literary phenomenon appears to persist.2 My theory was that its would-be rarity was due in no small part to the rarity of research concerning it: were we just not looking? More specifically, my interest lay in the representation of blood sisters, having come to this subject through the work of seventeenth-century female dramatist Catherine Bernard, and the representation of the sisters in Laodamie. Despite growing interest in familial relations in the early modern period, it remains a relatively unexplored area: to the best of my knowledge, no historical or literary study of early modern (blood) sisters has appeared to date.3 Now, if female friendship has been dismembered as Janice Raymond maintains,4 it is clear that blood sisters have been given even worse press. Despite the fact that the blood sister relationship has provided the model for non-kinship bonds of mutual affection and / or solidarity between women (in the commonly evoked notion of sisterhood),5 the dominant image of sisters in the myths and fairytales of Western literature (such as Cinderella or Psyché) is one of jealous arch-rivals, often with homicidal tendencies. Discounting comedies, my quest led me to eighteen plays (eight tragedies and ten tragi-comedies), where the relationship between the sisters varies on the one hand from bitter jealousy (usually experienced by one sister, to the blithe ignorance of the other) to, on the other hand, selfless devotion, where one sister would sacrifice her life for the other. Leaving the more common representation of sisters as jealous rivals aside – the ‘simplified, conventionalised’ representations of female relationships which Woolf bemoaned6 – the aim of this article is to examine a number of other models of sisterhood and of female friendship with which the dramatists provide us, and hence to analyse how sisterhood is configured in this element of early modern literature
Des livres d’entrées? Vers une poétique de récit de voyage dans les relations d’entrées de Puget de la Serre
Get PDFQuand Marie de Médicis traverse la frontière des Pays-Bas espagnols en 1631, suite à la journée des Dupes, personne – surtout pas elle – ne s’attend à ce qu’elle ne foule plus jamais le sol français. Elle demeurera sept ans en territoire espagnol, avant de passer, via les Provinces-Unies, en Angleterre en 1638, où elle restera pendant trois ans. Les entrées qui se sont déroulées dans de nombreuses villes, lors de ces pérégrinations à l’étranger, sont décrites dans quatre livres d’entrées, don..
The displacement of disorder: gynæcocracy and friendship in Catherine Bernard’s Laodamie (1689)
Get PDFIt should come as no surprise that the world of Catherine Bernard’s tragedies is one of disorder: theatre is after all, as d’Aubignac tells us, ‘[là] où règne le Démon de l’inquiétude, du trouble et du désordre’. Disorder is a characteristic of the genre; it is a state of affairs rectified by the dénouement , ensuring that the spectators depart, in the words of Corneille, ‘l’esprit en repos’. Bernard’s play Lao damie might appear at first glance, within the framework of a traditional patriarchal paradigm, to provide the perfect recipe for disorder: firstly the sovereign ruler is a woman, and secondly both she and her sister are in love with the same man. However, it soon becomes apparent that the focus of that disorder is displaced away from where we might expect to see it. The aim of this article is to analyse this displacement of disorder as it manifests itself in the inextricably linked public and private spher es. Such an analysis will enable us to evaluate the innovations central to this neglected, once highly successful, tragedy
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