Early Modern French Studies最新文献_第9页

In-Between Authorship in Montaigne’s Essais 蒙田随笔中的中间作者

IF 0.2 3区历史学

Early Modern French Studies Pub Date : 2019-07-03 DOI: 10.1080/20563035.2019.1675243

Luke O’Sullivan

引用次数: 1

Editor’s Note Editor’s音符

IF 0.2 3区历史学

Early Modern French Studies Pub Date : 2019-07-03 DOI: 10.1080/20563035.2019.1689059

Timothy Chesters

引用次数: 0

Descartes and Socrates on the Possibility and Point of Inquiry 笛卡尔与苏格拉底论可能性与探究点

IF 0.2 3区历史学

Early Modern French Studies Pub Date : 2019-07-03 DOI: 10.1080/20563035.2019.1672990

J. Templeman

引用次数: 1

The Querelle des femmes and Nicolas Boileau's Satire X: Going Beyond Perrault 女性的Querelle与Nicolas Boileau的讽刺作品X：超越Perrault

IF 0.2 3区历史学

Early Modern French Studies Pub Date : 2019-07-03 DOI: 10.1080/20563035.2019.1672989

A. Duggan

引用次数: 1

‘Sçavoir bien badiner est un grand avantage’: Monkey Business in the Labyrinth of Versailles “玩得开心是一个很大的优势”:凡尔赛迷宫中的猴子生意

IF 0.2 3区历史学

Early Modern French Studies Pub Date : 2019-07-03 DOI: 10.1080/20563035.2019.1675986

Kathryn Rife Bastin

引用次数: 2

Parisian Palimpsests and Creole Creations: Mme Marsan and Dlle Minette play Nina on the Caribbean Stage* 巴黎复写和克里奥尔创作:马桑夫人和米内特夫人在加勒比舞台上扮演妮娜

IF 0.2 3区历史学

Early Modern French Studies Pub Date : 2019-03-20 DOI: 10.1080/20563035.2019.1592813

J. Prest

{"title":"Parisian Palimpsests and Creole Creations: Mme Marsan and Dlle Minette play Nina on the Caribbean Stage*","authors":"J. Prest","doi":"10.1080/20563035.2019.1592813","DOIUrl":"https://doi.org/10.1080/20563035.2019.1592813","url":null,"abstract":"This article compares the theatrical careers of two performers in the French colony of Saint-Domingue (present-day Haiti): Mme Marsan, a white European who dominated the public stage in 1780s Cap-Français, and a younger Creole woman of mixed racial ancestry, known as ‘Minette’, who performed in her home town of Port-au-Prince. Its focus is on performances of Marsollier and Dalayrac’s opéra-comique, Nina (1786), in which both women performed the lead role. Although Minette is usually regarded as a singer, it is argued here that, by electing to put on and star in Nina, she was taking on one of the most demanding acting roles in the repertoire. The article considers the self-positioning — and positioning by others — of both performers in relation to the metropolitan performance model and the possibility of creating creolized forms of theatre. While Mme Marsan acknowledged that she was playing a role previously performed successfully in Paris by Mme Dugazon, Minette’s approach was more complex: drawing on unacknowledged references to a review of Dugazon’s performance, Minette also invoked a common Creole background that she claimed to share with her local audience. The metropolitan ‘model’ was thus not always imitated; it was also used as inspiration for new, subtly creolized forms of theatre.","PeriodicalId":40652,"journal":{"name":"Early Modern French Studies","volume":"41 1","pages":"170 - 188"},"PeriodicalIF":0.2,"publicationDate":"2019-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20563035.2019.1592813","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49238753","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

Introduction: Voulez ouyr? 简介:你想要吗?

IF 0.2 3区历史学

Early Modern French Studies Pub Date : 2019-01-02 DOI: 10.1080/20563035.2019.1612556

Tom Hamilton, N. Hammond

{"title":"Introduction: Voulez ouyr?","authors":"Tom Hamilton, N. Hammond","doi":"10.1080/20563035.2019.1612556","DOIUrl":"https://doi.org/10.1080/20563035.2019.1612556","url":null,"abstract":"The text and performance of Janequin’s work raises important issues about the representations of social classes in literature and the performance of everyday speech in a choral context. It introduces the voices of Parisian street singers in ways that seem immediately realistic — vinegar, green sauce, mustard, herring — yet also draw attention to their literary construction as ultimately the song exposes the impossibility of its own project: ‘Si vous en voulez plus ouyr, allez les donc querre !’ In a sixteenth-century context, the joke is perhaps on the elite audiences who would hear Janequin’s pieces performed at court yet would not deign to expose themselves on foot to the hawkers on the Petit Pont whose voices Janequin transposed into polyphony. Modern scholars might feel the provocation differently. For those researchers interested not only in reading about the past, but in understanding how it sounded, Janequin’s conclusion summarizes the problem concisely, for we evidently cannot ask his street singers directly and can only approach their voices through the existing sources. Howmight researchers go about understanding past sound worlds, and the sound world of early modern France in particular? One of our main motivating factors in preparing this special number has been the relative absence of works within early modern French studies devoted to the increasingly buoyant discipline of sound studies. Although the pioneering work of R. Murray Schafer, and, for early modern England, that of Bruce R. Smith, date back to the last century, the majority of wider-ranging recent research on sound within pre-modern French studies has tended to focus upon the nineteenth century or the medieval period. A number","PeriodicalId":40652,"journal":{"name":"Early Modern French Studies","volume":"41 1","pages":"2 - 6"},"PeriodicalIF":0.2,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20563035.2019.1612556","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48050639","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The Sound of Memory: Acoustic Conflict and the Legacy of the French Wars of Religion in Seventeenth-Century Montpellier 记忆之声：17世纪蒙彼利埃法国宗教战争的声音冲突与遗产

IF 0.2 3区历史学

Early Modern French Studies Pub Date : 2019-01-02 DOI: 10.1080/20563035.2019.1612558

David van der Linden

{"title":"The Sound of Memory: Acoustic Conflict and the Legacy of the French Wars of Religion in Seventeenth-Century Montpellier","authors":"David van der Linden","doi":"10.1080/20563035.2019.1612558","DOIUrl":"https://doi.org/10.1080/20563035.2019.1612558","url":null,"abstract":"This article explores the commemorative meaning of sound in early modern Montpellier, focusing on the use of processional music and church bells to remember the French Wars of Religion. Scholarship has demonstrated that music in post-Reformation Europe often served to consolidate confessional identities, but this article argues that in religiously mixed communities like Montpellier, sound also served as a memory vector. In the wake of the French religious wars, Protestants and Catholics developed competing soundscapes that revived painful memories about the wars and sustained religious tension throughout the seventeenth century. Catholics relied on frequent processions to recall the destruction of their churches and monasteries at the hands of the Protestants, and chose specific songs to underline their triumph in re-establishing Catholic worship. The memory of losing their church bells also prompted them to fight Protestant attempts at installing their own bells after the wars. On the basis of untapped archival sources, this article also reconstructs the musical culture of Catholics in seventeenth-century Montpellier, paying particular attention to the cathedral chapel and the confraternity of White Penitents.*","PeriodicalId":40652,"journal":{"name":"Early Modern French Studies","volume":"41 1","pages":"20 - 7"},"PeriodicalIF":0.2,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20563035.2019.1612558","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44373686","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

Constructing a Political Crime: Songs about the Assassination of the duc and the cardinal de Guise 构建政治犯罪：关于刺杀公爵和德吉斯枢机主教的歌曲

IF 0.2 3区历史学

Early Modern French Studies Pub Date : 2019-01-02 DOI: 10.1080/20563035.2019.1612560

Tatiana Debbagi Baranova

{"title":"Constructing a Political Crime: Songs about the Assassination of the duc and the cardinal de Guise","authors":"Tatiana Debbagi Baranova","doi":"10.1080/20563035.2019.1612560","DOIUrl":"https://doi.org/10.1080/20563035.2019.1612560","url":null,"abstract":"Songs played a significant role in the French Wars of Religion by spreading political and religious ideas, and by involving Protestants and Catholics in the conflict. Performed in the streets, churches, workshops and houses, songs participated in the construction of urban soundscapes during the troubles. This article examines six songs composed after the execution of the duc and the cardinal de Guise on the order of Henri III (23 and 24 December, 1588) and printed in Paris by Nicolas Bonfons. This event sparked the armed revolt of the Catholic League against the king and his heir, the Protestant Henri de Navarre. The article analyses the rhetorical features of the songs and compares their arguments with those of contemporary visual images and printed libels. In particular, it shows how songs served as a link between print and oral culture. Songs allowed Leaguers — whatever their age, sex, or status — not only to assimilate the main points of the justification of the revolt and to incorporate representations of a just monarchy, but also to appropriate them intimately by singing.","PeriodicalId":40652,"journal":{"name":"Early Modern French Studies","volume":"41 1","pages":"21 - 36"},"PeriodicalIF":0.2,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20563035.2019.1612560","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44779856","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

Early Modern Justice and Oral Traditions: Crime and Punishment in Breton Ballads 近代早期正义与口述传统:布列塔尼民谣中的罪与罚

IF 0.2 3区历史学

Early Modern French Studies Pub Date : 2019-01-02 DOI: 10.1080/20563035.2019.1612562

Éva Guillorel

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引用次数: 2