DOCSLIB.ORG

Leibniz, Akademie-Ausgabe, Bd. I, 17

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Leibniz, Akademie-Ausgabe, Bd. I, 17 GOTTFRIEDWILHELM LEIBNIZ SAMTLICHE¨ SCHRIFTEN UND BRIEFE HERAUSGEGEBEN VON DER BERLIN-BRANDENBURGISCHEN AKADEMIE DER WISSENSCHAFTEN UND DER AKADEMIE DER WISSENSCHAFTEN IN GOTTINGEN¨ ERSTE REIHE ALLGEMEINER POLITISCHER UND HISTORISCHER BRIEFWECHSEL SIEBZEHNTER BAND 2001 Inhaltsverzeichnis Copyright GOTTFRIEDWILHELM LEIBNIZ ALLGEMEINER POLITISCHER UND HISTORISCHER BRIEFWECHSEL HERAUSGEGEBEN VOM LEIBNIZ-ARCHIV DER NIEDERSACHSISCHEN¨ LANDESBIBLIOTHEK HANNOVER SIEBZEHNTER BAND MAI{DEZEMBER 1699 2001 Inhaltsverzeichnis Copyright LEITER DES LEIBNIZ-ARCHIVS HERBERT BREGER BEARBEITER DIESES BANDES NORA GADEKE¨ GERD VAN DEN HEUVEL UNTER MITWIRKUNG VON MALTE-LUDOLF BABIN REINHARD FINSTER This electronic presentation of Leibniz: S¨amtlicheSchriften und Briefe, Reihe I, Band 17 may not be used, either in part or in total, for publication or commercial purposes without express written permission. All rights of the responsible editors and responsible publishers are reserved. Contact address: Leibniz-Archiv, Waterloostr. 8, 30169 Hannover, Germany; telephone: +49 511 1267 328; fax: +49 511 1267 202; e-mail: [email protected] All rights of the printed edition: Akademie-Verlag Berlin ([email protected]). The printed volume was published in 2001. Diese elektronische Pr¨asentation von Leibniz: S¨amtlicheSchriften und Briefe, Reihe I, Band 17 darf ohne ausdr¨uckliche schriftliche Genehmigung weder ganz noch teilweise zur Ver¨offentlichung oder f¨urkommerzielle Zwecke verwendet werden. Alle Rechte der Be- arbeiter und Herausgeber vorbehalten. Kontaktadresse: Leibniz-Archiv, Waterloostr. 8, 30169 Hannover, Deutschland; Telefon: Deutschland 511 1267 328; Fax: Deutschland 511 1267 202; e-mail: [email protected] Alle Rechte an der Druckausgabe: Akademie-Verlag Berlin ([email protected]). Der gedruckte Band ist 2001 erschienen. Inhaltsverzeichnis INHALTSVERZEICHNIS VORWORT :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: XXIII EINLEITUNG:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::XXVII I. HAUS BRAUNSCHWEIG-LUNEBURG¨ Mai{Dezember 1699 1. Johann Georg Eckhart an Leibniz 21. April (1. Mai) 1699 :::::::::::::::::: 3 2. Leibniz an Herzog Anton Ulrich 23. April (3. Mai) 1699 :::::::::::::::::::: 4 3. Leibniz als Herzog Anton Ulrich an K¨onigLudwig XIV. Beilage zu N. 2 ::::: 5 4. Leibniz als Anton Ulrich an Charles-Fran¸coisde Caradas du Heron f¨urJean- Baptiste Colbert de Torcy. Beilage zu N. 2 ::::::::::::::::::::::::::::::::: 6 5. Michel Raisson an Leibniz 27. April (7. Mai) 1699:::::::::::::::::::::::::: 7 6. Leibniz an Kurf¨urstinSophie 28. April (8. Mai) 1699 ::::::::::::::::::::::: 8 7. Herzog Anton Ulrich an Leibniz 29. April (9. Mai) 1699 :::::::::::::::::::: 9 8. Leibniz an Kurf¨urstinSophie 1. H¨alfteMai 1699 ::::::::::::::::::::::::::: 9 9. Leibniz f¨urdie Geheimen R¨atein Hannover. Pro Memoria 1. H¨alfteMai 1699 ::::::::::::::::::::::::::::::::::::::::::::::::::::::::: 13 10. Leibniz an Kurf¨urstinSophie 17. (?) Mai 1699 ::::::::::::::::::::::::::::: 14 11. Kurf¨urstinSophie an Leibniz 9./19. Mai 1699 :::::::::::::::::::::::::::::: 15 12. Leibniz an Friedrich August Hackmann 11. (21.) Mai 1699 ::::::::::::::::: 16 13. Friedrich August Hackmann an Leibniz 11. (21.) Mai 1699 ::::::::::::::::: 17 14. Friedrich August Hackmann an Leibniz 13. (23.) Mai 1699 ::::::::::::::::: 18 15. Charles Nicolas Gargan an Leibniz 13./23. Mai 1699 ::::::::::::::::::::::: 19 16. Leibniz an Kurf¨urstinSophie 15. (25.) Mai 1699:::::::::::::::::::::::::::: 20 17. Friedrich August Hackmann an Leibniz 17. (27.) Mai 1699 ::::::::::::::::: 22 18. Leibniz an Friedrich August Hackmann 28. oder 29. Mai 1699 :::::::::::::: 23 19. Friedrich August Hackmann an Leibniz 20. (30.) Mai 1699 ::::::::::::::::: 25 20. Charles Nicolas Gargan an Leibniz 21./31. Mai 1699 ::::::::::::::::::::::: 26 21. Heinrich Albert von dem Bussche an Cord Plato von Gehlen (?) f¨urLeibniz 22. Mai (1. Juni)1699 :::::::::::::::::::::::::::::::::::::::::::::::::::::: 27 VIII inhaltsverzeichnis 22. Leibniz f¨urHeinrich Albert von dem Bussche (?). Anderungsvorschl¨agezu¨ einer Medaillenpr¨agungAnfang Juni 1699 :::::::::::::::::::::::::::::::::: 29 23. Leibniz an Herzog Anton Ulrich 16./26. Juni 1699:::::::::::::::::::::::::: 30 24. Leibniz an Johann Dietrich Viet 21. Juni (1. Juli) 1699::::::::::::::::::::: 31 25. Herzog Anton Ulrich an Leibniz 1. (11.) Juli 1699 :::::::::::::::::::::::::: 32 26. Lorenz Hertel an Leibniz 3. (13.) Juli 1699 ::::::::::::::::::::::::::::::::: 33 27. Leibniz an Lorenz Hertel Mitte Juli 1699::::::::::::::::::::::::::::::::::: 34 28. Leibniz an Kurf¨urstinSophie 12. (22.) Juli 1699 :::::::::::::::::::::::::::: 35 29. Friedrich August Hackmann an Leibniz 15. (25.) Juli 1699:::::::::::::::::: 38 30. Lorenz Hertel an Leibniz Ende Juli 1699 ::::::::::::::::::::::::::::::::::: 39 31. Leibniz an Lorenz Hertel 21. (31.) Juli 1699 :::::::::::::::::::::::::::::::: 40 32. Johann Georg Sieverds an Leibniz 21. (31.) Juli 1699 ::::::::::::::::::::::: 41 33. Leibniz an die Geheimen R¨atein Hannover (?) 24. Juli (3. August) 1699 ::: 43 34. Kurf¨urstinSophie an Leibniz 24. Juli/3. August 1699 :::::::::::::::::::::: 44 35. Leibniz an Kurf¨urstinSophie 27. Juli (6.) August 1699 ::::::::::::::::::::: 46 36. Kurf¨urstinSophie an Leibniz 1./11. August 1699 ::::::::::::::::::::::::::: 48 37. Friedrich August Hackmann an Leibniz 2. (12.) August 1699 ::::::::::::::: 50 38. Leibniz an Friedrich August Hackmann 4. (14.) August 1699 ::::::::::::::: 51 39. Leibniz an Kurf¨urstinSophie 5. (15.) August 1699 ::::::::::::::::::::::::: 51 40. Giuseppe Carlo Conte Galli an Leibniz 7. (17.) August 1699 :::::::::::::::: 54 41. Johann Georg Eckhart an Leibniz 21. (?) August 1699 ::::::::::::::::::::: 55 42. Johann Georg Eckhart an Leibniz 12. (22.) August 1699:::::::::::::::::::: 57 43. Ludolf Hugo an Leibniz 12. (22.) August 1699:::::::::::::::::::::::::::::: 57 44. Leibniz an Ludolf Hugo 25. (?) August 1699 ::::::::::::::::::::::::::::::: 58 45. Johann Georg Eckhart an Leibniz 15. (25.) August 1699:::::::::::::::::::: 60 46. Friedrich August Hackmann an Leibniz 17. (27.) August 1699 :::::::::::::: 61 47. Johann Georg Eckhart an Leibniz 18. (28.) August 1699:::::::::::::::::::: 62 48. Leibniz an Lorenz Hertel 1. September 1699:::::::::::::::::::::::::::::::: 63 49. Johann Georg Eckhart an Leibniz 22. August (1. September) 1699:::::::::: 64 50. Friedrich August Hackmann an Leibniz 22. August (1. September) 1699 :::: 65 51. Leibniz an Kurf¨urstinSophie 24. August (3. September) 1699 :::::::::::::: 66 52. Leibniz f¨urJohann Urban M¨uller.Gehaltsquittung 24. August (3. September) 1699 ::::::::::::::::::::::::::::::::::::::::::::::::::::::: 68 53. Leibniz an Friedrich August Hackmann 25. August (4. September) 1699 :::: 68 54. Johann Georg Eckhart an Leibniz 25. August (4. September) 1699:::::::::: 70 inhaltsverzeichnis IX 55. Kurf¨urstinSophie an Leibniz 28. August (7. September) 1699 :::::::::::::: 71 56. Johann Georg Eckhart an Leibniz 7. September 1699 ::::::::::::::::::::::: 72 57. Johann Georg Eckhart an Leibniz 29. August (8. September) 1699:::::::::: 74 58. Friedrich August Hackmann an Leibniz 1. (11.) September 1699 :::::::::::: 74 59. Leibniz an Andreas Gottlieb von Bernstorff 6. (16.) September 1699 :::::::: 75 60. Friedrich August Hackmann an Leibniz 9. (19.) September 1699 :::::::::::: 77 61. Johann Christoph Balcke an Leibniz 12. (22.) September 1699 :::::::::::::: 78 62. Johann Thiele Reinerding an Leibniz 12. (22.) September 1699 ::::::::::::: 78 63. Johann Thiele Reinerding an Leibniz 19. (29.) September 1699 ::::::::::::: 79 64. Johann Christoph Balcke an Leibniz 27. September (7. Oktober) 1699 :::::: 80 65. Leibniz an Jost Heine von Heimburg 27. September (7. Oktober) 1699 :::::: 81 66. Leibniz f¨urdie Geheimen R¨atein Hannover. Promemoria f¨urdie Hauskonfe- renz 10. Oktober 1699 ::::::::::::::::::::::::::::::::::::::::::::::::::::: 82 67. Johann Christoph Balcke an Leibniz 30. September (10. Oktober) 1699 ::::: 83 68. Friedrich August Hackmann an Leibniz 5. (15.) Oktober 1699 :::::::::::::: 84 69. Leibniz an Friedrich August Hackmann Mitte Oktober 1699 :::::::::::::::: 85 70. Leibniz f¨urFriedrich August Hackmann Mitte Oktober 1699 ::::::::::::::: 86 71. Friedrich Wilhelm von G¨ortzan Leibniz 10. (20.) Oktober 1699 :::::::::::: 87 72. Leibniz an Friedrich Wilhelm von G¨ortz12. (22.) Oktober 1699 :::::::::::: 88 73. Charles-Nicolas Gargan an Leibniz 14. (24.) Oktober 1699:::::::::::::::::: 90 74. Jobst Christoph Reiche an Leibniz Ende Oktober 1699 ::::::::::::::::::::: 90 75. Jost Heine von Heimburg an Leibniz 3. (13.) November 1699 ::::::::::::::: 91 76. Leibniz f¨urdie Geheimen R¨atein Hannover 1. H¨alfteNovember 1699 ::::::: 92 77. Friedrich August Hackmann an Leibniz 11./21. November 1699 ::::::::::::: 94 78. Leibniz an Herzogin Benedicte 23. November 1699 ::::::::::::::::::::::::: 97 79. Leibniz f¨urHerzogin Benedicte und K¨oniginWilhelmine Amalie. Beschreibung einer Medaille anl¨aßlich der Hochzeit zwischen Wilhelmine Amalie und dem R¨omischen K¨onigJoseph. Beilage zu N. 78 ::::::::::::::::::::::::::::::::: 98 80. Friedrich August Hackmann an Leibniz 18./28. November 1699 ::::::::::::: 100 81. Giuseppe Carlo Conte Galli an Leibniz. Billet Ende November 1699 ::::::::: 103 82. Johann Georg Eckhart an Leibniz 21. November (1. Dezember) 1699 ::::::: 103 83. Johann Georg Eckhart an Leibniz 24. November (4. Dezember) 1699 ::::::: 105 84. Ludolf Hugo an Leibniz 24. November (4. Dezember) 1699 ::::::::::::::::: 106 85.
Load more

Recommended publications
  • Travestis and Caractères in the Early Modern French Theatre
    Early Theatre 15.1 (2012) Virginia Scott Conniving Women and Superannuated Coquettes: Travestis and Caractères in the Early Modern French Theatre In his 1651 Roman comique that depicts the adventures of an itinerant theat- rical troupe in the French provinces, Paul Scarron describes a conventional representation of older female characters in French comedy: ‘Au temps qu’on était réduit aux pièces de Hardy, il [La Rancune] jouait en fausset et, sous les masques, les roles de nourrice’ [In the period when troupes were reduced to the plays of Hardy, he played in falsetto, wearing a mask, the roles of the nurse].1 The nourrice was a character type from Roman and Italian Renais- sance comedy, often an entremetteuse or go-between as well as a confidant. Juliet’s Nurse in Romeo and Juliet, although she participates in a story that ends tragically, is an essentially comic character and a familiar example from the English repertory. La Rancune, an actor of the second rank, also played confidents, ambas- sadors, kidnappers, and assassins. This mixed emploi — confidents et nour- rices — was not an unusual line of business for an actor in the early years of the seventeenth century. A comparable emploi at the end of that century would be known as confidentes et caractères. The difference is that the former was an emploi for men while the latter was for women. Female character roles became more and more important in the last decades of the seventeenth century, when comedy dominated the Paris repertory and the bourgeoisie dominated the Paris theatre audience. When the professional theatre was established in Paris in the 1630s, no women specialized in comic charac- ter roles; by the end of that century, the troupe of the Comédie-Française included Mlles Desbrosses, Godefroy, Champvallon, and Du Rieu in the emploi of caractères.
    [Show full text]
  • Travestis and Caractãšres in the Early Modern French
    Early Theatre 15.1 (2012) Virginia Scott Conniving Women and Superannuated Coquettes: Travestis and Caractères in the Early Modern French Theatre In his 1651 Roman comique that depicts the adventures of an itinerant theat- rical troupe in the French provinces, Paul Scarron describes a conventional representation of older female characters in French comedy: ‘Au temps qu’on était réduit aux pièces de Hardy, il [La Rancune] jouait en fausset et, sous les masques, les roles de nourrice’ [In the period when troupes were reduced to the plays of Hardy, he played in falsetto, wearing a mask, the roles of the nurse].1 The nourrice was a character type from Roman and Italian Renais- sance comedy, often an entremetteuse or go-between as well as a confidant. Juliet’s Nurse in Romeo and Juliet, although she participates in a story that ends tragically, is an essentially comic character and a familiar example from the English repertory. La Rancune, an actor of the second rank, also played confidents, ambas- sadors, kidnappers, and assassins. This mixed emploi — confidents et nour- rices — was not an unusual line of business for an actor in the early years of the seventeenth century. A comparable emploi at the end of that century would be known as confidentes et caractères. The difference is that the former was an emploi for men while the latter was for women. Female character roles became more and more important in the last decades of the seventeenth century, when comedy dominated the Paris repertory and the bourgeoisie dominated the Paris theatre audience. When the professional theatre was established in Paris in the 1630s, no women specialized in comic charac- ter roles; by the end of that century, the troupe of the Comédie-Française included Mlles Desbrosses, Godefroy, Champvallon, and Du Rieu in the emploi of caractères.
    [Show full text]
  • De Pierre Bayle
    études littéraires françaises • 22 études littéraires françaises collection dirigée par Wolfgang Leiner avec la collaboration de Jacqueline Leiner et d'Ernst Behler Essai sur le rôle des Allemands dans le Dictionnaire Historique et Critique (1697) de Pierre Bayle par Jean F. Goetinck Préface d'Ernst Behler Gunter Narr Verlag • Tübingen Editions Jean-Michel Place - Paris CIP-Kurztitelaufnahme der Deutschen Bibliothek Goetinck, Jean F. : Essai sur le rôle des Allemands dans le Dictionnaire historique et critique (1697) [mille six cent quatre-vingt-dix-sept] de Pierre Bayle / par Jean F. Goetinck. Préf. d'Ernst Behler. -Tubingen : Narr ; Paris : Place, 1982. (Etudes littéraires françaises ; 22) ISBN 3-87808-960-0 NE: GT @ 1982 - Gunter Narr Verlag • Tübingen Alle Rechte vorbehalten. Nachdruck oder Vervielfaltigung. auch auszugsweise. in allen Formen wie Mikrofilm, Xérographie, Mikrofiche. Mikrocard, Offset verboten. Tous droits de reproduction réservés pour tous pays. Druck : Müller + Bass - 7400 Tùbingen - Hechinger StraBe 25 ISBN 3-87808-960-0 PREFACE From Voltaire to Feuerbach, Marx, and far beyond, Pierre Bayle's Dictionnaire his- torique et critique of 1697 has again and again appeared as the arsenal of the Enligh- tenment providing the age of reason with that anti-religious and anti-authoritarian ammunition which eventually destroyed the foundations of the ancien regime. There is obviously no doubt how smoothly Bayle's thought fused with that part of rationa- lism which became identical with irreligiosity. Karl Marx and Friedrich Engels in The Holy Family of 1845 depicted Bayle as an author who not only discredited the metaphysics of the seventeenth century, but all metaphysics, and as one who became the historiographer of metaphysics in order to write the history of its death.
    [Show full text]
  • Boyle's Books
    BOYLE’S BOOKS: THE EVIDENCE OF HIS CITATIONS Iordan Avramov Michael Hunter Hideyuki Yoshimoto Robert Boyle Project Occasional Papers No. 4 Boyle’s Books: The Evidence of his Citations Robert Boyle’s extensive library was irrevocably dispersed within fifteen months of his death in 1691, and only a few volumes from it can now be identified. However, clues to Boyle’s ownership of books are provided by his citations of the writings of others by page, sometimes using the formula ‘pagina mihi’, ‘page in my copy’. This publication collects such evidence both from Boyle’s published writings and from his manuscript reading notes to give details of some 125 books which he is likely to have owned. It thus offers a significant contribution to the reconstruction of Boyle’s library. The authors are Iordan Avramov, Research Fellow at the Centre for Science Studies and History of Science, Bulgarian Academy of Sciences, Sofia; Michael Hunter, Professor of History at Birkbeck, University of London, and Director of the Robert Boyle Project; and Hideyuki Yoshimoto, Professor in the Division of Culture and Literary Studies at the Tokyo University of Foreign Studies. Robert Boyle, Of the Reconcileableness of Specifick Medicines to the Corpuscular Philosophy (London, 1685), p. 70, showing a typical example of a citation by him in the form ‘Pag[ina] mihi’, ‘page in my copy’. Wellcome Library, London, 15066/B. BOYLE’S BOOKS: THE EVIDENCE OF HIS CITATIONS Iordan Avramov Michael Hunter Hideyuki Yoshimoto Robert Boyle Project Occasional Papers No. 4 2010 No. 4 of the Occasional Papers of the Robert Boyle Project Published by the Robert Boyle Project, Department of History, Classics and Archaeology, Birkbeck, University of London, Malet Street, London, WC1E 7HX, UK © Iordan Avramov, Michael Hunter and Hideyuki Yoshimoto All rights reserved ISBN: 978-0-9551608-3-7 British Library Cataloguing in Publication Data.
    [Show full text]
  • Preaching for the Eyes: Priests, Actors, and Ceremonial Splendor in Early Modern France by Joy Kathleen Palacios a Dissertation
    Preaching for the Eyes: Priests, Actors, and Ceremonial Splendor in Early Modern France By Joy Kathleen Palacios A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Performance Studies in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Shannon Steen, Chair Professor Shannon Jackson Professor Nicholas Paige Professor Michael Wintroub Fall 2012 i Abstract Preaching for the Eyes: Priests, Actors, and Ceremonial Splendor in Early Modern France by Joy Kathleen Palacios Doctor of Philosophy in Performance Studies University of California, Berkeley Professor Shannon Steen, Chair In 1656, Jean-Jacques Olier, founder of the Seminary of Saint-Sulpice, urged his students and readers to think of the ceremonies of the mass as “preaching for the eyes.” His emphasis on the liturgy as something that should be not just heard but also seen signaled a shift in Catholic worship away from the auditory toward the visual, as well as a call for priests to acquire what we would now call performance skills so as to “preach” with their bodies. This dissertation argues that ecclesiastical action against actors flared in France between the 1660s and 1730s because the foundation of seminaries two decades earlier had turned parish priests into liturgical performers as part of a larger effort to professionalize the secular clergy. This professionalization helps solve a puzzle presented by the cultural history of the theater in early modern France. Although virulent, religiously informed anti-theatrical discourses punctuated France’s golden age of theater, France’s parish priests appear to have applied anti-actor policies inconsistently.
    [Show full text]
  • Éducation Intérieur
    L’Académie royale de Soissons À la genèse des académies provinciales du Grand Siècle « En remontant jusqu’aux origines du mouvement académique ce sont les soubassements de la civilisation européenne moderne que l’on mettra à jour. ».1 En 1654, Olivier Patru, académicien célèbre, apprenant qu’il existait à Soissons une autre académie, certes moins prestigieuse que l’Académie française à laquelle il appartenait, mais qui depuis quatre ans réunissait régulièrement un certain nombre d’hommes de lettres, en fut très étonné. Il ne comprenait pas comment dans une ville aussi peu peuplée il se soit trouvé assez de gens lettrés pour composer et animer un tel cénacle, alors qu’un de ses amis avait vainement tenté d’en fonder une à Rouen, ville beaucoup plus importante2. Aujourd’hui encore, la question se pose. Il s’agit dès lors de retrouver quels sont les facteurs qui ont rendu possible la création d’une Académie dans cette petite ville de province bien avant que d’autres métropoles, telles que Lyon, Marseille, Bordeaux ou Lille, ne s’en dotent. La maturation d’un réseau acadé- mique autour d’un noyau fondateur nécessitait une accumulation de capital intel- lectuel qui ne pouvait se développer sans institutions de culture et sans milieu d’accueil favorable sur lesquels il convient de s’interroger. Il faut se pencher aussi sur le rôle des hommes3, de ceux qui ont imaginé de créer pour la première fois une académie en province et qui portent la responsabilité de la réussite de ce premier acte fondateur. Si les académies provinciales ont déjà fait l’objet d’études approfondies au siècle des Lumières4, on ne dispose en revanche d’aucun travail d’ensemble portant sur le même sujet au Grand Siècle.
    [Show full text]
  • L'auteur Dramatique Et La Conscience Professionnelle (1610-1640)
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 11-9-2018 3:00 PM L'auteur dramatique et la conscience professionnelle (1610-1640) Heather N. Kirk The University of Western Ontario Supervisor Leclerc, Jean The University of Western Ontario Graduate Program in French A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Heather N. Kirk 2018 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the French and Francophone Literature Commons Recommended Citation Kirk, Heather N., "L'auteur dramatique et la conscience professionnelle (1610-1640)" (2018). Electronic Thesis and Dissertation Repository. 5950. https://ir.lib.uwo.ca/etd/5950 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Résumé Ce travail s’inscrit dans un prolongement des ouvrages socio-littéraires publiés depuis La Naissance de l’écrivain d’Alain Viala en 1985. L’« écrivain » est l’incarnation professionnelle de l’auteur et se distingue de celui-ci par son inscription au sein de la République des Lettres, un espace défini par les mécanismes socio-politiques de son époque (académies, salons, public payant, doctes, libraires). L’écrivain – l’homme de lettres professionnel – s’émancipe du milieu purement intellectuel et se construit un réseau de circulation qui permet les concurrences. Nous proposons que les auteurs dramatiques de l’époque pré-académique (vers 1610-1640) étaient déjà conscients d’une hiérarchie, de l’utilité sociale et de la qualité esthétique de leurs œuvres, les critères que Viala attribue au littérateur professionnel seulement à partir de l’âge classique.
    [Show full text]
  • Astronomy and the Birth of Anthropology in the Eighteenth Century
    NÚMERO 66 MICHAEL J. SAUTER The Liminality of Man: Astronomy and the Birth of Anthropology in the Eighteenth Century AGOSTO 2010 www.cide.edu Las colecciones de Documentos de Trabajo del CIDE representan un medio para difundir los avances de la labor de investigación, y para permitir que los autores reciban comentarios antes de su publicación definitiva. Se agradecerá que los comentarios se hagan llegar directamente al (los) autor(es). • D.R. ® 2010. Centro de Investigación y Docencia Económicas, carretera México-Toluca 3655 (km. 16.5), Lomas de Santa Fe, 01210, México, D.F. Fax: 5727•9800 ext. 6314 Correo electrónico: [email protected] www.cide.edu Producción a cargo del (los) autor(es), por lo que tanto el contenido así como el estilo y la redacción son su responsabilidad. Abstract This essay argues that modern cultural anthropology is a product of early- modern astronomical science. Analyzing a variety of texts from the sixteenth, seventeenth and eighteenth-centuries, this text shows how the conceptual tools that early-modern astronomers developed, beginning in the fifteenth century, were transferred to anthropological thought, during the course of the seventeenth and eighteenth centuries. The end result was an anthropological tradition that this essay calls celestial anthropology. This tradition formed around 1700 and ran, uninterrupted, until 1850, when the astronomical backdrop to anthropological thought receded from discussions about the human being and left behind contemporary anthropological approaches, including above all cultural anthropology. This essay further argues that celestial anthropology lives on in contemporary theology and science writing and concludes that anthropological discussion should pay more attention to the methods and approaches of these heirs to celestial contemplation.
    [Show full text]
  • UC Berkeley UC Berkeley Electronic Theses and Dissertations
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Preaching for the Eyes: Priests, Actors, and Ceremonial Splendor in Early Modern France Permalink https://escholarship.org/uc/item/42m4676v Author Palacios, Joy Kathleen Publication Date 2012 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Preaching for the Eyes: Priests, Actors, and Ceremonial Splendor in Early Modern France By Joy Kathleen Palacios A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Performance Studies in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Shannon Steen, Chair Professor Shannon Jackson Professor Nicholas Paige Professor Michael Wintroub Fall 2012 i Abstract Preaching for the Eyes: Priests, Actors, and Ceremonial Splendor in Early Modern France by Joy Kathleen Palacios Doctor of Philosophy in Performance Studies University of California, Berkeley Professor Shannon Steen, Chair In 1656, Jean-Jacques Olier, founder of the Seminary of Saint-Sulpice, urged his students and readers to think of the ceremonies of the mass as “preaching for the eyes.” His emphasis on the liturgy as something that should be not just heard but also seen signaled a shift in Catholic worship away from the auditory toward the visual, as well as a call for priests to acquire what we would now call performance skills so as to “preach” with their bodies. This dissertation argues that ecclesiastical action against actors flared in France between the 1660s and 1730s because the foundation of seminaries two decades earlier had turned parish priests into liturgical performers as part of a larger effort to professionalize the secular clergy.
    [Show full text]
  • Durham Research Online
    Durham Research Online Deposited in DRO: 15 October 2019 Version of attached le: Accepted Version Peer-review status of attached le: Peer-reviewed Citation for published item: Clarke, Jan and Greenberg, Mitchell (2019) 'Sites of performance and circulation : tragedy in the repertory of Moli ere'stroupe and its successors, 1659-1689.', in A cultural history of tragedy in the Age of Enlightenment. London: Bloomsbury. The cultural histories series., 4 Further information on publisher's website: https://www.bloomsbury.com/us/a-cultural-history-of-tragedy-9781474288149/ Publisher's copyright statement: This is an Accepted Manuscript of a book chapter published by Bloomsbury Academic in A Cultural History of Tragedy in the Age of Enlightenment on 28 November 2019 available online: http://www.bloomsbury.com/9781474288149 Additional information: Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk 1 Sites of Performance and Circulation: Tragedy in the Repertory of Molière’s Troupe and its Successors, 1659-1689 Objective and sources The years 1659 to 1689 were important in the history and development of tragedy.
    [Show full text]
  • Samuel Chappuzeau (1625-1701)
    Hessen im 17. Jahrhundert aus der Sicht des hugenottischen Schriftstellers Samuel Chappuzeau (1625-1701) Sabine Haake-Kress Ihr habt eure Religion niemals eurem Interesse dienen lassen / sondem ihr habt euer Religion und euer Vat/erland allezeit vor euere zw<y Polos gehabt ... lhr habt mit standhafftigem Muth aUff der rechten Seite gehalten und ... nur vor das Evangelium und die rechte Fr<yheit ge/ochten. Mit diesen Worten preist Samuel Chappuzeau die protestantischen deut­ schen Fursten und Stande in der Widmung zum zweiten Teil seines Haupt­ werkes ,,1etztlebendes Europa"i. Wer war dieser Schriftsteller Samuel Chappuzeau, dessen Namen und des­ sen Rucher heute kaum jemand mehr kennt? 2 Chappuzeaus Leben Er entstammte einer hugenottischen Familie - urspriinglich aus dem Poi­ tou -, die dem niederen Amtsadel angehorte. Sein Vater war zum avocat au Conseit prive du Roy avanciert, der Sohn war darauf zeitlebens stolz und ver­ wendete den Titel gem auch fUr si ch. 1625 wurde Samuel Chappuzeau in Paris geboren, studierte in den calvinistischen Hochburgen Genf und Montauban Philosophie, Medizin und Theologie, gab aber schon bald sein Ziel auf, Predi­ ger zu werden, und rustete statt dessen mit gut 20 Jahren zur ersten seiner zahlreichen groBen Reisen. Er besaB einigen Ehrgeiz und hatte bereits friih die geringen Chancen erkannt, im unruhigen Frankreichjener Zeit eine gute Position zu finden, zu­ mal als Reformierter. Dazu kamen sein Drang nach Ungebundenheit und sei­ ne ausgepragte Reiselust: dies alles hatte ihn also bewogen, Frankreich zu ver­ lassen und in anderen europaischen Landem sein Gluck zu versuchen. Zu­ nachst finden wir Chappuzeau in England und Schottland, dann in den N ie­ derlanden - hier schrieb er seine ersten Arbeiten - und anschlieBend in Deutschiand, wo er am Kasselschen Hofe 1650 seine erste feste Anstellung er­ hielt: AIs Privatsekretar der Landgrafin war er mit der Aufgabe betraut, die Chronik von Amalie Elisabeths Regierungszeit zu schreiben.
    [Show full text]
  • What Happened in 1678? Reassessing »Orontea« and the Beginnings of Opera in Hanover*1
    What happened in 1678? Reassessing »Orontea« and the Beginnings of Opera in Hanover*1 Vassilis Vavoulis he 1678 fi rst opera season in the town of Hanover had important repercussions for the history of Tbaroque opera in the whole of northern Europe. Events and processes set into motion that year in- itiated an important trail of dissemination of opera that we are only gradually beginning to understand. Johann Friedrich and music in Hanover The Hanoverians and their court have long attracted the interest of opera historians due to their long association with Venice and its theatrical world. It is in the context of those political, social, and cultural contacts with the Serenissima that the fi rst Hanover opera, Antonio Cesti’s Orontea (1678), can be better understood. The Guelphs (Welfen) of the area of Brunswick (Braunschweig) were a monarchical house with one of the most interesting relationships to Italy. They could trace their lineage back to the Italian Guelfi and the legendary Henry the Lion who established the Guelph dynasty in the area of Saxony in the 12th century. Brunswick remained in their possession for over 600 years and until Hanover was annexed into Prussia in 1868. It was therefore a monarchical house with a particular sense of its heritage and links to Italy. For the young Brunswick princes, this background took on a very realistic form on their regular trips to Italy including long sojourns in Venice and Rome. Theirs was much more than the standard Grand Tour enjoyed by most aristocratic offspring. For one of them, Johann Friedrich of Braunschweig-Lüneburg (1625 – 1679), the trips to Italy took a more serious turn in 1651 – 1652 when he converted to Catholicism at Assisi (following doctrinal discussions at the Vatican).
    [Show full text]