Joan of Arc As Prisonnière De Guerre1
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Ceremony and Conflict in Fifteenth-Century France: Lancastrian Ceremonial Entries Into French Towns, 1415-1431
113 Ceremony and Conflict in Fifteenth-Century France: Lancastrian Ceremonial Entries into French Towns, 1415-1431 Neil Murphy he renewal of the Hundred Years' War by Henry V led to the rapid T expansion of Lancastrian power in northern France. Although England's military campaigns have been studied in great detail, historians have paid little attention to the Lancastrian monarchy's use of ceremony to establish its rule in France.! This article will principally focus on the ceremonial entry, which was a dynamic and versatile rite that could be adapted to suit the rapidly changing conditions engendered by Lancastrian successes in France. The ceremonial entry underwent a period of intense development in England and France during the later Middle Ages. Following the inclusion of multifaceted dramatic performances in England from 1377 and in France from 1380, entries became increasing complex (Kipling 6). A ceremonial entry was the moment at which a ruler took formal possession of a town, and these entries were used frequently in zones of persistent conflict, such as northern France, where towns regularly passed from one lord to another. Indeed, the Lancastrian rulers of France made at least twenty-three ceremonial entries in the sixteen years running from 1415 to 1431. This article will look at Lancastrian ceremonial entries during the period running from Henry V's invasion of France in August 1415 to his son's coronation at Paris in December 1431. It will provide a wider contextualisation of the Lancastrian monarchy's use of ceremony and relate the developments made to the form and function of the entry to the wider political and economic conditions created by war in northern France. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
Saint Joan Timeline Compiled by Richard Rossi
1 Saint Joan Timeline Compiled by Richard Rossi A certain understanding of the historical background to Saint Joan is necessary to fully understand the various intricacies of the play. As an ocean of ink has been spilled by historians on Joan herself, I shall not delve too deeply into her history, keeping closely to what is relevant to the script. My dates, which may not necessarily match those that Shaw used, are the historically accepted dates; where there is discrepancy, I have notated. In some cases, I have also notated which characters refer to certain events in the timeline. There is a great deal of history attached to this script; the Hundred Years War was neither clean nor simple, and Joan was, as The Inquisitor says, “...crushed between these mighty forces, the Church and the Law.” 1st Century: Saint Peter founds the Catholic Church of Rome. (Warwick mentions St. Peter) 622: Establishment of Mohammad’s political and religious authority in Medina. (Cauchon mentions the prophet) 1215: The Waldensian movement, founded by Peter Waldo around 1170, is declared heretical at the Fourth Lateran Council. The movement had previously been declared heretical in 1184 at the Synod of Verona, and in 1211 80+ Waldensians were burned at the stake at Strausbourg. This was one of the earliest proto-Protestant groups and was very nearly destroyed. 1230’s: Establishment of the Papal Inquisition, which would later prosecute the trial against Joan of Arc. (Mentioned by Warwick. This is the same inquisition mentioned throughout the script) 1328: Charles IV of France dies without a male heir, ending the Capetian Dynasty and raising some very serious questions regarding the right of inheritance. -
JOAN of ARC Dy Herself and Her Witnesses 1994 Edition with a New Cover Published by SCARBOROUGH HOUSE Lanham, MD 20706
JOAN OF ARC Dy Herself and Her Witnesses 1994 edition with a new cover published by SCARBOROUGH HOUSE Lanham, MD 20706 REGINE PERNOUD A SCARBOROUGII BOOK REISSUE 1982 First Stein and Day Paperback edition 1969 TranslateJ from the French hy EJwarJ Hyams First published in the United States of America by STEIN AND DAY / Publishers, 1966 This translation copyright Cl Macdonald & Co (Publishers) Ltd., 1964 First published in the French language in 1962 as Jeanne d'Arc par elle-mlme 1'1 par ses temoins Copyright Cl 1962 by Editions du Seuil All rights reserved Printed in the United States of America Library or Con&re!! Catalo.:ln& In Publication nata Pernoud, Regine, 1909· Joan or Arc by herseU and her witnesses. "A Scarborough book." Translation or: Jeanne d'Arc par elle-meme et par ses temoins. Includes index. I. Joan, or Arc, Saint, 1412-1431. 2. Christian saints-France-Biography. I. Title. DC103.P3783 19R2 944'.026'0924 [B] 82-19312 ISBN 0-8128-1260-3 (pbk.) SCARBOROUGH HOUSE Lanham • New York • London ----:1 ~.--.., --~, ---' --'. :=..=J ~ 9 REHABILITATION On October 24, 1430, while Joan was still a prisoner at Beaurevoir, the Duke of Burgundy had been forced to raise the siege of Com picgne, that town having heen relieved by a French army commanded by the Comte de Vcndome and the Marshal de lloussac. The olTensi ve operations which the duke had been able to prepare, thanks to the imprudent truces signed by Charles VII, had not been as profitable as he had hoped. In 143 I there were more French successes, chieOy owin~ 10 lhe ener~y of La Hire, who had been appointed captain-general ill Normandy immediately after the taking of Louviers in December 1429, and of the sire de Barbazan in Champagne. -
Guiderq> Educators
*?i i<\ T Guide rQ> Educators • • The remarkable • • . • -. •. story of one young woman who lived and m^m irtitfir her country eould be free. Two-Part Mini-Series Airim ay, May 16, 1999 an Tuesday, May 18, 1999, 9:00-11:00 PM, ET/PT. Check local \'r* Tips for Using the JOAN OF ARC Educators' Guide and Website There are endless ways to create exciting lessons around the mini- series JOAN OF ARC. Here are some ideas to help you get started. Synopsis Before Viewing: Joan of Arc's humble roots begin in Domremy, in south • Review the SYNOPSES to familiarize ern France, during the Hundred Years' War. Joan's your students with the stories and father almost kills her at birth because he believes a characters in JOAN OF ARC. daughter cannot do the man's work that is needed. • Participate in the interactive ONLINE DISCUSSION with "Joan However, Joan is spared and grows up a clever and of Arc," to develop an understand defiant child, always seeking equal privilege to her ing about her place in history. brothers. Her life—and the fate of her country—begins • Assign JOAN OF ARC for viewing to change when she experiences visions and voices of as enrichment, homework, or extra credit. Saints Catherine, Michael, and Margaret. At 16, Joan After Viewing: leaves her family and village on her divine mission to • Use the DISCUSSION QUESTIONS help the Dauphin Charles gain his crown and, thus, and STUDENT ACTIVITIES in this unite France against its English enemies. guide to direct purposeful viewing and extend student investigation. -
The Influence of the University of Paris Upon Ecclesiastical and Political Affairs in the Early Fifteenth Century
THE INFLUENCE OF THE UNIVERSITY OF PARIS UPON ECCLESIASTICAL AND POLITICAL AFFAIRS IN THE EARLY FIFTEENTH CENTURY A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts by Patricia Ann Wegner, B.A. The Ohio State University 1971 Approved by TABLE OF CONTENTS INTRODUCTION. 1 Chapter I. THE GREAT SCHISM . 4 II. THE THEORY OF TYRANNICIDE • . 26 III. THE REIGN OF CHARLES VI • • • . 34 IV. THE TRIAL OF JOAN OF ARC. • . 42 CONCLUSION . 59 BIBLIOGRAPHY • • • • • • • • • • • • • • • 4 • • 61 ii INTRODUCTION "As the weakness of the papacy gave the University (of Paris) the opportunity to assert its authority in the Church, so the weakness of the crown gave it the oppor tunity to assert its authority in the state. 111 The prominence of the University of Paris in the Great Schism spanned the period of time from 1379, when the University recognized the pontificate of Clement VII, until the resolution of the Schism through the Council of Constance in 1414-1417. The discord in the Church, ef fected by the circumstance of two rival pontiffs, infected all the nations of Western Europe. Ecclesiastical, as well as national and international politics, were part of the struggle between the two popes. The University, as a highly respected organ of the Church felt the responsi bility to make efforts to bring the Schism to an end. The prominence of the University in the Schism, as it dealt in the realm of ecclesiastical politics, gave it the impulse to become an active force in the purely sec- ular affairs of the state as well. -
Saint Joan Script Glossary Compiled by Richard Rossi Italicized Definitions Have an Accompanying Picture Scene I
1 Saint Joan Script Glossary Compiled by Richard Rossi Italicized definitions have an accompanying picture Scene I Meuse River: During the time of the play, this roughly North/South river indicated the border between the Holy Roman Empire and the Kingdom of France. Approximately the red line, with Lorraine as the tan county at the bottom right, and Champagne on the left. Lorraine: The Duchy of Upper Lorraine, ruled by the dynasty of Gérard de Châtenois, was de facto independent from the 10th to 15th centuries. Intersected by the Meuse and Moselle rivers, it had a great deal of trade and information passing through, which made it an enticing target. In 1431, a mere two years after the start of Saint Joan, the Duchy was ceded to the House of Anjou, specifically René I, from whom it was incorporated into France in 1480. Champagne: Under the rule of the Counts of Champagne until 1284, the marriage of Philip the Fair and Joan I of Navarre brought it under the royal domain. During the High Middle Ages (1000-1300), the County of Champagne was one of the most powerful fiefs in France, home to the largest financial and commercial markets in Western Europe. 2 Vaucouleurs Castle: The main defense of “the town that armed Joan of Arc” and the residence of Robert de Baudricourt. The unruined structures, including the gothic chapel on the right, were rebuilt during the 18th century. Robert de Baudricourt: (1400-1454) minor French nobility, the son of the chamberlain of the Duke of Bar (Liebald de Baudricourt). -
La Hire Et Poton De Xaintrailles, Capitaines De Charles Vii Et Compagnons De Jeanne D’Arc
Camenulae 15, octobre 2016 Christophe FURON LA HIRE ET POTON DE XAINTRAILLES, CAPITAINES DE CHARLES VII ET COMPAGNONS DE JEANNE D’ARC « Inséparables »1, « compagnons de Jeanne »2 : telle est l’image que La Hire, moins connu sous le nom d’Étienne de Vignoles, et Jean, dit Poton, de Xaintrailles laissèrent à la postérité, jusque dans l’historiographie la plus récente. Invariablement, les historiens les présentent comme de rudes capitaines de compagnie gascons, toujours fidèles au dauphin puis roi Charles VII, dont le point d’orgue de leur carrière se situe au moment de l’épopée johannique, plus précisément lors du siège d’Orléans3. Pourtant, les historiens se sont peu intéressés à ces deux capitaines : la dernière publication consacrée à La Hire date de 19684 et, pour ce qui concerne Poton de Xaintrailles, il faut remonter à… 19025. C’est cette image, persistante dans l’historiographie française au point d’en devenir un lieu commun, qu’il convient donc d’interroger. Il ne s’agit pas de tenter de dissocier le mythe de l’Histoire mais plutôt de comprendre comment, au cours des siècles, l’un et l’autre se sont nourris au point de constituer aujourd’hui une sorte d’image d’Épinal de la guerre de Cent Ans et de l’histoire de Jeanne d’Arc. Pour cela, retracer les carrières respectives des deux capitaines permet de comprendre le rôle du roi dans leur ascension, d’évaluer la place et l’éventuelle incidence que l’épopée johannique a pu avoir sur celle-ci et de questionner la réalité de leur compagnonnage. -
L'evêque Pierre Cauchon
Extrait de la publication Extrait de la publication L'évêque Pierre Cauchon Extrait de la publication FRANÇOIS NEVEUX L'évêque Pierre Cauchon Denoël Extrait de la publication © by Editions Denoël, 1987 19, rue de l'Université, 75007 Paris ISBN 2.207.23295.6 Extrait de la publication Avant-propos Pierre Cauchon, un nom célèbre, mais toujours associé dans la mémoire collective à celui de Jeanne d'Arc. Elle est évidemment la victime et lui, le mauvais juge qui l'a condamnée à la terrible mort du feu. En somme, ce «sinistre évêque» est ravalé au rang de « bourreau ». Du moins certains n'hésiteront-ils pas à l'écrire. C'est une tâche redoutable d'entreprendre la biographie d'un personnage aussi vilipendé. N'est-ce pas cependant une tâche néces- saire? Ne faut-il pas essayer de comprendre comment un haut dignitaire de l'Église du xv* siècle a pu, au moyen d'un procès apparemment régulier, juger et condamner une femme que l'Église du XXe siècle devait proclamer sainte? Bien sûr, il ne peut être question de sortir Pierre Cauchon de son cadre historique. Car il a été mêlé de près aux grands événements religieux, politiques et militaires de son temps. Une aventure comme la sienne n'était possible que dans la France des XIVe et x ve siècles, c'est-à-dire au cours d'une époque extrêmement troublée. Pierre Cauchon est né vers 1371, sous le règne de Charles V. Un règne de paix et d'ordre, très relatifs, qui ne constituent qu'une petite parenthèse au milieu d'un conflit séculaire. -
The Prehistory and Reception of Leonard Bernstein's Missa
The prehistory and reception of Leonard Bernstein’s Missa Brevis (1988) by Patrick Connor Dittamo B.A., College of William and Mary, 2013 A THESIS submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC School of Music, Theatre, and Dance College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2019 Approved by: Major Professor Craig Weston Copyright © 2019 Patrick Connor Dittamo. All rights reserved. Abstract Leonard Bernstein (1918-1990) commonly repurposed previously-written material in new compositions, including his Missa Brevis (1988), which adapted significant portions of his incidental music for Lillian Hellman’s play The Lark (1955), itself an adaptation of French playwright Jean Anouilh’s play L’Alouette (1953) about the trial of Joan of Arc. Based on an assessment of The Lark’s mixed reception history as a play, Bernstein’s score, recorded by the New York Pro Musica, deserves some credit for the original Broadway run’s considerable success. Bernstein’s Medieval- and Renaissance-inflected score was written shortly before the play’s tryout run in Boston, and used fragments of verse by Adam de la Halle (c. 1245-1288/1306) and Jean-Antoine de Baïf (1532-1589), as well as the tune of the French folksong “Plantons la Vigne,” and not the commonly-cited “Vive la Grappe.” Bernstein and the New York Pro Musica were well- compensated for their contributions to The Lark; however, during the play’s national tour, there was a pay dispute over reduced royalties between Bernstein’s agent and the play’s management. Before the New York premiere of The Lark, Bernstein expressed a belief that its incidental score held a viable “kernel of a short mass,” and considered using a Lark-based missa brevis to fulfill a commission for Juilliard’s fiftieth anniversary, an idea he ultimately abandoned. -
Norman Dello Joio
NORMAN DELLO JOIO: THE TRIAL AT ROUEN NORMAN DELLO JOIO 1913–2008 DISC 1 (62:14) DISC 2 (56:53) THE TRIUMPH OF SCENE II SAINT JOAN SYMPHONY (1952) [1] Prelude 2:31 TRIUMPH OF SAINT JOAN SYMPHONY [1] I. The Maid 9:41 [2] “ Come on, Soldier, let us in, we’ve come to see [2] II. The Warrior 7:42 the trial begin” 2:45 THE TRIAL AT ROUEN [3] III. The Saint 9:46 [3] “ Have you no respect in the presence of the Holy Office?” 1:29 THE TRIAL AT ROUEN (1956) [4] “I call on Thee, Eternal God” 6:05 | [ ] 4:26 BOSTON MODERN ORCHESTRA PROJECT ODYSSEY OPERA SCENE I 5 “Look, she’s still in chains” [6] “ Then in the name of Heaven, end this Gil Rose, conductor [4] Prelude 7:13 trial” 3:25 [5] “Mover of the Universe” 7:22 [7] “ I have never denied it, but you contradict what [ ] “Yield, my pigeon, yield!” 2:31 6 my voices tell me.” 4:16 HEATHER BUCK soprano — Joan [7] “Is it for this I crowned a king?” 4:32 [8] “In our time of trouble” 2:33 [8] “O good maid, my heart is with you” 7:36 STEPHEN POWELL baritone — Pierre Cauchon [9] “ Was Saint Michael unclothed [9] “ Are you the price of life’s baritone — Father Julien when he appeared before you?” 5:35 LUKE SCOTT sweet breath?” 5:48 [10] “The maid is doomed” 2:13 bass-baritone — The Jailer RYAN STOLL [11] “Do what you will but do not burn me.” 6:40 JEREMY AYRES FISHER tenor — Soldier [12] “ Fear not, daughter of France, thy saints draw near, Joan of Lorraine” 5:10 [13] “Be brave, O girl, in your hour of death” 2:26 [14] “Your final will be done.” 7:15 COMMENT By Norman Dello Joio As an organist, I held my first professional position at the age of12 in a little church on City Island. -
Joan of Arc, Jeanne La Pucelle, (1412 – 1431) Andrew Payne
Joan of Arc, Jeanne la Pucelle, (1412 – 1431) Andrew Payne “We declare you of right excommunicate and heretic, being stubborn and obstinate in your crimes, excesses and errors; and we pronounce it meet to abandon you to the secular justice as a limb of Satan, infected with the leprosy of heresy, cut off from the Church, in order to prevent the infection of the other members of Christ ...” last words addressed to Joan of Arc, Wednesday 30 May 1431 Joan of Arc is one of just two internationally recognised figures with memorials in Winchester Cathedral. My purpose in writing this piece is to tell her story, to correct the frequently held belief that she was tried and executed by the English and to show that Cardinal Beaufort, bishop of Winchester, was not present at her trial nor responsible for her interrogation, as depicted in the famous painting by Paul Delaroche (1824). Primary sources include the Parliament Rolls of Medieval England 1275-1504 and an English translation of the transcript of Joan of Arc’s trial. There are two things which really do need to be emphasised at the start. The first is that Joan of Arc’s rise and fall were meteoric. She first appears in the historic record in February 1429. Just two years later, by the end of May 1431, she was dead. But the mark she made in history was profound. Even in those two short years she was being written about right the way across Europe. The second is that we know so much about her.