As in Literature, Painting Sees a Similar Confrontation Between Neoclassicism (E.G
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
French Catholicism's First World War
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2016 Calvary Or Catastrophe? French Catholicism's First World War Arabella Leonie Hobbs University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the European History Commons, Other Languages, Societies, and Cultures Commons, and the Religion Commons Recommended Citation Hobbs, Arabella Leonie, "Calvary Or Catastrophe? French Catholicism's First World War" (2016). Publicly Accessible Penn Dissertations. 2341. https://repository.upenn.edu/edissertations/2341 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2341 For more information, please contact [email protected]. Calvary Or Catastrophe? French Catholicism's First World War Abstract CALVARY OR CATASTROPHE? FRENCH CATHOLICISM’S FIRST WORLD WAR Arabella L. Hobbs Professor Gerald Prince The battlefield crucifixes that lined the Western Front powerfully connected industrialized warfare with the Christian past. This elision of the bloody corporeality of the crucifixion with the bodily suffering wrought by industrial warfare forged a connection between religious belief and modern reality that lies at the heart of my dissertation. Through the poignancy of Christ’s suffering, French Catholics found an explanatory tool for the devastation of the Great War, affirming that the blood of ther F ench dead would soon blossom in rich harvest. This dissertation argues that the story of French Catholicism and the Great War uncovers a complex and often dissonant understanding of the conflict that has become obscured in the uniform narrative of disillusionment and vain sacrifice ot emerge in the last century. Considering the thought to emerge from the French renouveau catholique from 1910 up to 1920, I argue that far from symbolizing the modernist era of nihilism, the war in fact created meaning in a world that had lost touch with its God. -
Rebecca Mccoy, Lebanon Valley College
Protestant and Catholic Tensions After the French Revolution: The Religious Nature of the White Terror in Languedoc, 1815 Rebecca McCoy, Lebanon Valley College The Napoleonic Era ended with considerable turmoil across France as four different regimes—Napoleon’s Empire, the First Restoration, the Hundred Days, and the Second Restoration— succeeded one another from March 1814 to July 1815. Nowhere was the conflict more marked than in Languedoc.1 There, the rapid changes of government created the context for the White Terror of 1815, the last major episode in the cycle of religious violence that had marked Protestant and Catholic relations since the Wars of Religion. Scholars, however, have mainly interpreted the White Terror as a political reaction against the Revolution and especially the Hundred Days.2 The political focus of much of the secondary literature is no surprise given that most of the surviving sources were written by Bourbon officials, many of them Catholic Ultraroyalists, who represented the White Terror purely as the result of factionalism and political I would like to thank Professors Rosemary Hooper-Hamersley, Jennifer Popiel, Ralph Menning, and Bethany Keenan for their helpful critiques and suggestions. I would also like to thank Lebanon Valley College for numerous faculty grants. Finally, I want to thank my colleagues in the Department of History, Politics, and Global Studies at Lebanon Valley College for funding from the Dick Joyce Fund. 1The focus of this study is on the parts of Languedoc with a Protestant population, most notably the Gard along with adjacent areas of the Hérault, Aveyron, and Lozère. 2The key works on the White Terror are: Brian Fitzpatrick, Catholic Royalism in the department of the Gard, 1814-1852, (Cambridge: 2002); Daniel Resnick, The White Terror and the Political Reaction after 1815, (Harvard: 1966); and Gwynn Lewis, The Second Vendée: Counter-revolution in the Department of the Gard, 1789-1815, (Oxford: 1978). -
02-Vicent, Steven
BENJAMIN CONSTANT AND CONSTITUTIONALISM K. Steven Vincent North Carolina State University SUMMARY: I. THE HISTORICAL CONTEXT .- II. POLITICAL SOVEREIGNTY AND THE PROTECTION OF RIGHTS.- III. POLITICAL INTERCHANGE, NEGOTIATION, AND COMPROMISE.- IV. RELIGIOUS TOLERATION.- V. THE DANGER OF FANATICISM.- VI. ANCIENT VERSUS MODERN LIBERTY.- VII. PLURALISM Abstract: Benjamin Constant (1767-1830) was one of the most famous liberal politicians and writers of the Bourbon Restoration in France (1814-1830). In 1814 and 1815, he wrote a number of notable works on constitutionalism. This article places these writings in their historical context, and summarizes Constant’s liberal pluralist constitutional philosophy. Constant insisted on the protection of rights, on a representative system of politics based on popular sovereignty, on the separation and balance of power, and on religious toleration. He worried about the destabilizing effects of “fanaticism,” and argued that a liberal constitutional regime would not endure unless citizens embraced a politics that permitted contestation, negotiation, and compromise. Keywords: Benjamin Constant, constitutionalism, liberalism, Boubon Restoration Benjamin Constant (1767-1830) was one of the most famous liberal politicians of the Bourbon Restoration (1814-1830), serving in the Chamber of Deputies 1819- 1822 and 1824-1830. He participated frequently in the debates that took place on the floor of the Chamber,1 devoted his considerable energy to organizational activities of the Liberal Opposition,2 and wrote hundreds of journal articles.3 He referred to politics as his “vocation” and clearly enjoyed his public role.4 1 Discours de M. Benjamin Constant à la Chambre des Députés, 2 t. (Paris: Ambroise Dupont et Compagnie, 1827 et 1828). -
Mise En Page 1
COUV_23_04_2013_Mise en page 1 05/04/13 12:07 Page1 ANACREON LEON-PAUL FARGUE HENRI MICHAUX MONIQUE APPLE GUSTAVE FLAUBERT OCTAVE MIRBEAU APOLLINAIRE JEAN FOLLAIN MOLIERE LOUIS ARAGON ALBERT GABRIEL ADRIENNE MONNIER ANTONIN ARTAUD EDOUARD GARNIER MONTESQUIEU LEON AZEMA CHARLES DE GAULLE ANATOLE DE MONZIE ALY BEY BAHGAT THEOPHILE GAUTIER PAUL MORAND P. F. BAILLY GEORGES GIACOMETTI ALBERTO MORAVIA JACQUES BAINVILLE ANDRE GIDE BRUCE MORISSETTE THEODORE DE BANVILLE BJIEBANL GIIOONOTHÈQUELEON MOUSSINAC SAMUEL BECKETT JEAN GIRAUDOUX ALFRED DE MUSSET P. A. BENOIT REMY DE GOURMONT ANTONII NERI BERR DE TURIQUDE E MOANNDRSEI GERAUNETR PAUL LCHÉAROLESN NODIER RENE BERTELE GŒTHE PAUL NOUGE PIERRE BETTENCOURT JEULTIEN GÀRE EDN IVERS OVIDE ANDRE BILLY JACQUES GRUBER JEAN D’ORMESSSON LEON BLOY LOUIS HAUTECŒUR PIERRE PATOUT BOCCACE PAUL HELBRONNER BENJAMIN PERET NICOLAS BOILEAU RENE HERBST ROGER PEYREFITTE JULES BOISSIERE LOUISE HERVIEU PABLO PICASSO BONAPARTE MICHEL HOOG ANTOINE DE PLUVINEL GEORGES BONTEMPS J.-K. HUYSMANS DOIGNY DU PONCEAU GEORGES BRAQUE MAX JACOB JACQUES PREVERT ARNO BREKER LEMAU DE LA JAISSE GREGORIO PRIETO ANDRE BRETON PAUL JAMOT SERGE PROKOFIEFF BUFFON ALFRED JARRY MARCEL PROUST BUSSY-RABUTIN OWEN JONES QUINTE-CURCE. ALBERT CAMUS PIERRE JEAN JOUVE JEAN RACINE EUGENE CANSELIET JOSEPH KESSEL YVANHOE RAMBOSSON LEWIS CARROLL ALEXANDRE KOYRE RESTIF DE LA BRETONNE LOUIS-FRANCOIS CASSAS LA BRUYERE CHARLES REVEL COMTE DE CAYLUS JACQUES LACAN ARTHUR RIMBAUD CERVANTES CHODERLOS DE LACLOS SERGE ROCHE CHAMFORT LOUIS LAPRADE GEORGES RODENBACH PIERRE CHAREAU VALERY LARBAUD JULES ROMAINS CHATEAUBRIAND PATRICE DE LA TOUR DU PIN MAURICE ROSTAND ABBE DE CHOISY MARIE LAURENCIN ALEXANDRE ROSS JEAN BAPTISTE CHRISTYN LEON LE CLERC JEAN-JACQUES ROUSSEAU PAUL CLAUDEL PIERRE LEFEVRE SAINTE BEUVE JEAN COCTEAU FREDERIC LEFEVRE SAINT EVREMOND COLETTE FERNAND LEGER FAUJAS DE SAINT FOND PIERRE CORNEILLE PAUL-ANDRE LEMOISNE SAINT-JUST FRANÇOIS. -
Claudel Pour Racine, Les Raisons D'un Revirement
Article paru dans le Bulletin de la Société Paul Claudel n°2019 -1, n°227 Reproduit avec l'aimable autorisation des éditions Classiques Garnier et de l'auteur. CLAUDEL POUR RACINE, LES RAISONS D’UN REVIREMENT Claudel vivant, Racine mort, le premier ne craint pas de batailler avec le second dans le cours d’un va-et-vient entre art de dire et art d’aimer que traduit à merveille sa Conversation sur Jean Racine. En février 1935, le dramaturge alors âgé de 67 ans assiste à une repré- sentation de Bérénice à la Comédie-Française. Voici ce qu’il note dans son Journal : Assisté à Bérénice […] avec un ennui écrasant. Ce marivaudage sentimental, cette casuistique inépuisable sur l’amour, est ce que je déteste le plus dans la littérature française. Le tout dans un ronron élégant et gris, aussi éloigné de notre français vulgaire et gaillard que du turc et de l’abyssin. C’est distingué et assommant. On parle toujours de la fameuse mesure classique et racinienne, mais tirer 5 actes de cette anecdote, c’est tout de même trop. Le rouet iné- puisable des phrases, des alexandrins et des dissertations. Tout se passe en faux départs et en assaut de sentiments nobles et artificiels développés dans l’abstrait. Penser qu’on donne Racine comme base de l’instruction littéraire de nos pauvres enfants ! C’est extravagant1. La mauvaise humeur du spectateur exacerbe son point de vue négatif, signalé de façon intermittente par son Journal, et auquel son essai de 1925 sur le vers français a offert l’espace nécessaire à une plus ample explica- tion. -
Affiches Animation Correction3
Archives MunicipaleMunicipaless d’Aixd’Aix----lesleslesles----BainsBains 0Archives MunicipalesEdition du 9 juin 2008 d’Aixd’Aix- ---lesleslesles----BainsBains Edition du 9 juin 2008 Inventaire d’animation Série 3 Fi, 4 Fi et 5 Fi Par Dominique Fouger et Joël Lagrange Archives municipales d'Aix-les-Bains - 2, rue Lamartine, 73100 Aix-les-Bains - Tél 04.79.61.40.84 Mél : [email protected] Archives Municipales d’Aixd’Aix----lesleslesles----BainsBains Edition du 9 juin 2008 Introduction Ce catalogue rassemble les inventaires de trois sous séries d’affiches se rapportant à l’animation ou aux manifestations culturelles ayant eut lieu à Aix-les-Bains. La sous série 5 Fi provient d’un versement ancien de l’Office du tourisme est close. En revanche, les deux autres sous séries, 3 et 4 Fi, sont alimentées régulièrement soit par l’Office du Tourisme, soit par d’autres canaux. Elles sont scindées uniquement en fonction de leur taille, la série 3 Fi comprenant les affiches de grande taille (sup. à 120 x 180 cm) qui sont conservées roulées, les autres étant à plat dans des meubles à plans. Bien qu’en consultation ces affiches sont parfois difficilement manipulables à cause de leur taille. Outre ce catalogue, répertoire numérique des trois sous séries agrémenté d’un index en tête, une base de données informatique est accessible aux Archives qui facilite les recherches thématiques. Cette base de données à l’avantage d’être mise à jour en permanence. 1 Archives Municipales d’Aixd’Aix----lesleslesles----BainsBains Edition du 9 juin 2008 Table des -
Z:\My Documents Folder from Old Machine\Communio Files\Issues by Date\2007 Spring the Kingdom of God\08. DCS Claudel\Dcsclaudel
WHY WE NEED PAUL CLAUDEL • D. C. Schindler • “If the poet thus stands ‘before the Cross,’ as the title of one of his books has it, the mystery upon which he meditates is not just one possibility of many, but is in fact the sole mystery that allows him to celebrate the universe in its totality, which means the mystery that allows him truly to be a poet, as Claudel understands the vocation.” According to Paul Claudel, there are three qualities that a poet must possess in order to stand among the world’s greatest: inspiration, intelligence, and “catholicity.”1 By this last term, which would no doubt surprise the average literary critic, Claudel intends the quality exhibited by those poets who “have received from God such vast things to express that nothing less than the entire world is adequate for their work. Their creation is an image and a vision of creation as a whole, of which their inferior brothers offer only particular aspects.”2 If a poet’s significance tends to be as broad as his vision, then a “catholic” poet, as Claudel understands him, would be one who speaks not only to his own country and age, but in some sense to humanity. To use Thornton Wilder’s term, we might call an artist of this scope a “world poet.” 1Paul Claudel, “Introduction à un poème sur Dante,” in Positions et propositions (Paris: Gallimard, 1928), 161–164. For an English translation, see “Religion and the Artist: Introduction to a Poem on Dante,” Communio: International Catholic Review 22, no. -
French Literature
French Literature Companions to Literature The following companions and guides will provide valuable insights into French literature. The Oxford companion to French literature 840.3 OXF A short history of French literature 840.9 BRE The Concise Oxford dictionary of French literature 840.3 CON The new Oxford companion to literature in French 840.3 NEW Guide to modern world literature / Vol.2, [includes French literature] 809.04 SEY A guide to contemporary French literature: from Valery to Sartre. 840.90091 FOW La littérature française du 20e siècle by S. Jouanny 842.91 JOU Poetry French poetry can be found at class mark 841. We have works by Aragon, Guillaume Apollinaire, Baudelaire, André Breton, George Brassens, Aimé Césaire, René Char, Edouard Glissant, Michel Houellebecq, Victor Hugo, Abdelkébir Khatibi, Laforgue, Lapaque, Lautréamont, Mallarmé, Michaux, Francis Ponge, Jacque Prévert, Renaud, Rimbaud, Léopold Sédar Senghor, Boris Vian, Verlaine, as well as anthologies of material such as Laurent and Nepveu’s La poésie Québécoise, and Poètes francais des XIXe et XXe siècles. For critical studies of French poetry see Bloom, H. (ed) (1990) French poetry: the Renaissance through 1915 and Verdier, L. (2001) Introduction à la poésie modern et contemporaine. Drama Plays written in French can be found at class mark 842. We have works by Jean Anouilh, Samuel Beckett, Albert Camus, Aimé Césaire, Paul Claudel, Marguerite Duras, Jean Genet, Michel de Ghelderode, Jean Giraudoux, Jean-Claude Grumberg, Eugene Ionesco, Alfred Jarry, Bernard-Marie Koltès, Eugene Labiche, George Feydeau, Marivaux, Moliére, René de Obaldia, André Obey, Jean Racine, Jean-Paul Sartre, Nathalie Sarraute, Jean Tardieu, Michel Tremblay and Michel Vinaver. -
Fron Barnard College
COLLECTION^ OF CORRESPONDENCE .iKD :IAWUSCRIPT UCCUTTSMTS N..F1S OF COLLECTION: Marguerite Hespoulet Papers SOURCE: Fron Barnard College SUBJECT: Contemporary French literature DATES COVERED; ca. 1925-1964 NUMBER OF ITEMS: ca. 13,000 STATUS: (check appropriate description) Cataloged: X Listed: Arrangedt X Not orgnnized: CONDITION: (give number of vols., boxos, or shelves) Bound: Boxod: 138 Stored: LOCATION: (Library) Special Collections CALL-NUVP3R Spec Ms Coll Mespoulet RESTRICTIONS 01! J^SE Cannot be used except with the permission of the French Department of Barnard College, APPLY FOR PERMISSION TO THE CURRENT CHAIR OF THE Barnard French Department OR to Professor Emeriti Tatiana Greene 3^Q fi^e^^ck Pr/y< Ao* //CjV~A/V /oQ2S DESCRIPTION: Correspondence, notes, lectures, and clippings of Marguerite Mespoulet, Professor of French at 3arnard College, relating to her work and •writings on French literature of the nineteenth and twentieth centuries, T-iith special emphasis on Charles Baudelaire, Paul Claudel, and Max Jacob. There are 11 letters and one manuscript, "Partage de rnidi" of Paul Claudel, 6 letters and 7 manuscripts of Max Jacob, and 7 letters of Pierre Reverdy. Tor a list of the collection see 'following pages. DESCRIPTION-INDEX OF TiE PAPERS LEFT BY PROFESSOR MARGUERITE MSSPOULET, d. Jan. 2, 1965, New York. (Professor Emeritus, French Department, Barnard College; Professor Columbia University.- Property Barnard College). In SPECIAL COLLECTIONS, COLUMBIA UNIVERSE*. " . Call number l [ ' ^[^^^ <\^(k \ ^ h'1^^^1 '.'••. :-\.n. • '--.---M 1 Shoe box marked "Chambre double-Le Re"ve pur" - much on Dante and Petrarch. Extremely interesting. 2. Shoe box.marked "Fsnfarlo -Curiosit*s est etiques -Art Romantique'*- notes, excerpts. -
The Face of Christ
28 THE FACE OF CHRIST PAUL CLAUDEL Paul Claudel, poet and playwright, was one of the most significant writers of twentieth century French literature. His lyrical works are world-renowned, and all of such force and beauty that critics are divided as to which of his plays can be considered his masterpiece, at least three being so named. For Claudel, Christ gives meaning to everything; everyday life is portrayed in its human realities but completely infused with the presence of God. Claudel wrote his first play at age 14; he was still writing at age 67. But, what is often forgotten, his creations took form all during his remarkably successful career as a diplomat: consular posts in the United States and China and various European countries; minister to Rio de Janiero and Copenhagen; ambassador at Tokyo, Washington DC and Brussels. In 1946 he was elected to the French Academy. As might be expected, Claudel's reaction to the Turin Shroud, soon after the photographs of 1898, was a deep and passionate christological understanding, reflected in several of his works. He became a friend of Paul Vignon and other early sindonologists. The present piece is taken from an introduction to a lecture on the Shroud given by Paul Vignon and published in Contacts et circonstances (Gallimard, Paris 1947). Paul Louis Charles Marie Claudel was born in a small town in the Aisne, France, on 6 August 1868, studied at the Lycee Louis-le-Grand and died in Paris on 23 February 1955. You have all seen in many churches of France, for example in St. -
La Relation Au Divin Chez Racine Et Claudel Héloïse Brindamour Thèse
La relation au divin chez Racine et Claudel Héloïse Brindamour Thèse soumise à la Faculté des études supérieures et postdoctorales dans le cadre des exigences du programme de maîtrise ou de doctorat en lettres françaises Département de français Faculté des études supérieures et postdoctorales Université d’Ottawa © Héloïse Brindamour, Ottawa, Canada, 2013 ii RÉSUMÉ Cette thèse examine le dialogue avec le divin mis en scène dans le théâtre de Jean Racine et dans la Trilogie des Coûfontaine de Paul Claudel. Bien qu’éloignés tant par l’époque que par l’esthétique dramaturgique, ces deux auteurs donnent au divin une place importante dans leur théâtre, et en cela peuvent être rapprochés. La représentation du divin qu’on retrouve dans les tragédies profanes et religieuses de Racine éclaire celle, beaucoup plus complexe, du théâtre claudélien. Nous étudions d’abord les transformations que subit le visage du divin dans la dramaturgie racinienne, passant des traits flous et énigmatiques des tragédies profanes à ceux plus précis, parce que plus humains, des tragédies religieuses, en nous concentrant plus particulièrement sur la relation que les personnages entretiennent avec lui et sur les modifications de l’espace et du temps que cause son apparition sur la scène de théâtre. Le rapport au divin présent dans les drames de Claudel est ensuite analysé à la lumière des conclusions tirées de l’étude des tragédies raciniennes. iii REMERCIEMENTS Je tiens à remercier chaleureusement mon directeur de thèse, Monsieur Michel Fournier, pour sa constante disponibilité, sa grande rigueur et ses conseils précieux, et surtout pour les encouragements qu’il n’a cessé de me prodiguer tout au long de la rédaction de ma thèse. -
Bourbon Restoration 1 Bourbon Restoration
Bourbon Restoration 1 Bourbon Restoration Royaume de France Kingdom of France 1814–1815 ← 1815–1830 → Flag Royal Coat of arms Anthem Le Retour des Princes Français à Paris "The return of the French Princes in Paris" The Kingdom of France in 1815. Capital Not specified Language(s) French [1] Religion Roman Catholicism Government Constitutional Monarchy King - 1814–1824 Louis XVIII - 1824–1830 Charles X President of the Council - 1815 Charles de Talleyrand-Périgord (first) - 1829–1830 Jules de Polignac (last) Bourbon Restoration 2 Legislature Parliament - Upper house Chamber of Peers - Lower house Chamber of Deputies History - Louis XVIII restored 6 April 1814 - Hundred Days 1815 - Second Restoration 1815 - France invades Spain 1823 - July Revolution July 1830 - Louis-Philippe I declared the King of the French 9 August 1830 Currency French Franc The Bourbon Restoration is the name given to the period following the successive events of the French Revolution (1789–1799), the end of the First French Republic (1792–1804), and then the forcible end of the First French Empire under Napoleon (1804-1814/1815) — when a coalition of European powers restored by arms the monarchy to the heirs of the House of Bourbon who once again became possessors of the Kingdom of France. The Bourbon restoration existed from (about) April 6th, 1814 until the popular uprisings of the July Revolution of 1830, excepting the interval of the "Hundred Days"[2] less than a full year into the restoration when the Bourbon monarchy again had made themselves so unpopular with the general population of France that the family had to once more flee Paris and France to Ghent ahead of exploding civil disorders and collapsing civil authority.