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Aux XVIe et XVIIe siècles, le récit ovidien relatant la rencontre entre Jupiter et Danaé devient l’un des sujets mythologiques les plus prisés des artistes de l’époque. La première œuvre majeure de la Renaissance illustrant cette scène, datant de 1527 et intitulée Danaé, est attribuée à l’artiste flamand Jan Gossaert. Alors que les chercheurs s’entendent pour affirmer qu’à partir du XVIe siècle, le personnage de Danaé se veut pour les artistes un modèle de courtisane, la version réalisée par Gossaert reste encore aujourd’hui une source de désaccord. Les différentes lectures de la toile établissent des similitudes iconographiques, d’une part, avec la Vierge de l’Annonciation et, d’autre part, avec les courtisanes de la Renaissance. Le présent mémoire s’intéresse à ces deux positions paradoxales sans en écarter …
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The Vis comica de Plaute, translated in french and staged by Jean-Pierre Ronfard, affords an inventive adaptation of the Curculio (The Weevil) of Plautus. Instead of representing a single comedy, Ronfard intends as well to show the comic spirit of the latin poet by means of an unusual play: first, the small size staging of a latin comedy, secondly, the genuine adaptation of the whole Curculio, and finally, as an epilogue, a scene of the Miles Gloriosus (The Braggart Captain). Despite the context, a comparative reading of the texts reveals that the adaptation not only generally corresponds to the original, but that also the liberties taken in the translation are in fact highly Plautian.
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AbstractDiderot presents himself as Greuze's rival in his commentary on the painting Jeune fille envoyant un baiser… (Salon de 1765). Indeed, Diderot “repaints” the canvas with his own emotions, and from this fanciful creation springs his desire for the young woman, with whom he identifies. He wishes to “absorb” her but he is himself “absorbed” by the representation and therefore insinuates himself into the other side of the painting. Faithful to the principle of the wavy line — which he views as a sign of life — Diderot, like “the serpent that lives,” slides onto the female body through his caressing gaze. The young woman, for her part, suggestively holds a letter she has just received, a letter whose significance is lost on Diderot. Indeed, this letter is the substitute for Diderot's real and invisible rival: he who, beyond the spectator's position in space, is the object of the young woman's gaze, who is the only being she deigns to look upon. This meaningfully handled letter says much about the woman's own desire (herself the object of desire), which lies outside the picture: the letter becomes at once the metonymy of the absent body of her lover and the metaphor of her own body, present in the full force of its desire.
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