Documents found
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3272.
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3275.
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3276.More information
The “Regulation for Teaching” adopted by the Ursuline Sisters of Quebec in 1844 proposes an educational model rooted in a complex historical dynamic. This nineteenth-century model is first and foremost the expression of an intellectual and moral attitude inherited from the previous century and that contemporary university criticism associates with the “Catholic Enlightenment.” The Regulation is thus an example of an educational project supported by modern science which bans, notably, corporal punishment. This modernization of educational practices, furthermore, was part of an emerging ethos of bourgeois respectability, whose main emblems borrow heavily from the culture of the curial society of the Ancien Régime and, particularly, from rhetoric.
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3277.More information
AbstractThe year 1717 saw the publication of Pierre-François Guyot, abbé Desfontaines' (1685-1745) translation, or imitation, of the Psalms, Poësies sacrées. An analysis of the introductory comments to the translation of the Psalms allows for a better understanding of Desfontaines' aesthetics regarding auctorial and translation activities, thanks to his justifications and declared intentions. Thus, for Desfontaines, the translation of the Psalms, both a pleasant and pedagogical piece of writing, required more than a docile literary translation, it entailed true verse writing. Desfontaines therefore takes his position at the intersection of author and translator, in choosing imitation rather than paraphrase to find the "fidelity" to both the original and the target language and culture.
Keywords: Desfontaines, traduction, psaumes, paratexte, imitation, Desfontaines, translation, psalms, paratext, imitation
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3278.More information
We pose the question, “Where is New France ?” as a device for discussing the problematic relationship between sovereignty and territory from the 16th to the 18th century. The article notes that present-day historians tend to think of New France as a bounded territory, even though they give it quite different boundaries. Examining texts and maps from the Early Modern period, we find that New France was rarely assigned borders. Instead, it tended to serve as a vaguely delineated expression of limitless imperial ambitions. In this respect, New France was an extreme example of a widespread tendency in this period before sovereignty came to be inscribed in precise territorial terms.
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3279.More information
If we consider Le Chevalier de Saint-Georges (also known as Joseph Boulogne or Boullongne 1745-1799) – a decorated military hero whose swordsmanship, fighting and athletic acumen were unparalleled, a contemporary of Mozart whose musical, composing and conducting talent remained unsurpassed – it comes as a surprise that his character was never developed for the theatre until the 1840s, four decades after his death. This, even though the French stage frequently celebrated revolutionary and heroic characters, especially after the revolutionary decree of 1791 that liberated theatres from censorship. The first play to be written about Le Chevalier in France: Le Chevalier de Saint-Georges : comédie mêlée de chant en trois actes by Roger de Beauvoir (1807-1866) and M. Mélesville (1787-1865) made waves when it premiered at the Théâtre des Variétés in Paris in February 1840. Le Chevalier de Saint-Georges had all the characteristics to make a spectacular theatrical character with all the archetypal contradictions of the Romantic hero. Some of the reasons for this delay may be obvious: playing a black hero on the post-revolutionary French stage is not a simple feat and comes with a slew of complications related to race and representation, as this article discusses.
Keywords: Saint-Georges, Saint-Georges, Theatical character, personnage de théâtre, performance, Performance, relations interraciales, Race relations, Romanticism, romantisme