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International audience; Depuis l’Antiquité, le thermalisme entretient avec la médecine et les pratiques de santé des relations complexes, ambivalentes, voire conflictuelles.En couvrant une aire géographique intégrant les espaces européens et méditerranéens, cet ouvrage questionne un phénomène qui a une longue histoire, mais dont les développements et les caractéristiques restent encore souvent à préciser. Il vise à dégager, dans une perspective diachronique, les grandes tendances du développement du thermalisme (aussi bien médical que récréatif) et à souligner les difficultés que l’étude du phénomène suscite. Les études présentées concernent ses principaux aspects (architecturaux, économiques, politiques, culturels et médicaux) et sont toutes fondées sur une grande richesse documentaire, textuelle et/ou archéologique.

International audience; This volume brings together medievalist and early modernist specialists, whose research fields are traditionally divided by the jubilee year of 1500, in order to concentrate on the role of the laity (and to a lesser extent those in holy orders) in the religious transformations that occurred during the ‘long fifteenth century’ from the flourishing of the Devotio Moderna to the era of the Reformation and the Counter-Reformation. Its aim is to re-examine, and open up dialogues about, the traditional religious, cultural, social, linguistic, and geographical rifts and connections of late medieval and early modern Europe, as well as the common national narratives that have influenced and distorted (and continue to influence and distort) the construction and maintenance of historical identities and beliefs.

This chapter explores a relationship between the evolution of Shakespeare's generic practice, beginning around 1600, and his familiarity with the _Essays_, notably in the translation by John Florio. In particular, Shakespeare's plays begin to combine comic and tragic elements, considered as opposites in classic theatrical theory, so as to reflect a more Montaignean vision, which presents human experience as intrinsically mingling joy and sorrow. In these terms, the essay "Nous ne goustons rien de pur", translated by Florio as "We taste nothing purely", assumes capital importance. After taking up _Hamlet_ and the last formal comedies, the discussion concentrates on the final tragi-comedies, especially , _The Winter’s Tale_, whose profound synthesis of joy and sadness is considered in relation to several essays, especially "De trois bonnes femmes" ("Of three good women"), by way of some highly specific yet hitherto unnoticed echoes and allusions., Ce chapitre développe un rapport entre l’évolution de la pratique générique de Shakespeare à partir de 1600 et sa connaissance des _Essais_. En particulier, ses pièces commence à combiner des éléments comique et tragique, considérés comme opposés dans la théorie théâtrale classique, pour refléter un vision plutôt montaignienne qui présente l’expérience humaine comme composée intrinsèquement de joie et de tristesse. De ce point de vue, l’essai « Nous ne goustons rien de pur », traduit par Florio comme « We taste nothing purely », prend une importance capitale. Après avoir abordé _Hamlet_ et les dernières comédies formelles, la discussion se concentre sur les tragi-comédies, et surtout _The Winter’s Tale_ (Le conte d’hiver), dont la synthèse profonde de joie et de tristesse est mis en rapport avec quelques essais, et notamment «De trois bonnes femmes» (Of three good women), à travers des échos et allusions assez spécifiques mais inattendus.

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International audience; In 1551 and 1552, Pietro Aretino had his religious works re-edited and printed in Venice by Paolo Manuzio. The author dedicated them to Pope Julius III in the hope of obtaining a cardinal’s hat. What was at stake, the culmination of a career spent in Venice without renouncing to be rewarded by Rome, justified this ambitious editorial project, which consisted in offering, during the Tridentine period, a set of six religious works published for the first time between 1534 and 1543. This contribution first underlines the importance of Aretino’s religious works in his oeuvre and career. Secondly, concentrating on the biblical paraphrases, it shows their significance in the landscape of Italian religious literature. Thirdly, it deals with the issue of the evolution of Aretino’s religious prose from the “biblical” to the “hagiographic” works, paying attention to some neglected literary and religious elements of continuity. The contribution illustrates that the ideal of biblical “simplicity”, which cannot be interpreted as a mere excuse used as a defence against the accusation of being ignorant, simultaneously resonates with Erasmus’ philosophy of Christ, Valdés’ teaching about individual enlightenment, Ochino’s but also Musso’s preaching, in different ways centered on Christ and connected to the Scriptures, the doctrine of the infinite mercy of God but also that of the value of sacraments and good works. In the same way, a plurality of inspirations characterizes the literary profile of a production that concomitantly refers to different genres from the spiritual meditation to the historical compendium, from the Gospel harmony to the sacred poem, and from the sacra rappresentazione to the sermon, offering the reader an enjoyable and polyvalent text.

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This little-known French moral allegory, published in Protestant Geneva and disparaging the Roman Catholic church on the grounds of both doctrine and practice, serves as an illuminating intertext for contemporary English interludes, as for certain works of the Elizabethan theatre. Given the negative role of a figure called “Rabbi” as a representative of the Old Law and the motif of cutting open the breast of the universal Mankind figure, the analogues notably include Shakespeare’s The Merchant of Venice. More broadly anticipated is the later drama’s development of conscience, in keeping with Reformation theology, as a thoroughly internalised function serving as a pivot between culpability and redemption. Yet Barran’s dramaturgy is far from static. In depicting Mankind’s interactions with his spiritual enemies and allies, he deploys remarkable energy and invention, distinguishing himself equally as a polemecist and a playwright., Tragique comedie francoise de l’homme justifié par Foy (1554) est une moralité française peu connue créée par le pasteur Henri de Barran et liée au courant de la Réforme. Cette pièce de théâtre, traduite pour la première fois en anglais, apporte un éclairage précieux sur certaines tendances s’exprimant dans les interludes anglais à l’époque, comme dans certaines pièces du théâtre élisabéthain plus tardives. Parmi elles, on compte notamment Le Marchant de Venice de Shakespeare, où l’on retrouve un représentant de la Vieille Loi (ici « Rabbi ») et le motif de l’ouverture de la poitrine du protagoniste. Comme dans le théâtre élisabéthain, la prise de conscience du péché et le repentir qui lui est associé, deviennent des processus dûment internalisés. Pour autant, l’écriture théâtrale de Barran est loin d’être statique. En mettant en scène les interactions de l’Homme avec ses ennemis et ses alliés spirituels, il déploie une énergie et une inventivité remarquables, se distinguant autant comme polémiste que comme dramaturge.

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International audience; The study of medieval and modern food ways is founded on the careful interpretation of recipe books since its beginnings as a scientific field of research. However, other methods have emerged over the years, often inspired from disciplines such as medieval archaeology, as well as historical re-enacting of medieval techniques. First of all, the archaeology of material culture has been developing new approaches based on experimental methods. Following that trend, Aurélie Chantran has been conducting researches on medieval cooking for several years. Based on copies of medieval potteries and controlled experimental conditions, her work contributed to characterize physical transformations of food associated to boiling, frying or grilling. Associations between observed cooking traces and stigmata recorded on archaeological material have been made possible, opening the way for a technical and cultural analysis of medieval cookware. Fabian Müllers’ researches have been led in the experimental field as well. An experienced historical cook, Fabian has been leading re-enactments of various medieval recipes for years, basing his experiences on data extracted both from medievalrecipe books and archaeological researches. His work has led himself to comparative studies of various medieval methods of cooking in terms of performance and energy use. Following more traditional field and archive-based methods, Charles Viaut interests himself in cooking structures and remains in medieval elite sites as well as recipe mentions out of cookery books. Parallel interpretation of archaeological data and medieval domestic accounts have led him to an approach of medieval cooking in its archaeological context and in a long-term perspective. Development of parallel methods and theories give way, from these researchers’ point of view, to a more comprehensive and concrete approach of medieval foodways.

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International audience; To fully understand the making and meaning of an early modern botanical or medical theory concerning roots and plants, the historian can grasp their symbolic and folkloric stories. This cultural dimension of the underground plant serves as a comprehensive tool for writing a “natural history” of plants such as Mandrake or Deadly nightshade. The description of their harvest is often a narrative “topos” used in herbals to foster devotion, faith and morality, as remedies of the Renaissance pharmacopeia to some specific illnesses, particularly those related to sexuality, fertility, melancholy and social behaviors. Thus, the “underground” plant is linked to the “underwold”, through the axis mundi imagery, the root being the bridge with the mundus subterraneus, reversed world. The act of digging the soil is structured with magical rituals and gestures around the roots, rhizomes or tubers which are dedicated to ward off threats related to death or evil spirits.

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National audience; La nature a une histoire : l'histoire naturelle.

To fully understand the making and meaning of an early modern botanical or medical theory concerning roots and plants, the historian can grasp their symbolic and folkloric stories. This cultural dimension of the underground plant serves as a comprehensive tool for writing a natural history of plants such as Mandrake or Deadly nightshade. The description of their harvest is often a narrative topos used in herbals to foster devotion, faith, and morality, as remedies of the Renaissance pharmacopeia to some specific illnesses, particularly those related to sexuality, fertility, melancholy, and madness. Thus, the “underground” plant is linked to the “underworld”, through the axis mundi imagery, the root being the bridge with the mundus subterraneus (a reversed world). The act of digging the soil is structured with magical rituals and gestures around the roots, rhizomes or tubers which are dedicated to ward off threats related to death or evil spirits. This paper introduces one of the chapters in my Ph.D. thesis. Therefore, it is, by definition, an embryo of my Ph.D. thesis and the sources that it presents are still incomplete. As a historian, I have written this paper rather to explore the theoretical base of my forthcoming critical analysis of the sources. The period considered for this paper runs over a long timeframe in the early modern European society, from the early 16th century to the end of the 17th century. RSA Virtual 2021

International audience; This article approaches Shakespeare’s (and Wilkins’s?) tragicomedy _Pericles_ (pub. 1609) not merely in thefamiliar light of the miracle play tradition but also as drawing, for its representation of Marina, on the hagiographic model of the virgin martyr. Despite the confessional obstacle, the heroine’s tribulations in the brothel provides distinctive common ground with the _Tragédie de sainte Agnès_ by Pierre Troterel (1615) in accompanying the menace posed to virginity with salacious humour and quasi-farcical action. On this point, Troterel departs from French theatrical precedent in ways suggesting specific indebtedness to the English play. A supplementary intertext here is the only other known contemporary dramatisation of the Apollonius story besides _Pericles_, _Les heureuses infortunes_, by Joachim Bernier de la Brousse, (1618). I have elsewhere proposed that Bernier’s work, too, shows familiarity with that play. Yet he invests his heroine with a saintliness beyond what either Pericles or the Apollonius narratives warrant – to the point of echoing, too, the precedent of Troterel. Bernier’s brothel scenes, combining traces of farce with motifs of miracle and conversion, tend to confirm this double heritage. Arguably, this trio of dramatic texts affords a glimpse of the earliest impact of a Shakespearean text on French theatrical practices.; Cet article abord la tragicomédie _Periclès_ de Shakespeare (et Wilkins?), parue en 1609, non seulement à la lumière connue de la tradition des miracles médiévaux, mais aussi comme influencée, dans sa représentation de Marina, par le modèle hagiographique de la vierge martyr. Malgré l'obstacle confessionnel, les tribulations de l'héroïne dans le bordel correspondent de manière distincte à celle de la sainte dans la _Tragédie de sainte Agnès_ de Pierre Troterel (1615), car la menace posée à sa virginité y est accompagnée de l'humour grivois et de l'action farcesque. Sur ce point, Troterel s'écarte des précédents hagiographiques français et se rapproche de la pièce anglaise.Un intertexte supplémentaire éclairant ce point est la seule autre dramatisation connue de l'histoire d'Apollonie de Tyr hormis _Periclès_, à savoir _Les heureuses infortunes_ de Joachim Bernier de la Brousse (1618). J'ai déjà proposé que l’œuvre de Bernier montre également une connaissance de la pièce anglaise. Cependant il dépeint son héroïne avec une sainteté au delà ce que l'on trouve dans _Périclès_ ou dans les versions narratives de l'histoire. Dans cette mesure il fait écho, lui aussi, au précédent de Troterel. Les scènes dans le bordel dans la pièce de Bernier mélangent des traces de farce avec des éléments de la conversion et du miracle, ce qui tend à confirmer ce double héritage.On pourrait enfin avancer l'hypothèse que ces trois textes dramatiques, dans leur ensemble, offrent un aperçu de la première influence connue d'une œuvre shakespearienne sur la dramaturgie française.

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International audience; In exploring the evolving relations between allegorical practices and historical material in the early modern English theatre, this essay interrogates the dominant critical position that the history play ‘emerges’ as a genre from mid to late-sixteenth century dramatic techniques conditioned by medieval allegory. Arguably, even as it continues to reach back to medieval signifying theory and practice, allegory develops into a wide range of more-or-less mimetic operations which contribute extra-literal significance to the staging of “historical” events and personages. In light of this process, the impact of Reformation thought on theatricality can be better appreciated as at once radical and conservative, its insistence on “true” meanings rendering inevitable its distrust of the dramatic medium.; Tout en explorant l’évolution des relations entre pratiques allégoriques et sujets historiques dans le théâtre anglais de la première modernité, cet article interroge la position dominante de la critique, selon laquelle la « pièce historique » en tant que genre « émergeait » des techniques dramatiques de la deuxième moitié du XVIe siècle conditionnées par l’allégorie médiévale. On peut au contraire argumenter que, tout en continuant à rappeler la pratique et la théorie médiévales de la signification, l’allégorie se développe à travers une large gamme d’opérations plus ou moins mimétiques qui contribuent de la signifiance plus que littérale à la mise en scène des événements et personnages dits « historiques ». De ce point de vue, l’impact de la Réforme sur la théâtralité peut être mieux apprécié comme à la fois radical et conservateur, l’insistance sur le sens « véritable » rendant inévitable une méfiance à l’égard de toute représentation dramatique.

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International audience; During the 1501 restoration of Palazzo Orsini (now Palazzo Braschi), Cardinal Oliviero Carafa placed an ancient statue-found nearby a few years earlieron the side of the building.1 No one in Rome could have predicted the political and cultural repercussions of his actions. Unwittingly, the people of the time were witnessing the birth of one of the most feared and everlasting champions of anonymous European propaganda of the modern era. Rechristened Pasquino, the statue became a celebrity in its own right and its success went hand in hand with that of polemicist Pietro Aretino. Although of excellent workmanship, this marble group from the Hellenistic age was badly damaged, so much so as to make the features of the two characters portrayed unrecognizable. Although for a long time the two male figures were believed to be Menelaus and Patroclus, more recent studies have shown them to be Ajax in the act of holding the body of Achilles.2 Having been placed in the Parione neighborhood, very close to Piazza Navona, the statue was also adjacent to the street

International audience; Among the holdings of the Bibliothèque Nationale de France is an anonymous and unpublished Requiem Mass dating from the later eighteenth century and based on themes from Castor et Pollux, an opera which, in its revised version of 1754, was considered to be Rameau’s best. More a musical homage than an act of plagiarism, this work is all the more intriguing because of its unusual character. The practice of adapting secular music for use in a sacred context was not rare in the eighteenth century; yet this Messe de Requiem is unique in the scale and systematic application of this procedure, which infuses the work and underpins its architecture. We should not regard such borrowings as musical short-cuts, since this type of reworking represents a complex exercise. Over and above the tour de force involved, the particular choices made by the composer-reviser, his methods of borrowing and their mechanisms (the most significant examples of which will be presented here) provide unexpected clues to the reception of Rameau’s music and, perhaps also, to the manner in which it was performed. More generally, this finely crafted mass constitutes a musical testimony to the numerous homages paid by French musicians to a composer whom they recognized as one of their greatest masters.

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International audience; During the Renaissance, enthymeme is still considered as one of the natural ways of proving, in the fields of everyday knowledge (Montaigne), or medical symptomatology (Ambroise Paré), or physiognomony (Leonardo da Vinci, Rabelais, and Della Porta), relying on semeia eikota (probable signs). When Michel Foucault wrote the chapter « The prose of the world » in The Order of Things (1966), about Renaissance epistemè, reasoning from enthymeme appeared as the core of his interpretation of « signatures ». More recently, Giorgio Agamben expanded the scope of this kind of sign. In this semiotic twist, the forgotten example of the large lion’s paws that reveal his fortitude (Analytica Priora, I-2, 27/28), plays a major part within the signature theory.

What reasons internal to his philosophical system led Buridan to adopt the concept of natural supposition? In its original version in the thirteenth century, natural supposition entailed the positing of common natures, which Buridan rejects. In this article, I will briefly outline the history of the concept of natural supposition, its initial implications, and the way in which Buridan modifies it in order to use it in the context of an ontology of singulars. According to him, the problem that natural supposition addresses better than the other solutions that were available in his time, is that of the nature of scientific propositions. The question is thus about the relation between time and language, Quali ragioni interne al suo sistema filosofico hanno portato Buridano ad adottare il concetto di supposizione naturale? Nella sua versione originale del XIII secolo, la supposizione naturale implicava la posizione di nature comuni, che Buridano respinge. In questo articolo, illustrerò brevemente la storia del concetto di supposizione naturale, le sue implicazioni iniziali e il modo in cui Buridano lo modifica per utilizzarlo nel contesto di un’ontologia dei singolari. Secondo lui, il problema che la supposizione naturale affronta meglio delle altre soluzioni disponibili al suo tempo, è quello della natura delle proposizioni scientifiche. La questione verte quindi sul rapporto tra tempo e linguaggio

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Dans le Liber floridus, un vaste ouvrage d’érudite compilation encyclopédique de cent soixante-et-un chapitres qu’il élabore vers 1120, le chanoine Lambert de Saint-Omer établit une liste tabulaire de huit de ces espèces : le cèdre (caedrus), le cyprès (cypressus), le palmier(palma),le rosier(rosae),l’olivier(oliva),le platane(platanus),le térébinthe(terebintus)et la vigne(vitis).Lambert de Saint- Omer réunit en fait sous le titre d’« Arbores significantes beatitudinum ordines » huit des espèces d’arbres par lesquelles la Sagesse, qui s’est « enracinée dans un peuple glorieux », se qualifie dans le Siracide, et ils les associe systématiquement à une béatitude. Notre publication envisage les configurations visuelles selon lesquelles Lambert de Saint-Omer présente les huit essences d’arbres comme une structure mnémotechnique tabulaire. Elle explore la manière dont le lecteur/spectateur peut y avoir recours au moment de recevoir ou de produire une pensée exégétique du texte biblique.

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https://www.eca.ed.ac.uk/event/material-and-visual-culture-seminar-series-scientific-knowledge; International audience; During my research I came across a variety of sources to explore specific material uses of the plants, how they are drawn and broadcasted, with “Roots” as a primary source : mainly texts, treatises, books of recipes, of secrets, and dictionaries. But what emerges from this research is the importance of a visual iconographic database of my Ph.D. subject: "'At the root' of practices and knowledges: natural histories of the underground plant in early modern times (1530-1735)". Studying the invisible part of the plant, the "root part of the plant" (tubers, rhizomes, bulbs, roots of trees, root vegetables) in different ways (history, history of sciences and epistemology, horticulture, agriculture, cultural history, history of medicine, histoire des mentalités, environmental history, food history, etc.) can be delicate. Finding images of this underground vegetal world is often full of symbolic meanings, difficult to decipher, reflecting the thoughts and beliefs of the early modern society in Europe and the New World. Visual material of the “souterrain” reveals the underground network of roots, nourishing the world, inspired by biblical meanings and ancient medicinal values, and can help to visualize and investigate a wide range of skills, practices and gestures around the “feet of the plants” used as amulets, material for furniture, remedies, food, etc. This Ph.D. research questions the methodology of how a historian might interrogate images as historical proofs, in the social and historical contexts of medical and botanical knowledge, of trade, consumerism and exchanges, of colonial cultural transfers, and domestic uses as well.https://www.eca.ed.ac.uk/event/material-and-visual-culture-seminar-series-scientific-knowledge

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After the religious troubles which bloodied France at the end of the Renaissance, the first three Bourbon kings – Henri IV, Louis XIII and especially Louis XIV – set about reaffirming the monarchical authority and establishing the legitimacy of the new dynasty. This reconquest was based mainly on the reaffirmation of the principles of the Gallican Church which, while recognizing the spiritual authority of the Pope, claimed a certain autonomy. By the anointing of the coronation, the King of France himself held his power from God himself, and recognized in the pope only a moral authority over catholicity. The public devotions, both ordinary and extraordinary, of the first three Bourbons reflect this dichotomy. Throughout the 17th century, Henri IV, Louis XIII and, of course, Louis XIV thus themselves ensured the construction of a liturgy capable of fully expressing this authority of the monarch, but also of emphasizing and affirming a strong and sincere respect for Rome. The way in which this royal liturgy was constructed fully illustrates this need for a new mark of majesty, capable of representing with magnificence but also with fervor the religion of the sovereign, who was to incarnate in the eyes of the courtiers and of the all of his subjects this authority both temporal and spiritual.Who says new liturgy says specific music. Combining elements from post-Tridentine traditions (symbolizing in a way the immutability, the dignity of the Church and loyalty to Rome) and more modern musical languages or patterns (through which the sovereign's temporal authority could be expressed), the motets sung by the King's Music during major ceremonies (extraordinary) as well as during the sovereign's daily mass (ordinary) constitute so many sound reflections of this process.This presentation will thus endeavor to show the modalities of this complex construction, the various parameters which allowed this new expression of the religion of the prince, and how music constitutes a real sonic extension of this royal liturgy., Après les troubles religieux qui ensanglantèrent la France à la fin de la Renaissance, les trois premiers rois Bourbons – Henri IV, Louis XIII et surtout Louis XIV – s’attachèrent à réaffirmer l’autorité monarchique et à asseoir la légitimité de la nouvelle dynastie. Cette reconquête s’appuyait essentiellement sur la réaffirmation des principes de l’église gallicane qui, tout en reconnaissant l’autorité spirituelle du pape, revendiquait une certaine autonomie. Par l’onction du sacre, le roi de France lui-même détenait son pouvoir de Dieu même, et ne reconnaissait au pape qu’une autorité morale sur la catholicité. Les dévotions publiques, tant à l’ordinaire qu’à l’extraordinaire, des trois premiers Bourbons sont le reflet de cette dichotomie. Tout au long du XVIIe siècle, Henri IV, Louis XIII et Louis XIV veillèrent ainsi eux-mêmes à la construction d’une liturgie susceptible d’exprimer pleinement cette autorité du monarque, mais aussi de souligner et affirmer un respect fort et sincère envers Rome. La manière selon laquelle s’est construite cette liturgie royale illustre pleinement cette nécessité, d’une nouvelle marque de la majesté, capable de représenter avec magnificence mais aussi avec ferveur la religion du souverain, qui devait incarner aux yeux des courtisans et de l’ensemble de ses sujets cette autorité à la fois temporelle et spirituelle. Qui dit nouvelle liturgie dit musique spécifique. Mêlant des éléments issus des traditions post-tridentines (symbolisant en quelque sorte l’immuabilité, la dignité de l’Église et la fidélité envers Rome) et des langages plus modernes (par lesquels pourraient s’exprimer l’autorité temporelle du souverain), les motets chantés par la Musique du roi lors des grandes cérémonies religieuses d’apparat comme durant la messe quotidienne du souverain en constituent autant de reflets sonores de cette démarche.Cette présentation s’attachera ainsi à montrer les modalités de cette construction complexe, les différents paramètres qui ont permis cette nouvelle expression de la religion du prince, et comment la musique constitue un véritable prolongement sonore de cette liturgie royale.

From the Middle Age to the XIX century, different types of inks exist in Europe with a shade from black to brown. Black inks are usually linked to iron gall inks made from metal salt and vegetable tannins. Knowledge the exact composition of the ink without deterioration of the document is essential to provide information on geographical and temporal origins. Different non-destructive methods are studied to authenticate documents, to analyse inks and to establish their identity. In this paper, we propose to combine different methods to characterization various ink properties: Fourier Transform InfraRed and Raman spectroscopy for chemical composition, with Atomic Force Microscopy and numerical microscopy for surface morphology. These non-destructive analyses were applied on ink samples made with ancient recipes with and without Alum and on Ancient document.

International audience; This article analyses the relationship of Pietro Bembo's Prose with the introductory Epistola of the Raccolta Aragonese and Cristoforo Landino's proemio to his Comento sopra la Comedia, with regard to their views of the previous vernacular tradition and in particular the more or less comparable paradigms applied to past literary history. The question of whether Bembo knew Poliziano's Epistola is investigated, and the similarities and dissimilarities between the different narratives concerning cultural development and the ways in which these narratives are elaborated in the three texts are evaluated.

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