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Difficile de définir El asombroso viaje de Pomponio Flato d’Eduardo Mendoza. Oscillant entre roman policier, roman historique, roman épistolaire, hagiographie, ce texte s’inspire de tous les textes et plonge le lecteur dans un labyrinthe intertextuel. Entre déconstruction et construction parodique, dénonciation de l’absurde, Mendoza semble proposer comme ultime recours au lecteur un rapport ludique aux discours.

Objects and symbols of power take on a particular importance in the liturgical ceremony of the Catholic Church, perhaps more so than in any other context. At the royal chapel of Versailles, the regular presence of the king and his court complicated the situation further, all the more so in that religious ceremony was administered by two distinct ecclesiastic bodies. Beyond the rules of precedence, Louis XIV had introduced around his royal persona a system of ritual that would manifest the episcopal identity conferred upon him by his coronation. Similarly, the jurisdictional authority represented by the royal chapel was conveyed in a subtle play of attitudes, gestures and rites, a symbolic choreography that accompanied and expressed the claims of the partisans and adversaries of the exemption of the royal place of worship with regard to the diocese of Paris. This stance was reflected in the decorative scheme of the palace’s final chapel, completed in 1710.