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Bu çalışmada Georges Bizet’nin ve Prosper Mérimée’nin Carmen eserleri incelenmiş; kişilerin romandaki ve operadaki karakteristik yapısı ele alınmıştır. Yapılan çalışmanın ilk bölümünde, Bizet, Mérimée, Halévy, Meilhac’nın hayatı ve eserleri üzerinde durulmuştur. İkinci bölümde, eserlerin yazıldığı romantik dönem, müziğe ve edebiyata etkileriyle birlikte ele alınmış, dönemin önemli sanat akımı verismo anlatılmıştır. Üçüncü bölümde, Mérimée’nin Carmen romanının doğuşu ve konusu anlatılmış, Bizet’nin Carmen operasının; doğuşu, konusu, Türkçe librettosu, karakter incelemeleri üzerine çalışılmış, operanın konusunu aldığı Carmen romanıyla benzerlikleri ve farklılıkları incelenmiş, edebi eserin sahneye aktarılırken uğradığı değişim ele alınmıştır. Bu çalışmanın amacı, Carmen operası ile ilgili gerek sahne üstü, gerek sahne arkasında çalışacak olan yaratıcı kadro, solist ya da öğrencilerin eserin nasıl ortaya çıktığı, hangi sanat akımlarından etkilendiği, eserin müzikal ve teatral yorumunda neler beklenebileceği konuları hakkında bilgilenmelerini sağlayacak bir kaynak oluşturmaktır.

En este artículo analizamos la evolución de tres rasgos escénicos de la ópera Carmen de Bizet: el orientalismo, los gitanos y el baile español. Las acotaciones del libreto y la escenografía de sus primeras representaciones son el resultado de la evolución de aspectos que comenzaron a desarrollarse en las principales escenas parisinas a partir de 1820. Los decorados y la indumentaria se convirtieron en los recursos plásticos que crearon el color local español en la escena parisina. Unos elementos escénicos que se pusieron al servicio del ballet a principios del siglo xix y que tendrían su difusión en la literatura de viajes a partir de 1840. In this article we analyze the evolution of three scenic features of the opera Carmen de Bizet: Orientalism, Gypsies and Spanish dance. The libretto and the scenography of its first performances are the result of the evolution of aspects that began to develop in the main Parisian scenes from 1820. Scenic design and costume became the plastic resource that created the local Spanish color in the Parisian scene. Some scenic elements appeared at the service of ballet in the early nineteenth century. These elements will be disseminated from 1840.

В докладе приводятся результаты методологической компиляции изучения двух тем, связанных с прояснением особенностей явления фантастического в конкретный период развития французской литературы, а также в творчестве конкретного автора — Проспера Мериме. Первая часть посвящена реферативному изложению разных концепций фантастического в литературе с целью выявить характерные черты поэтики такого рода художественной реальности в связи с эстетической установкой творчества французских романтиков. Вторая часть — прояснение функции фантастического в новеллах Мериме «Венера Илльская» и «Локис» с помощью анализа их сюжетной и композиционной структуры. При интерпретации используется теоретический аппарат, сформированный в первой части исследования. This article presents the results of methodological consideration of the two topics related to the features of the fantastic in a particular period of the development of French literature and in the short stories of Prosper Mérimée. The first part is devoted to the abstract presentation of various concepts of the fantastic in literature in order to identify the common features of the poetics of this kind of fiction reality in connection with the aesthetic setting of the writing of the French Romantics. The second part is a clarification of the function of the fantastic in the short stories of Prosper Mérimée “La Vénus d’Ille” and “Locis” by analyzing the plot and compositional structure of these texts, in the interpretation of which we use the theoretical categories, formed in the first part of the research.

Le territoire français connaît ses derniers accroissements notables dans la seconde moitié du xixe siècle, lorsqu’à l’issue de l’engagement de Napoléon III dans la guerre du Piémont contre l’Autriche, la France annexe la Savoie et le comté de Nice. Le patrimoine monumental de ces nouvelles provinces participait donc de l’histoire d’une nation étrangère avant 1860, celle du Piémont-Sardaigne et de sa dynastie régnante, la Maison de Savoie. Le transfert de souveraineté en 1860 entraîne ce que l’on pourrait appeler un processus de francisation des monuments historiques. Le présent article s’intéresse au patrimoine du comté de Nice en décrivant les principales facettes de ce processus aux implications administratives sur le temps court, mais aussi scientifiques et politiques sur le temps long, depuis la décennie 1830 jusqu’aux dernières conséquences durant les années 1930, quand l’irrédentisme fasciste remit en question l’appartenance de Nice à l’ensemble français. L’installation à Nice du service français des Monuments historiques ne correspond en aucun cas à l’origine de la fonction régalienne de la protection du patrimoine. Depuis 1832, l’État piémontais a suscité la création d’une « Giunta di antichità e Belle arti » et la nomination de Carlo Promis comme premier « ispettore dei monumenti d’antichità dei reali Stati » dans les années même où la monarchie de Juillet instituait la commission des Monuments historiques et la fonction d’inspecteur. Comme la commission française à ses débuts, le dispositif du Piémont entend s’adjoindre le concours des sociétés savantes locales. Le premier recensement des monuments aboutit à une première liste de classement. Le service français prend donc le relais des premières protections. Le chantier de restauration du trophée des Alpes, à La Turbie, revêt un caractère emblématique : le parti adopté par les ingénieurs du Génie civil sarde est celui d’une stricte consolidation tandis que Viollet-le-Duc et ses disciples s’engagent dans la voie de la restitution. Le changement complet de doctrine de restauration se double du changement de point de vue historique : en effet, les monuments et les sites archéologiques niçois s’intègrent avant 1860 dans la geste de la dynastie de Savoie, qui entreprend à partir de 1848 la construction de l’Italie unitaire. La question des styles revêt une dimension hautement politique en Italie du Nord, où les architectes cherchent à forger dans l’historicisme une architecture nationale pour la nouvelle Italie. L’annexion à la France fait entrer ce patrimoine dans une nouvelle histoire nationale, l’histoire de France. Un fragment antique est symboliquement donné à Napoléon III pour les collections du tout nouveau musée des Antiquités celtiques et gallo-romaines de Saint-Germain-en-Laye. France witnessed its last significant territorial acquisitions during the second half of the nineteenth century, when, in 1860, at the end of the Austro-French Piedmontese War, Napoleon III’s Empire annexed Savoy and the County of Nice. Up until that date, the heritage of these annexed provinces belonged to another nation, the Kingdom of Sardinia and its reigning dynasty, the House of Savoy. The change in sovereignty brought about what could be called a process of ‘Frenchification’ of the territory’s historic monuments. This article focuses on the built heritage of the County of Nice, describing the main features of this process, covering short-term administrative questions as well as longer-term scientific and political aspects between 1830 and 1930. At this last date, fascist-inspired irredentism began to question the idea that Nice should be considered a part of France. The establishment in Nice of an office of the French historic monuments administration was by no means the beginning of governmental policies to protect the region’s monumental heritage. As early as 1832, the Piedmontese State had created a council of antiquities and fine arts (Giunta di antichità e Belle arti) and appointed Carlo Promis as its first inspector (Ispettore dei monumenti d’antichità dei reali Stati). This was in the same year that the government of France’s July Monarchy established a historic monuments commission, together with a post of inspector. As in France, from the outset, the Piedmontese monuments administration relied considerably on the help of local scholarly societies. The first inventory of historic buildings led to an initial list of ‘classified’ monuments enjoying statutory protection, which the French administration took over after 1860. The restoration project on the Roman Tropaeum Alpium, the Trophy of the Alps at La Turbie, may be seen as characteristic of this continuity, but whereas Sardinian civil engineers had advocated a simple consolidation of the structure, Viollet-le-Duc and his followers preferred their perspective of restitution of the monument. This new concept in restoration also entailed some revisions in the interpretation of history. The historic monuments and archaeological sites in Nice prior to 1860 were all heritage recognised as such under the regime of the House of Savoy. A new dynamic began to affect historic monuments after 1848 when the House of Savoy became involved in the process of Italian unification. The question of style became a highly political issue in Northern Italy, where architects of historicist inspiration sought to forge a national architectural style suitable for the new nation. With the French annexation of the County of Nice, the heritage acquired another national history, that of France. A fragment of a monument of antiquity was symbolically given to Napoleon III for the collections of the Museum of National Antiquities at Saint-Germain-en-Laye.

Resumen: Es conocida la historia de los denominados “últimos Charrúas” descrita por Paul Rivet, cuya trayectoria hemos podido describir aportando algún dato nuevo en un artículo precedente (Arce Asenjo, 2007). En el marco de este avance presentaré fragmentos traducidos de fuentes inéditas en Uruguay, artículos de la época, crónicas, que utilizaremos para enfocarnos en la manera en la que fue descripta su exhibición en París y como ésta serviría de pretexto (Bouysse-Cassagne, 1984) para emitir opiniones sobre la sociedad francesa de entonces. Este avance es parte de una investigación cuyo resultado debería ser la publicación de una versión reactualizada del trabajo de Paul Rivet, aún inédito en Francia, pero cuya “memoria” fue publicada por la Sociedad de Amigos de la Arqueología en Uruguay en 1930. La presencia de los 4 Charrúas en París no pasó desapercibida. Es cierto que pocos años antes, en 1827, seis Osages habían llegado a la Ciudad-Luz para visitar a las autoridades y reclamar ante la corte francesa la situación de su pueblo en lo que no era todavía Canadá. Víctimas de la astucia de un tal Delaunay, que explotó su presencia, habían terminado transformándose en objeto de curiosidad para el público parisino y constituyeron de esa forma un precedente para la iniciativa de François de Curel de llevar a su vez a los charrúas hasta Paris. Abstract: It’s already well known Paul Rivet’s “Last Charrúas” story and we have described its trajectory while adding some new facts in a previous article (Arce Asenjo, 2007). Now I will propose some fragments translated from unpublished in Uruguay sources, vintage articles, chronicles that we’ll use to focus on how their Paris exhibition was shown and how it may by a pretext (Bouysse-Cassagne, 1984) to issue opinions on the French society at that time. This advance is part of a research aimed to publish a revised edition on Paul Rivet’s work, yet unpublished in France but its “memory” was published in 1930 by the Uruguayan Archaeology Friends Society. The appearance of those four Charrúas didn’t pass unnoticed at Paris. Of course, some time before, in 1827, six Osages came to The City of Light to visit the authorities and claim at the French Court their people’s problems, up there before it came to be Canada. They were victims to some Delaunay’s cunning (he exploited their presence as a show) and ended being an object of curiosity by the Parisian public, therefore becoming a precedent for François de Curel idea to take the Charrúas to Paris.

Les points communs entre Prosper Mérimée, Stendhal, Théophile Gautier et Somerset Maugham sont nombreux: goût des voyages, réflexion constante sur l’art littéraire, questionnement récurrent sur la question de l’émotion… C’est ce triptyque voyage-métatextualité-émotion qui nous a intéressée dans cette étude. En effet, le voyage est l’occasion, pour les quatre écrivains, de faire entrer l’émotion, cette «exagération de l’affectivité», dans l’écriture; mais c’est là une opération délicate, qui donne lieu à maintes réflexions métatextuelles, en particulier sur la question de la relation entre une œuvre et son public: car le lectorat est en quête d’émotions, et il convient par conséquent de satisfaire les appétits de l’«âme collective». Cependant, le voyage, avec l’éloignement et le dépaysement qu’il suppose, permet à l’écrivain de prendre de la distance à l’égard des tropismes émotionnels de ses contemporains/compatriotes: ainsi découvre-t-il des émotions étrangères – tout en confondant parfois l’inconnu qu’il rencontre avec ses souvenirs de lecture. The common points between Prosper Mérimée, Stendhal, Théophile Gautier and Somerset Maugham are numerous: taste for travel, constant reflection on literary art, recurrent questioning on the question of emotion... It is this triptych travel-metatextuality-emotion that interested us in this study. Indeed, the journey is the occasion, for the four writers, to make enter the emotion, this "exaggeration of the affectivity", in the writing; but it is there a delicate operation, which gives place to many metatextual reflections, in particular on the question of the relation between a work and its public: because the readership is in search of emotions, and it is advisable consequently to satisfy the appetites of the "collective soul". However, the journey, with the distance and the disorientation that it supposes, allows the writer to take distance with regard to the emotional tropisms of his contemporaries/compatriots: thus he discovers "foreign" emotions - while confusing sometimes the unknown that he meets with his memories of reading.

Actes du colloque international organisé les 31 mai et 1er juin 2013 par Valentina Ponzetto à l’Université de Genève avec le soutien du Fonds National de la recherche Suisse; International audience; Les Deux Héritages, tentative de renouvellement du genre dramatique par fusion et distanciation des formes établies que sont la moralité et la comédie, poursuit le travail de dévoiement et de reconfiguration des genres déjà exploré par Mérimée entre 1825 et 1830. Ils sont également la preuve qu’un théâtre exclusivement proposé à l’imagination de lecteurs n’est pas synonyme de production anti-théâtrale. Au contraire, c’est parce qu’elle possède un véritable potentiel dramatique que la pièce de Mérimée dénonce en creux, par sa hardiesse, les scléroses et les insuffisances de la scène à l’époque de sa création. La lecture fut la garante de la liberté du dramaturge ; et la Revue des deux mondes, l’assurance d’un support d’exposition et de publicité favorable à un texte désinvolte, que l’incarnation matérielle aurait en son temps rendu intempestif.

『カルメン』(1845年)で名高いフランスの小説家プロスペル・メリメ(1803-1870)が弱冠21歳の時に、自由主義派の小冊子『グローブ』紙に四回に渡って寄稿したスペイン演劇に関するエッセイの翻訳で、本邦初訳である。このエッセイはメリメにとって初めて活字になった作品であり、彼の作家活動の最初期からすでにスペインへの興味が明確に見られること、しかもそれが演劇に関する評論であったことは興味深い。, Prosper Mérimée (1803-1870), French novelist famous for Carmen (1845), contributed four essays on Spanish Theatre to a liberal brochure Le Globe at the young age of 21 in 1824. This article is a first translation into Japanese of these four essays, Mérimée's first works publicly printed, which show us he had much interest in Spanish theme, above all, Spanish Theatre, already in his youth., 翻訳(translation)

Cet article s’intéresse aux représentations de l’archéologie dans « Le dernier des Valerii », nouvelle de Henry James publiée en 1874. En revisitant les usages du genre fantastique dans « La Vénus d’Ille » (1837) de Mérimée tout en anticipant le parallèle que Freud propose entre l’archéologie et la psychanalyse dans « L’Étiologie de l’hystérie » (1896), James met en place un jeu complexe de relations et de correspondances métaphoriques entre les pierres et le langage, la sculpture et la littérature, l’Antiquité et la modernité, l’esthétique et la psychologie. « Le dernier des Valerii » s’inscrit dans la tradition littéraire du fantastique archéologique, qui se développe à une époque où l’archéologie devient une véritable science de l’Antiquité (Altertumswissenschaft), et dont les intrigues fondées sur le retour d’objets antiques permettent d’explorer la question de la transgression du désir, du refoulement et de l’identité sexuelle. This article examines the depiction of archaeology in Henry James’s short story “The Last of the Valerii” (1874). Looking, at the same time, back to Prosper Merimée’s use of the fantastic in “La Venus d’Ille” (1837) and forwards to Sigmund Freud’s parallel between archaeology and psychoanalysis in “The Aetiology of Hysteria” (1896), James sets up an intricate set of relations and metaphorical correspondences between stone and language, sculpture and literature, antiquity and modernity, aesthetics and psychology. “The Last of the Valerii” participates in a literary tradition of the archaeological fantastic that developed alongside the rise of classical archaeology as a tool of Altertumswissenschaft, in which authors employ narratives of the return of material objects from antiquity in order to explore difficult questions to do with transgressive desires, repression and sexual identity.

In his Bunsho-tokuhon, Mishima positions A pearl in Toledo of Prosper Merimee as an exemplar of Western short stories and Mateo Falcone of the same writer as a prototype of classic short stories. Mishima also cited the words of Merimee when he spoke of Hagakure, the thoughts of the samurai Jocho Yamamoto, which was his favorite book before his suicide. In these works of liberalist Merimee, which espouse ancient Greek thought, we can find descriptions of the samurai-spirited (chivalric) death and beauty which Mishima regards as ideals.

The aim of the bachelor thesis Carmen and Colomba as femmes fatales? is to describe the origin and expansion of the myth of the femme fatale across the 19th century French literature. Through the analysis of the two main female characters Carmen and Colomba of the writer Prosper Mérimée, it is possible to illustrate the general applicability of this myth. The first part of the thesis is dedicated to the definition of the term femme fatale, its expansion in the 19th century and also to the question concerning the relevance of this literary myth. The following chapter covers the analysis of the two mentioned female characters by defining the types of their male victims and their closer analysis. The last chapter provides a space to discuss the development of the myth of the femme fatale over the second half of 19th century, primarily in the piece Les Diaboliques of Barbey d'Aurevilly, but also in the crystallization of femme fatale into the mythological-biblical based figure of Salomé in the end of the 19th century.

Contributeurs : Thierry Bodin, Martine Contensou, Antonia Fonyi, Sylvain Ledda, Janette McLeman Carnie, Esther Pinon, Valentina Ponzetto, Lise Sabourin, Antonia Scepi, Sophie Vanden Abeele-Marchal et Roselyne de Villeneuve.

Miekichi Suzuki's conte for children, Father, is a retelling of Merimee's Mateo Falcone, following after Masao Kume's Japanese faithful retell. However, Suzuki departs from both Merimee and Kume at the ending where the father kills his son for his betrayal. The act of the father can be interpreted as similar to the Japanese's kaishaku, an act of assisting a samurai in performing the hara-kiri by cutting off the head. Suzuki's modified ending was probably influenced by the opinion that the execution of the son was too cruel. In Suzuki's ending, the son's life is spared. This, perhaps, reflects a position closer to the 19^ century's Christian view on death than Merimee's.

The article is devoted to the investigation of such phenomenon as duality: it’s archetype model and it’s artistic sense in story by well-known writer of Romantic epoch in France as Prosper Mérimée. The constructive function of duality in «Lokis» was studied on several levels: system of heroes, plot motives, semantic oppositions, composition etc. Among main reasons for appearing of motive of the duality in Prosper Mérimée’s story are: author’s interest in Slavic mythology (the hero is totem beast’s son) and to the secrets of human psyche. This motive strengthens narration tension by forming of horror atmosphere too. Mainly the duality in «Lokis» was studied in the context of the categories «mythopoetic» and «unconscious». The purpose was to prove the thesis about the duality of hero’s nature which consists of «white» and «black» parts. The possibility of mythopoetic interpretation of «Lokis» is connected with the elements of the totem myth in it. They are connected with the episode of thefts of hero’s mother by a bear during a hunt. Mythopoetic interpretation confirms by the analysis of the appearance of the hero (primarily his sight that scares), his behavior (in the dream hero talks about blood, screams and bites a pillow, and in the daytime he talks about the desire to understand whose blood is better-his bride or horses). He is treated as the beast by his mother who is afraid and hate him at the same time, and by the old woman in the wood, who invited him to become the King of beasts. The animals afraid him, but he never allowed himself to torment and so on. Finally, the tragic finale of the novel (a terrible death of the hero’s wife and his own disappearance at night) may be connected with duality of hero’ nature: he is a man and a beast at the same time.A psychiatric, medical motivation of mysterious in «Lokis» may be given. It is connected with heredity (mother of the Hero went crazy), and love (doctor says that Juliana could drive Michael Shemet mad). A fear of the stories about the secret of his birth could do the hero crazy too.There is also psychological explanation for the dreaded final of the novel. It involves analysis of the unconscious: mind and instinct conflicted in the hero. The author of the article concludes that the the mithopoetic and psychological have the interrelated nature in Mérimée’s story (the mythological interpretation of the secrets of his birth, presence of destructive desires effect on the hero’s psyche which gradually stops to submit (to be controlled) to reason). Therefore, as the main semantic oppositions in the article are examined «conscious-unconscious», «orders-natural», «wild-cultural»., В статье, на основе определения архетипической (мифопоэтической), физиологической, психологической и психиатрической основ мотива двойничества, а также изучения его функций и способов реализации на уровнях символики имен, системы персонажей, выраженных в произведении точек зрения на загадочное, сюжетных мотивов, и композиции в новелле французского писателя-романтика Проспера Мериме «Локис», определяется место мотива двойничества в создании автором художественной картины действительности как трагической и непредсказуемой. Основное внимание уделяется интересу писателя к бессознательному, месту оппозиции «свое — чужое» в его раскрытии. Категория «чужое» рассмотрена в аспектах как «инонационального», так и внутреннего — того, что разрушает единство человека с окружающими и внутреннюю гармонию., У статті на основі визначення архетипової (міфопоетичної), фізіологічної, психологічної та психіатричної основ феномену двійництва, а також вивчення його функцій і засобів реалізації на рівнях символіки імен, системи персонажів, вираженої у творі системи точок зору на таємниче, сюжетних мотивів і композиції в новелі відомого французького письменника-романтика Проспера Меріме «Локіс» встановлюється зв’язок двійництва зі створеною автором художньою картиною дійсності як трагічної та непередбачуваної. Головна увага приділяється інтересу письменника до несвідомого, ролі опозиції «своє — чуже» у його розкритті. Категорію «чуже» розглянуто в аспектах як «інонаціонального», так і внутрішнього — того, що руйнує гармонію зв’язків героя з зовнішнім світом та особистісним «я».

International audience

A partire dalla novella originaria di Merimée, Carmen ha diritto perenne di cittadinanza nello spettacolo e nelle fantasie di tutti, in ogni variabile forma: opera, opera rock, hip opera e musical, ballo e balletto, letteratura, teatro, ma soprattutto cinema (circa 80 versioni) con multiforme accompagnamento musicale, dal jazz al rap. Cambia peraltro significativamente nel tempo e nello spazio la rappresentazione del personaggio, metafora del femminile per eccellenza, in tutte le sue clamorose variazioni culturali, psicologiche, politiche, razziali., Starting from the original story by Mérimée, Carmen, in all its forms, has the right of permanent citizenship as a form of entertainment and in everyone’s fantasies: opera, rock opera, hip opera and musicals, dance and ballet, literature, theater, but especially in films (about 80 versions) with varied musical accompaniment, from jazz to rap. However, the representation of the character changes significantly in time and space. Carmen is a metaphor of the feminine par excellence, in all its glaring cultural variations: psychological, political, racial., PsicoArt – Rivista on line di arte e psicologia; Vol 3, N° 3 (2013)

Malgré l’intérêt porté aux œuvres d’art religieuses du XIXe siècle depuis une trentaine d’années, beaucoup de vitraux religieux du XIXe siècle ont déjà disparu à Paris ; il s’avère donc urgent de les inventorier. L’objet de l’article qui suit est la présentation des édifices catholiques parisiens de style néogothique et de leurs verrières. Ce corpus comprend 5 églises paroissiales, 19 chapelles de congrégations ou anciennes chapelles devenues paroisses, et deux bâtiments annexes. Sur 526 verrières étudiées, 286 sont ornées de figures ou de scènes dont 37 entrent dans la catégorie vitrail-tableau ; les 240 autres verrières sont ornementales. 22 ateliers sont à l’origine de ces verrières, parmi les plus importants tels Didron, Lusson, Champigneulle, Hirsch, Gsell, etc. L’on sait que Paris a joué un rôle déterminant dans la renaissance du vitrail durant le premier tiers du XIXe siècle, grâce à la perspicacité de certains hommes de pouvoir comme le comte de Chabrol qui fut à l’origine de la « résurrection » du métier de peintre verrier avec la création du premier atelier de la Foire Saint-Laurent en 1825, grâce également à la confrontation des archéologues avec les premiers grands chantiers de restauration et le rôle décisif des architectes diocésains. L’iconographie de ces verrières reflète l’évolution du contexte religieux, de la liberté concordataire à l’explosion congrégationniste, du retour de l’autorité romaine au triomphe de l’ultramontanisme, du mouvement anticongrégationniste à la loi de Séparation de 1905. Le vitrail néogothique épouse plutôt une iconographie de tendance gallicane, teintée d’un certain « romantisme » ; mais à partir de 1850, il s’ouvre à de nouvelles images et devient ce que l’on pourrait appeler un « moyen de propagande ». Le vitrail néogothique marque le retour à la couleur ; l’imitation des Anciens exige une technique très maîtrisée, qui cependant s’ouvre à des procédés nouveaux comme l’impression de motifs répétitifs sur les verres de bordure ou de fond. Considérant l’éclectisme architectural du XIXe siècle comme un style à part entière, il convient de qualifier de même ce mélange fréquent des styles, pas nécessairement cohérents, utilisés soit pour les personnages soit pour les encadrements dans les verrières dites « archéologiques » ou les « verrières-tableaux ».Despite the interest elicited by 19th century religious art over the past thirty years, Paris has lost much of its 19th century religious stained glass. It was urgent to carry out an inventory of what remains. The aim of this article is to present the Catholic Gothic revival buildings in Paris and their stained glass. The corpus comprises five parish churches, 19 congregational chapels or chapel transformed into parish churches, and two other ancillary buildings. A total of 526 stained-glass works was surveyed and studied; 286 are designs with figures, 37 of these classifiable as stained-glass picture compositions. The remaining 240 works are ornamental. Behind this production, we find some 22 different stained-glass producers, amongst the most important of which are Didron, Lusson, Champigneulle, Hirsch and Gsell. Paris played a leading role in the revival of stained glass during the early years of the 19th century, thanks in part to the perspicacious inspiration of certain figures in power, such as the Prefect of Paris, the Comte de Chabrol, who was at the origins of the ‘resurrection’ of the skill of stained-glass painters with the 1825 creation of the works at the Foire Saint-Laurent. Further inspiration came from the first restoration work carried out on older stained-glass works, and the decisive role of diocesan architects. The iconography of these works reflects the evolution of France’s religious life during the period, from the liberty of the Concordat to the Congregationist explosion, the return of Papal authority, the anti-congregationist movement, and the law of separation of church and state in 1905. Stained glass of neo-Gothic inspiration shows a Gallican tendency marked by a certain ‘romanticism’. But from 1850 on, new imagery began to appear, often taking on the form of ‘propaganda’. Neo-Gothic stained glass also marks a return of colour, the mastery of the art of older stained-glass artists involving considerable technical competence. The movement also involved new processes, however, such as the printing of the motifs repeated along borders or in the background. The architectural eclecticism of the 19th century can be seen as a coherent style, but it is also a mixture of styles, not necessarily coherent, used for personages and for the framing of stained-glass works known as ‘archaeological’ or ‘picture’ compositions.

Apie Merimee laikų Lietuvą Prancūzijoje žinoma palyginti nedaug, menkai žinoma ne istorinė praeitis, o kultūra ir kalba. 1830–1840 metais, traukdamiesi nuo Rusijos persekiojimo, į Paryžių atvyko daug lietuvių ir lenkų emigrantų, pavyzdžiui, Adomas Mickevičius. Jie sudomino vietinius intelektualus baltų kultūra. Apie XIX a. vidurį Prancūzijos filologai, mitologijos specialistai, kaip ir jų kolegos vokiečiai, ėmė išsamiai tyrinėti lietuvių kultūrą. Merimee taip pat pasinėrė į baltų ir slavų studijas. Kaip rašytoją, o ne mokslininką, jį labiau viliojo užsienio kalbos, jis tapo puikiu rusų literatūros vertėju. Apgailestaudamas, kad bėgant amžiams nyksta senosios kalbos, Merimee ėmė domėtis žemaičių tarme, bendravo su to krašto žmonėmis. 1869 metais (likus metams iki Merimee mirties) pasirodė jo apsakymas „Lokys“. Čia pasakojama apie lokį ir moterį, kuri pagimdo žmogiškos išvaizdos, bet pragaištingo elgesio, žudikišką jų sūnų. Prancūzų skaitytojams prieš akis iškilo Lietuvos vaizdas: istorinė aplinka, kraštovaizdis, kalba, senoji pagonybė, liaudies tradicijos. Šiame literatūros kūrinyje buvo daug netikslumų, jame susipynė fantazija ir tikrovė, atsiskleidė tipiški Merimee kūrybos bruožai: laukinio prado motyvai, žmonių dvilypumo žavesys, tikroviškumo ir antgamtiškumo jungtis, santūrus ir lakoniškas rašymas. Kadangi straipsnyje analizuojama pirmoji prancūzų prozos fikcija Lietuvos tema, ji turi didelę simbolinę vertę The “Merimee” period in Lithuania is little known in France. In 1830–18040, when escaping the Russian persecution, a great number of Lithuanians and Poles arrived to Paris, for example, Adam Mickiewicz. They provoked interest in the Baltic culture among local intellectuals. In the middle of the 19th century, Prussian philologists, mythology specialists as well as their German colleagues launched thorough studies of the Lithuanian culture. Merimee also devoted his attention to the studies of Baltic and Slavic cultures. He was interested in foreign languages as a writer and not as a scientist. He became a perfect translator of the Russian literature. Feeling sorry about old languages vanishing, Merimee started to research the Samogitian dialect. He communicated with local people. In 1869 (with one year left until his death), his story “Lokys” [the Bear] saw the light. This story tells about a bear and a woman, who gave birth to its sun – a creature of human appearance but a destructive nature. The French reader had the opportunity to imagine Lithuania: historic environment, landscape, language, old paganism, folk traditions. This literature work had a number of discrepancies with fantasy and illusion intermingling. It revealed typical features of Merimee’s works: motives of the wild nature, admiration for the dual nature of man, reality and the supernatural world, modest and laconic style of writing. Whereas, the article analyses the French fiction literature work on the theme of Lithuania, it has a great symbolic value.

Le Don Juan malgré lui retrace la vie exemplaire et la singulière fortune posthume d'un vénérable gentilhomme espagnol, Don Miguel Mañara (1627-1679). Abordant ce personnage complexe tour à tour sous l'angle de l'histoire, de la légende et de la littérature, cet ouvrage recense les nombreux avatars fictifs que Mañara s'est vu attribuer depuis le Romantisme, essentiellement dans les littératures française et espagnole, et tente de comprendre comment le mythe de Don Juan a pu s'approprier cette destinée., This study undertakes to understand how the myth of Don Juan has, since Romanticism, appropriated the destiny of Don Miguel Mañara (1627-1679), venerable Spanish nobleman.

International audience; El propósito de este artículo es analizar la secuencia paródica titulada "Aventuras en Córcega" que aparece al principio de la segunda parte de ¡Espérame en Siberia, vida mía!, una novela que el escritor madrileño Enrique Jardiel Poncela escribió en 1929. Se tratará de demostrar que el hipotexto en que se asienta esta microparodia es Colomba, el famoso relato corto de Prosper Mérimée a quien se suele achacar la responsabilidad de la proliferación de cuantos tópicos románticos plagan la literatura sobre Córcega a lo largo del siglo XIX y principios del XX.

International audience; Cet article fait une lecture du texte de Walter Pater paru en 1890 "Prosper Mérimée" pour montrer comment Pater étudie l'impersonnalité littéraire.

Rad je posvećen pjesmi “Carmen” Iva Vojnovića (1893.), gdje je predmet pjesnikova zanimanja ciganka Carmen, glavni lik novele P. Mériméea prema kojoj je nastala opera Georgesa Bizeta. Analiza autorovih intermedijalnih postupaka – ovdje konkretno uporabe poveznica s glazbom, pritom omogućuje da se pjesma pobliže smjesti u kontekst esteticističkih strujanja na prijelazu iz XIX. u XX. stoljeće, koje odlikuje naglašena sklonost prekoračivanju granica između različitih umjetnosti. Pjesma se istovremeno kontekstualizira u okvirima Vojnovićeva cjelokupnog opusa te napose ciklusa "Lapadski soneti", kao ilustrativan primjer autorove sklonosti stvaranju većih cjelina unutar opusa.

International audience