Le genre du Theatrum, en vogue aux xvie et xviie siècles, se définit par son projet d’exposer l’exhaustivité des savoirs dans un domaine donné. Le jésuite Louis de Cressolles signe en 1620 un ...Theatrum veterum rhetorum, oratorum, declamatorum quos in Graecia nominabant Σοφιστάς (Le Théâtre des anciens rhéteurs, orateurs, déclamateurs que l’on appelait sophistes en Grèce, désormais TVR) : cette œuvre, ainsi que le titre le suggère, porte sur la sophistique antique, courant intellectuel et cul...
Origen’s second homily on Ps 67, in his commentary on v. 5 in particular, deals with issues related to music and employs a rare and in part technical vocabulary to do so. The study of this vocabulary ...(in particular ἔκκλισις, φωνασκία, ᾠδή, μελῴδημα, τρανότης, ἀρθητή, γεγωνός, πληγή, κινήματα), taken in relation to its other uses in secular literature but also in Origen's predecessors, in particular Philo and Clement of Alexandria, makes it possible to shed light on the interpretation of music provided by the Alexandrian: music is seen as an inner song, an intellectual music that must be in tune with the divine Logos. The question of the blending of sounds, around Ps 74:9, is read in the light of the question of divine powers and their mitigation, again in the line of Philo. This image of the harmonious blending of sounds, regulated by spiritual rhythms, also serves to illuminate man's journey towards God.
La deuxième homélie d’Origène sur le Ps 67, dans son commentaire du v. 5 en particulier, traite de questions liées à la musique et emploie, pour ce faire, un vocabulaire rare et pour partie technique. L’étude de ce vocabulaire (en particulier ἔκκλισις, φωνασκία, ᾠδή, μελῴδημα, τρανότης, ἀρθητή, γεγωνός, πληγή, κινήματα), mis en relation avec ses autres emplois dans la littérature profane mais aussi chez les prédécesseurs d’Origène, en particulier Philon et Clément d’Alexandrie, permet de mettre en évidence l’interprétation de la musique que fournit l’Alexandrin : celle-ci est considérée comme un chant intérieur, une musique intellectuelle qui doit s’accorder au Logos divin. La question du mélange des sons, autour de Ps 74, 9, est lue à la lumière de la question des puissances divines et de leur mitigation, de nouveau dans la ligne de Philon. Cette image du mélange harmonieux des sons, réglé par des rythmes spirituels, sert également à éclairer l’itinéraire de l’homme vers Dieu.
Representing five major areas of Augustan scholarship—historiography, poetry, art, religion, and politics—the nineteen contributors to this volume bring us closer to a balanced, up-to-date account of ...Augustus and his principate.
Gabii through its Artefacts brings together 15 papers
written by as many scholars on objects from the excavations of the
town of Gabii undertaken by three different international teams
since 2007: ...The Gabii Project, which is a primarily US-based group
of scholars; a team from the Musée du Louvre; and a team from the
University of Rome "Tor Vergata" collaborating with the
Soprintendenza Speciale per i Beni Archeologici di Roma. The
contributions aim to consider artefacts outside the ceramic report
and small finds catalogue format in terms of both the wide variety
of materials and the possibilities for unique individual stories.
Objects ranging from the pre-Roman to Imperial periods are examined
using a mix of approaches, making an effort to be sensitive to
excavation context and formation processes. Approaches include
archaeometric, spatial, and statistical analyses, artefact life
history approaches, and archival approaches. Thus, different scales
of analysis are also undertaken: in some cases individual objects
are focused on, in others whole classes or assemblages. The papers
ultimately share the common goal of offering new stories about the
inhabitants of Gabii told through their artefacts. Together they
enliven the Gabines' behaviours: their concerns about personal and
economic security and status, their productive activities and trade
connections to other towns, their aesthetic and ritual concerns,
their political affiliations and aspirations.
Malgré une déperdition importante, le corpus de Lysias contient de nombreux discours par rapport aux autres orateurs attiques. Ce nombre élevé donne l'occasion de réfléchir à l'argumentation déployée ...et aux moyens de persuasion utilisés pour la soutenir. Le discours Contre Agoratos fournit un bon cas d'étude pour comprendre en quoi la stratégie composée pour le plaignant est à la fois similaire aux autres textes de Lysias et particulière à cette affaire. L'argumentation se distingue en effet par une stratégie spécifique. L'insistance sur l'adversaire est inédite chez Lysias et rare chez les autres auteurs. De même, l'anticipation des arguments de l'adversaire, si elle est courante chez les orateurs, occupe rarement une aussi grande partie du réquisitoire. Pour soutenir cette démonstration, les moyens de persuasion utilisés sont au contraire très ordinaires par rapport aux autres discours du canon dans son ensemble. Mais ils n'en sont pas moins assez inhabituels au sein du corpus de Lysias lui-même.
With his Sententiae, diuisiones, colores rhetorum et oratorum, published around 30 CE, Seneca the Elder, father of the stoic philosopher Seneca, produced an anthology of excerpts from declamations ...(forensic or deliberative mock-speeches) by 116 different declaimers who lived during the reigns of Augustus and Tiberius. By quoting these declaimers, Seneca intended to offer an informed and critical view on their qualities and defects, and to memorialize the emerging literary genre of declamation. But his text also lends itself to a more social reading. By mining the Sententiae, divisiones, coloresfor mentions of direct contacts between declaimers, and applying the methodology of network analysis, it becomes possible to read the anthology as a depiction of a structured intellectual milieu. The aim of this article is to identify and reconstruct the social relationships within the declamatory world described by the anthology, by exploiting the two kinds of links which emerge in Seneca’s quotes and comments: relationships fueled by criticism (where one declaimer assesses the performance of another) and relationships based on competition or imitation (where one declaimer builds on the production of another). After assessing the goals and biases of Seneca and their impact on his depiction of the declamatory milieu, this article expounds a method for 1) identifying concrete links between declaimers with a reasonable degree of certainty, 2) building a set of usable data based on these findings, and 3) assessing the meaning of the expected results in view of the incompleteness of the anthology. It then reconstructs and plots two declamatory networks (criticism, competition), and uses them to identify the central figures and to describe the relational structures of the Roman declamatory world depicted by Seneca.
La BnF (site Richelieu) conserve deux copies manuscrites d’un texte en prose intitulé l’Institution du prince du Sr des Yveteaux, la plus ancienne datant d’avant 1661, la plus récente des années ...1680. Or les effets de lecture induits par les indices biographiques et bibliographiques disséminés dans ce texte conduisent invariablement vers l’auteur, autrement dit vers Nicolas Vauquelin Des Yveteaux (1567-1649). Pour autant, quelles furent les raisons qui prévalurent à la fabrique de ce miroir ou plutôt de cet anti-miroir, puisque cette Institution censée répondre à une commande d’État, ambitionne d’instruire un roi mineur (Louis XIV) à partir d’attaques professées contre son propre père (Louis XIII) ? On plaidera davantage pour le coup d’éclat littéraire que pour le coup de force politique.
The French National Library (Richelieu site) holds two manuscript copies of a prose text entitled l’Institution du prince du Sr des Yveteaux. The oldest is dated from before 1661 and the most recent from the 1680s. However, interpretation of the various biographical and bibliographical clues scattered throughout the texts consistently point to Nicolas Vauquelin Des Yveteaux (1567–1649) as their author. Nevertheless, what are the reasons that presided over the writing of that mirror or, rather, that anti-mirror, since this Institution supposedly responding to a request from the State, aims to inform a child king (Louis XIV) on the basis of criticism professed against his own father (Louis XIII)? One may argue that it was intended as a literary feat rather than a political demonstration.
