http://interfas.univ-tlse2.fr/lineaeditoriale/2177 Numéros fr jeu., 28 mars 2024 15:28:15 +0100 ven., 28 août 2026 09:24:38 +0200 http://interfas.univ-tlse2.fr/lineaeditoriale/2177 0 http://interfas.univ-tlse2.fr/lineaeditoriale/2194 Ce travail porte sur le tableau de Paul Véronèse, Le festin chez Lévi, qui a valu à son auteur une convocation de la part du Saint Office en 1573. En examinant le procès-verbal du tribunal et les particularités iconographiques de cette représentation, j’essaye de démontrer d’abord qu’il s’agit bien d’un dernier repas du Christ et non pas de l’un des banquets auxquels il a participé d’après les Évangiles, ensuite que les éléments constitutifs de cette toile revêtent effectivement un caractère scandaleux et enfin que le Véronèse a volontairement donné le change en se faisant passer pour un benêt auprès de l’Inquisition. Cela m’amène à postuler que, sans faire partie des artistes attirés par les thèses luthériennes, le peintre était toutefois conscient de la portée subversive de son œuvre. This work focuses on Paul Veronese’s painting, The Feast in the House of Levi, which led to the artist being summoned by the Holy Office in 1573. By examining the court's minutes and the iconographic peculiarities of this representation, I attempt to demonstrate firstly that it is indeed a depiction of the Last Supper of Christ and not one of the banquets he participated in according to the Gospels. Secondly, I argue that the constituent elements of this painting do indeed carry a scandalous character. Finally, I suggest that Veronese intentionally misled the Inquisition by pretending to be naïve. This leads me to posit that, while not aligning with artists attracted to Lutheran theses, the painter was nonetheless aware of the subversive significance of his work. ven., 03 mai 2024 19:58:41 +0200 http://interfas.univ-tlse2.fr/lineaeditoriale/2194 http://interfas.univ-tlse2.fr/lineaeditoriale/2221 Au début du XVIe siècle, Michel-Ange, citoyen engagé dans la vie politique de Florence doublé d’un religieux idéaliste, fait preuve d’une sensibilité réformiste quoique très imprégnée de culture néoplatonicienne. Bien que comme artiste et poète il renonce progressivement à la norme, qu’elle soit humaniste ou tridentine, son parcours le pousse à quitter la codification qui s’imposait à lui pour devenir l’artiste “hors du commun” que nous savons. Quelle part de remise en question informe-t-elle son œuvre, et en particulier le sonnet X de son recueil de poésie, et jusqu’à quel point espère-t-il le renouveau d’une institution gangrénée par l’intérêt financier et la débauche ? Comment l’artiste, formé à l’école humaniste florentine, s’inspire-t-il des influences de ses maîtres, notamment Dante et Pétrarque, pour souligner puis dénoncer les abus et dérives d’une Église en mutation ? L’auteur y fait un parallèle entre Rome et une Babylone moderne, sur le modèle des villes orientales traditionnellement associées au Mal. At the beginning of the 16th century, Michelangelo, a citizen involved in the political life of Florence who was also an idealist cleric, displayed a reformist sensibility, albeit one that was very much imbued with Neoplatonic culture. Although as an artist and poet he gradually renounced the norm, whether humanist or Tridentine, his career led him to leave behind the codification that imposed itself on him to become the ‘uncommon’ artist that we know. How much questioning informs his work, and in particular sonnet X of his poetry collection, and to what extent does he hope for the renewal of an institution corrupted by financial interest and debauchery? How did the artist, trained in the Florentine humanist school, draw on the influences of his masters, notably Dante and Petrarch, to highlight and then denounce the abuses and excesses of a changing Church? The author draws a parallel between Rome and a modern Babylon, modelled on the Oriental cities traditionally associated with evil. jeu., 17 oct. 2024 16:04:16 +0200 http://interfas.univ-tlse2.fr/lineaeditoriale/2221 http://interfas.univ-tlse2.fr/lineaeditoriale/2513 L'articolo esplora un possibile rapporto tra pittura e poesia, illustrato dall'opera di Francesco Furini, che raffigura queste arti come sorelle in un dipinto del 1616. Il saggio ripercorre l'evoluzione di questa percezione, passando dall'armonia tra le due forme d'arte nell'antichità a una netta distinzione durante il Rinascimento. Più avanti nel tempo, il Novecento vide tra le due arti una fusione innovativa, in particolare con la poesia visiva di Antonia Pozzi, che univa parole e immagini. Nata nel 1912, Pozzi, poetessa e fotografa, ha usato l'elemento visivo per esprimere la sua estetica, sottolineando il ruolo centrale dello sguardo nel suo lavoro, evocando emozioni e paesaggi attraverso descrizioni ricche e colorate. This article explores a possible relationship between painting and poetry, illustrated by the work of Francesco Furini, who depicts these arts as sisters in a painting from 1616. The essay traces the evolution of this perception, from the harmony between the two art forms in antiquity to a clear distinction during the Renaissance. Later in time, the Twentieth century saw an innovative fusion between the two arts, in particular with the visual poetry of Antonia Pozzi, who combined words and images. Born in 1912, Pozzi, a poet and photographer, used the visual element to express her aesthetics, emphasizing the central role of sight in her work, evoking emotions and landscapes through rich and colorful descriptions. mer., 19 mars 2025 16:00:00 +0100 http://interfas.univ-tlse2.fr/lineaeditoriale/2513 http://interfas.univ-tlse2.fr/lineaeditoriale/2235 Dans la seconde moitié du XIXe siècle, deux pièces ayant pour thématique l’exil du poète Dante Alighieri (Dante et Béatrix, L’Exil du Dante) sont censurées par les gouvernements français successifs et leurs représentations au théâtre de l’Odéon interdites. Cet article entend analyser les motivations d’une telle censure étatique en identifiant les caractéristiques propres à chaque œuvre pour ensuite les replacer dans le contexte d’une censure banalisée de la dramaturgie. Notre étude se concentrera enfin sur ce qui apparaît comme l’une des raisons principales de cette censure : le transfert culturel qui s’opère entre la figure de Dante et de l’écrivain national en exil, Victor Hugo. In the second half of the nineteenth century, two plays regarding Dante’s exile (Dante et Béatrix, L’Exil du Dante) were censored by the successive French governments and their performances at the théâtre de l’Odéon were forbidden. This article intends to analyze the motives of such governmental censorship in order to determine each play’s characteristics and ultimately situate them within the larger scale of standardized censorship in France. This study finally focuses on what appears as one of the main motives of censorship: the cultural transfer between the figure of Dante and French national writer in exile, Victor Hugo. Nella seconda metà dell’Ottocento, due opere teatrali sull’esilio di Dante (Dante et Béatrix, L’Exil du Dante) furono censurate dai governi francesi successivi e le loro rappresentazioni al théâtre de l’Odéon vietate. Questo articolo intende analizzare i motivi della censura statale identificando le caratteristiche proprie di ogni opera, per poi analizzarle nel contesto di una censura di prassi in Francia. Infine questo saggio si concentrerà su quella che appare come una delle ragioni principali alla censura : il trasferimento culturale operatosi tra la figura di Dante e l’autore nazionale francese in esilio, Victor Hugo. mar., 29 oct. 2024 15:58:49 +0100 http://interfas.univ-tlse2.fr/lineaeditoriale/2235 http://interfas.univ-tlse2.fr/lineaeditoriale/2263 Il dramma Ultima violenza, testamento artistico del drammaturgo siciliano Giuseppe Fava, assassinato dalla mafia nel 1984, è stata tradotta e adattata per la rappresentazione nei tribunali francesi, quattro anni dopo la sua morte. Attraverso l’attività di ricerca e le testimonianze dirette dei registi Pascal Papini e Louis Beyler si analizza la resa in francese del testo, si ricostruisce la mise-en-scène e si valuta la ricezione della critica. Dal confronto delle due diverse produzioni emergono le divergenze culturali tra i due Paesi e al contempo si coglie la medesima necessità della funzione politica del teatro. The play Ultima violenza, the artistic testament of Sicilian playwright Giuseppe Fava, who was tragically murdered by the mafia in 1984, was translated and adapted for performance in French courts four years after his death. Through extensive research and direct testimonies from directors Pascal Papini and Louis Beyler, this study delves into the French adaptation of the text, reconstructs the mise-en-scène, and evaluates the critical reception. A comparative analysis of the two distinct productions reveals the cultural divergences between the two countries while simultaneously underscoring the shared necessity of theatre’s political function. ven., 10 janv. 2025 20:21:31 +0100 http://interfas.univ-tlse2.fr/lineaeditoriale/2263 http://interfas.univ-tlse2.fr/lineaeditoriale/2301 L’articolo esplora il concetto di italianità e plurilinguismo nelle commedie della raccolta Gherardi e s’interroga sulla nascita di clichés sugli attori italiani nel panorama teatrale della Parigi barocca. Il teatro italiano in Francia, spesso ridotto alla commedia dell’arte, viene presentato in questo contesto come una forma d’arte caratterizzata da improvvisazione e un gioco linguistico tra italiano e francese. Tuttavia, la raccolta Gherardi filtra e adatta l’italiano per il pubblico francese, appianando le peculiarità dialettali e creando un’immagine idealizzata dell’italianità. Il plurilinguismo non solo riflette le competenze linguistiche degli attori, ma diventa anche un mezzo di legittimazione artistica e tecnica rispetto ai rivali francesi, in una triangolazione che mette in gioco la Comédie-Italienne, la Comédie-Française e il teatro dell’Opera. The article explores the concept of italianità and multilingualism in the comedies of the Gherardi collection, examining the origins of clichés about Italian actors in the theatrical scene of Baroque Paris. Italian theatre in France, often reduced to commedia dell’arte, is presented in this context as an art form characterized by improvisation and linguistic play between Italian and French. However, the Gherardi collection filters and adapts Italian for the French audience, smoothing out dialectal peculiarities and creating an idealized image of italianità. Multilingualism not only reflects the actors’ linguistic skills but also becomes a means of artistic and technical legitimization in relation to their French rivals, in a triangulation involving the Comédie-Italienne, the Comédie-Française, and the Opera theatre. lun., 03 févr. 2025 23:10:44 +0100 http://interfas.univ-tlse2.fr/lineaeditoriale/2301 http://interfas.univ-tlse2.fr/lineaeditoriale/2327 L’article analyse les choix de traduction, de l’italien vers le français, effectués par Jacques de Fonteny dans ses Bravacheries du Capitaine Spavente (1608) tirées des Bravure del Capitan Spavento (Francesco Andreini, 1607). Confrère de la Passion et cogestionnaire de l’Hôtel de Bourgogne, l’auteur ne traduit que les six premiers Ragionamenti sur les soixante-cinq qu’en compte la première partie du volume, et le fait probablement par intérêt personnel en dédicaçant sa traduction à Charles d’Angennes, Vidame du Mans. Cette étude vise à élucider si la version française de De Fonteny respecte l’italianité du masque de la comédie dell’arte, dans son langage et ses caractéristiques, ou bien si au contraire il pèche par érudition, privilégiant archaïsmes et effets d’italianismes linguistiques. The article analyzes the Italian to French translation choices, by Jacques de Fonteny in his Bravacheries du Capitaine Spavente (1608), translated from the Bravure del Capitan Spavento (Francesco Andreini, 1607). As a co-manager of the Hôtel de Bourgogne theatre, the author only translates the first six Ragionamenti out of the sixty-five from the first part of the volume. He probably does so out of personal interest as the translation is dedicated to Charles d’Angennes, Vidame du Mans. This study aims to elucidate whether De Fonteny’s French version respects the Italianness of the comedy dell’arte’s Capitano, especially his language and his characteristics, or whether it’s an exercise of mere erudition, juste made of archaisms and linguistic Italianisms effects. lun., 10 mars 2025 20:14:46 +0100 http://interfas.univ-tlse2.fr/lineaeditoriale/2327