scholarly journals La Mythologie politique de Paul Hadol : des figures du pouvoir à l’épreuve des mythes grecs dans la caricature au début de la Troisième République (1871-1872)

2020 ◽  
pp. 78-93
Author(s):  
Sylvain Nicolle
Keyword(s):  
Xviiie Siècle ◽  
Xviiie Siecle ◽  
Critères De Sélection

Entre 1871 et 1872, le dessinateur Paul Hadol publie dans l ’hebdomadaire satirique Le Charivari onze portraits-charges formant une série intitulée La Mythologie politique. Cet article rappelle d'abord comment celle-ci s'inscrit dans une tradition préexistante de parodie iconographique de l'Antiquité qui naît en Angleterre à la fin du XVIIIe siècle avant d'être acclimatée en France à partir de la monarchie de Juillet.On interroge ensuite les critères de sélection biographique des célébrités caricaturées et la cohérence thématique possible de la série à partir de la typologie des filtres mythologiques – le cycle de Troie, les divinités olympiennes, les héros, les monstres. Enfin, l'analyse plus spécifiquement sémiotique des caricatures met en évidence la reprise du procédé associant grosse-tête et légende versifiée aux deux séries du Panthéon charivarique (1838-1841 et 1866-1867), la dimension de rébus politique, et le jeu de citations artistiques, littéraires voire musicales. L'épilogue montre que la portée de la série peut s'envisager d'un point de vue politique et artistique mais aussi intellectuel dans le rapport au temps qu'elle questionne.

L’Ecclesiastes d’Erasme et la Formation du Predicateur Anglican au debut du XVIIIe siecle

Moreana ◽  
1973 ◽  
Vol 10 (Number 38) (2) ◽  
pp. 43-54
Author(s):  
Jean-Claude Margolin
Keyword(s):  
Xviiie Siècle ◽  
Xviiie Siecle

Thomas More en France a La Fin Du XVIIIe Siècle

Moreana ◽  
1981 ◽  
Vol 18 (Number 70) (2) ◽  
pp. 53-54
Author(s):  
Jacques Gury
Keyword(s):  
Thomas More ◽  
Xviiie Siècle ◽  
Xviiie Siecle

Consulter par lettre au XVIIIe siècle

Gesnerus ◽  
2004 ◽  
Author(s):  
Séverine Pilloud ◽  
Stefan Hächler ◽  
Vincent Barras
Keyword(s):  
Xviiie Siècle ◽  
Xviiie Siecle

Comment le rapport au texte biblique transforme le rapport au texte littéraire au XVIIIe siècle : le cas Rousseau

2013 ◽  
pp. 40-47
Author(s):  
Geneviève Di Rosa
Keyword(s):  
18Th Century ◽  
Literary Works ◽  
The Bible ◽  
Xviiie Siècle ◽  
Radical Enlightenment ◽  
Biblical Intertextuality ◽  
Full Force ◽  
Xviiie Siecle ◽  
Book Of Judges ◽  
Literary Reception

In the 18th century, the Bible felt the full force of criticism by radical Enlightenment thinkers who read it piece by piece and denounced the process of its creation as an imposture – thus extending the break initiated by moral and historical critiques of the previous century. In doing so, they nevertheless failed to grant it the literary status of a “profane work”. Yet, Rousseau, who produced a literary rewriting of the Book of Judges with his Levite of Ephraim, pondered over the violence inflicted on biblical intertextuality during his exile in Môtiers: in his Letters Written from the Mountain, he compared it to the violence caused to his own literary works. By draw-ing this parallel, he opened a reflection on the different manners of reading a text, as well as the possibility of regulating the reader’s violence through proposing an ethics of literary reception. Analogy might not work as a substitute; however, it enabled Rousseau to go beyond the mistreatment which anti-philosophers or philosophers inflicted on his works, by giving, among other things, an autobiographical orienta-tion to his writing: one in which the author is ready to take responsibility for giving himself to the reader. The ambivalence of the sacred and the profane, the perception of a common essence of religion – defined either by sacrifice or gift – were thus what helped Rousseau invent the autobiographical pact.

L’hypopeinture greuzienne et ses palimpsestes narratifs au XVIIIe siècle

2015 ◽  
pp. 23-32
Author(s):  
Nadège Langbour
Keyword(s):  
18Th Century ◽  
Narrative Texts ◽  
Xviiie Siècle ◽  
Xviiie Siecle

In the 18th century, the paintings of Greuze had much success. The literature took against these paintings. It transposed them in narrative texts. Diderot and Aubert, described paintings of Greuze by using the literary kind of the moral tale. Thus, they respected moral spirit of the painting of Greuze. But when paintings of Greuze were transposed in the novels, this moral spirit had been perverted : the novels respected stating of Greuze, but they used it to produce a different statement.

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