Pierre Corneille dans les répertoires des troupes de Molière et de l'Hôtel Guénégaud

2006 ◽  
Vol 106 (3) ◽  
pp. 571
Author(s):  
Jan Clarke
Keyword(s):  
Pierre Corneille

Pierre Corneille en Allemagne (XVIIe-XIXe s.)

2009 ◽  
Vol 243 (2) ◽  
pp. 307
Author(s):  
Jean-Marie Valentin
Keyword(s):  
Pierre Corneille

Pierre Corneille et l'Allemagne

2008 ◽  
Vol  251 (3) ◽  
pp. 623
Author(s):  
Raymond Heitz
Keyword(s):  
Pierre Corneille

Imitations of Christ in 17th-century France: Some attendant difficulties

2014 ◽  
Author(s):  
Richard Parish
Keyword(s):  
17Th Century ◽  
Pierre Corneille ◽  
The Real ◽  
Lives Of Saints ◽  
Real Presence ◽  
Imitation Of Christ ◽  
The Subject

The most important verse paraphrase of the Imitation of Christ in 17th-century France was written by the dramatist Pierre Corneille. In his paratexts he discusses the difficulties he has encountered in the project, which expands on the original by including engravings, many of which illustrate episodes from the lives of saints. One such is Theodora, who is the subject of his closely contemporary martyr tragedy, Théodore. But here too he encountered difficulties, in the context of bienséance, from objections expressed to the prostitution with which the eponym is threatened. In a different idiom, the Jesuit priest Jean-Joseph Surin, seeing his role as exorcist as another kind of imitation of Christ, records his ordeal in two autobiographical works, one of which moves progressively into stylistic incoherence. Finally, Bossuet engages in the polemic surrounding a further possible implication of the term, in the form of the Catholic doctrine of the Real Presence.

L'Édition du thèâtre français au dix-septième siècle: 1630–1690

2016 ◽  
Vol 16 (1) ◽  
pp. 5-21
Author(s):  
Alain Riffaud
Keyword(s):  
Pierre Corneille ◽  
Nouvelles Associations

Surtout provinciale au début du siècle, l'édition théâtrale devient parisienne à partir de 1630, date à laquelle la production de nouveautés augmente rapidement. Jusqu'au milieu des années 1650, le marché de la capitale passe aux mains de trois libraires du Palais qui sous-traitent l'impression à de petits ateliers. Après 1660, de nouveaux éditeurs parisiens apparaissent et de nouvelles associations voient le jour. Face à la domination de Paris, la province se spécialise dans la contrefaçon, active à Caen, Avignon, Grenoble puis Lyon; en Hollande comme aux Pays-Bas espagnols les éditions pirates au format in-douze deviennent de plus en plus nombreuses. Les dramaturges maîtrisent assez peu la publication de leurs livres. Deux figures échappent au sort commun, Pierre Corneille et Molière.

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