Cléopâtre dans les tragédies françaises de 1553 à 1682 (Une dramaturgie de l'éloge)

Dernière reine d Égypte, Cléopâtre est, en France, la première héroïne de tragédie. Présentée comme un monstre de débauche et d ambition par les auteurs latins, elle devient une figure majestueuse et digne sur la scène : la dramaturgie humaniste naît sous le signe de l éloge.L entrelacement des thèmes et des motifs, la composition des pièces ainsi que le travail stylistique et rhétorique des dramaturges mettent en place un tribunal où est instruit le procès de Cléopâtre, l étrangère, la femme fatale qui a déjà séduit César et qui, responsable d Actium, précipite la mort de Marc Antoine. Mais le suicide de la reine est mis en valeur par le recours au dénouement étendu, instrument dramaturgique au service d une logique d héroïsation. Ainsi réhabilitée dans le théâtre humaniste et classique , la figure de Cléopâtre illustre à merveille la définition du héros tragique.Cleopatra, the last queen of Egypt, is the first heroine of tragedy in France. Depicted by Latinauthors as a debauched and ambitious monster, she became a lofty and dignified figure onstage: thus was born humanist dramaturgy under the sign of eulogy. The interlacing ofthemes and topics, the composition of the plays together with the stylistic and rhetorical workof the playwrights set up a court where is conducted the trial of Cleopatra, the foreigner, thefemme fatale who had seduced Caesar and who, responsible for the defeat of Actium,hastened Mark Antony s death. But the suicide of the queen is enhanced by the use of theextended outcome, a dramatic instrument serving a logic of heroizing. Thus cleared of hermisdeeds in the humanist and "classic" theatre, the figure of Cleopatra marvelouslyillustrates the definition of the tragic heroAVIGNON-Bib. numérique (840079901) / SudocSudocFranceF

Cleopatra in French Tragedies from 1553 to 1682 : A Dramaturgy of Eulogy

Dernière reine d’Égypte, Cléopâtre est, en France, la première héroïne de tragédie. Présentée comme un monstre de débauche et d’ambition par les auteurs latins, elle devient une figure majestueuse et digne sur la scène : la dramaturgie humaniste naît sous le signe de l’éloge.L’entrelacement des thèmes et des motifs, la composition des pièces ainsi que le travail stylistique et rhétorique des dramaturges mettent en place un tribunal où est instruit le procès de Cléopâtre, l’étrangère, la femme fatale qui a déjà séduit César et qui, responsable d’Actium, précipite la mort de Marc Antoine. Mais le suicide de la reine est mis en valeur par le recours au dénouement étendu, instrument dramaturgique au service d’une logique d’héroïsation. Ainsi réhabilitée dans le théâtre humaniste et « classique », la figure de Cléopâtre illustre à merveille la définition du héros tragique.Cleopatra, the last queen of Egypt, is the first heroine of tragedy in France. Depicted by Latinauthors as a debauched and ambitious monster, she became a lofty and dignified figure onstage: thus was born humanist dramaturgy under the sign of eulogy. The interlacing ofthemes and topics, the composition of the plays together with the stylistic and rhetorical workof the playwrights set up a court where is conducted the trial of Cleopatra, the foreigner, thefemme fatale who had seduced Caesar and who, responsible for the defeat of Actium,hastened Mark Antony’s death. But the suicide of the queen is enhanced by the use of theextended outcome, a dramatic instrument serving a logic of heroizing. Thus cleared of hermisdeeds in the humanist and "classic" theatre, the figure of Cleopatra marvelouslyillustrates the definition of the tragic her

Cléopâtre dans les tragédies françaises de 1553 à 1682 : Une dramaturgie de l’éloge

Cleopatra, the last queen of Egypt, is the first heroine of tragedy in France. Depicted by Latinauthors as a debauched and ambitious monster, she became a lofty and dignified figure onstage: thus was born humanist dramaturgy under the sign of eulogy. The interlacing ofthemes and topics, the composition of the plays together with the stylistic and rhetorical workof the playwrights set up a court where is conducted the trial of Cleopatra, the foreigner, thefemme fatale who had seduced Caesar and who, responsible for the defeat of Actium,hastened Mark Antony’s death. But the suicide of the queen is enhanced by the use of theextended outcome, a dramatic instrument serving a logic of heroizing. Thus cleared of hermisdeeds in the humanist and "classic" theatre, the figure of Cleopatra marvelouslyillustrates the definition of the tragic heroDernière reine d’Égypte, Cléopâtre est, en France, la première héroïne de tragédie. Présentée comme un monstre de débauche et d’ambition par les auteurs latins, elle devient une figure majestueuse et digne sur la scène : la dramaturgie humaniste naît sous le signe de l’éloge.L’entrelacement des thèmes et des motifs, la composition des pièces ainsi que le travail stylistique et rhétorique des dramaturges mettent en place un tribunal où est instruit le procès de Cléopâtre, l’étrangère, la femme fatale qui a déjà séduit César et qui, responsable d’Actium, précipite la mort de Marc Antoine. Mais le suicide de la reine est mis en valeur par le recours au dénouement étendu, instrument dramaturgique au service d’une logique d’héroïsation. Ainsi réhabilitée dans le théâtre humaniste et « classique », la figure de Cléopâtre illustre à merveille la définition du héros tragique

Richelieu face à Lucrèce : viol et héroïsme dans les fictions narratives en prose (1630-1642)

International audienc

Multi-parametric quantitative MRI reveals three different white matter subtypes

International audienceIntroduction: Magnetic resonance imaging (MRI) shows slight spatial variations in brain white matter (WM). We used quantitative multi-parametric MRI to evaluate in what respect these inhomogeneities could correspond to WM subtypes with specific characteristics and spatial distribution.Materials and methods: Twenty-six controls (12 women, 38 ±9 Y) took part in a 60-min session on a 3T scanner measuring 7 parameters: R1 and R2, diffusion tensor imaging which allowed to measure Axial and Radial Diffusivity (AD, RD), magnetization transfer imaging which enabled to compute the Macromolecular Proton Fraction (MPF), and a susceptibility-weighted sequence which permitted to quantify R2* and magnetic susceptibility (χm). Spatial independent component analysis was used to identify WM subtypes with specific combination of quantitative parameters values.Results: Three subtypes could be identified. t-WM (track) mostly mapped on well-formed projection and commissural tracts and came with high AD values (all p < 10−18). The two other subtypes were located in subcortical WM and overlapped with association fibers: f-WM (frontal) was mostly anterior in the frontal lobe whereas c-WM (central) was underneath the central cortex. f-WM and c-WM had higher MPF values, indicating a higher myelin content (all p < 1.7 10−6). This was compatible with their larger χm and R2, as iron is essentially stored in oligodendrocytes (all p < 0.01). Although R1 essentially showed the same, its higher value in t-WM relative to c-WM might be related to its higher cholesterol concentration.Conclusions: Thus, f- and c-WMs were less structured, but more myelinated and probably more metabolically active regarding to their iron content than WM related to fasciculi (t-WM). As known WM bundles passed though different WM subtypes, myelination might not be uniform along the axons but rather follow a spatially consistent regional variability. Future studies might examine the reproducibility of this decomposition and how development and pathology differently affect each subtype

Parameter values of WM subtypes.

<p>Parameter values of WM subtypes.</p

Contribution of the different parameters in separating the subtypes.

<p>For each pairs of subtypes, the bars represent the distance between the subtypes expressed in the cumulative sums of Cohen’s d. The contribution of each parameter is shown in different color. t-WM showed the largest absolute difference with f- and c-WM essentially because of large differences in the AD parameter. However, it was virtually of no value to separate f-WM from c-WM. MPF was also a substantial contributor to subtyping, especially between f-WM from c-WM.</p