Raymond Delamarre (1890-1986)

L'histoire de l'art et l'histoire sociale se sont encore peu intéressées aux répercussions de la Grande Guerre sur la carrière des artistes. En retraçant le parcours de Raymond Delamarre dans les années 1911-1919, l'auteur révèle combien la ténacité, la volonté et l'obstination furent nécessaires aux plus jeunes artistes de la génération du feu pour devenir des artistes officiels. Cette notion d'officialité était pour eux le seul gage d'une véritable liberté.L'histoire de l'art et l'histoire sociale se sont encore peu intéressées aux répercussions de la Grande Guerre sur la carrière des artistes. En retraçant le parcours de Raymond Delamarre dans les années 1911-1919, l'auteur révèle combien la ténacité, la volonté et l'obstination furent nécessaires aux plus jeunes artistes de la génération du feu pour devenir des artistes officiels. Cette notion d'officialité était pour eux le seul gage d'une véritable liberté

Main coupée, main errante, main absente

Parmi les images fondatrices de la culture de guerre, qui ont nourri l’imaginaire de la propagande anti-allemande, figure celui de la main coupée. Ce motif renvoie à la fois à l’amputation des soldats sur le front mais également à l’image du patrimoine mutilé. Cet article propose d’analyser la fortune iconographique et littéraire de ce motif inquiétant (chez Blaise Cendrars notamment, auteur de La Main coupée) qui hante l’esprit de la guerre. La main coupée est devenue une forme d’allégorie de la barbarie allemande, qui s’exprime à la fois dans des œuvres représentant le front, l’assimilation du soldat au martyr christique, et les images associées aux artistes blessés, de façon réelle et symbolique (à l’exemple de Ludwig Kirchner) et leur impossible retour dans la société civile.The severed hand is among the founding images of the culture of war that fed into anti-German propaganda. This refers both to the amputation of the soldiers on the front and to the imagery of a mutilated heritage. This article proposes to analyse the iconographic and literary fortune of this recurrent motif, (in particular in the work of Blaise Cendrars, author of La Main coupée) which haunts the spirit of the war. The severed hand became a form of allegory of German cruelty, expressing simultaneously in works representing the front, the assimilation of the soldier to the Christ martyr, and the images associated with the wounded artists, in both a real and symbolic way (as exemplified by Ludwig Kirchner) and their impossible return to civil society

Magie du funéraire : regard sur l’historiographie de la sculpture funéraire et l’image de la mort (xviie-xxe siècle)

Dans son ouvrage La Belle Noyée, Bertrand Tillier démystifie l’histoire d’un visage, anonyme et célèbre : celui de l’Inconnue de la Seine (Tillier, 2011). Il le fait sans lui retirer l’épaisseur de sa légende, légende qui nourrit l’imaginaire de la sculpture et de la littérature du xixe et xxe siècles. Le masque de l’Inconnue de la Seine, présenté comme le « dernier portrait » d’une jeune noyée, moulage sur nature, fut un objet de curiosité accroché dans les ateliers d’artistes avant d’être a..

Melancholy imagination in Ausias March and the Florentine Neoplatonists

This thesis focuses primarily on the work of the Valencian poet, Ausias March (1398 - 1459), who was revered by the first two generations of Petrarquistas in Golden Age Spain, and in particular by Juan Boscán and Garcilaso de la Vega. It has long been contended that the introduction of Ficinian Neoplatonism in Spain by Boscán's translation of Il Cortegiano, and Garcilaso's assimilation of Bembo's Petrarchism, represents a radical shift in sensibility, unprecedented in the Iberian peninsula. The object of this thesis is to demonstrate that because Ausias March is a Lullian poet who manifests an evangelical-Platonic sensibility, and is not a "troubadour attardé" as Amédée Pagès thought, the introduction of the Italianate fashion by Boscán and Garcilaso is not a radical departure from their earlier allegiance, but a development. The poetry of Ausias March is remarkable for its introspection. Consequently, the interpretation of his work must begin with an analysis of his use of the theory of imagination, which he inherited through the literary influence of the Chartrians and Victorines of the twelfth century, and, in particular, from Hughes de Saint Victor. The importance of introspection and imagination naturally entails the question of the extremes of melancholy, as it is understood in the mediaeval tradition of Aristotle's Problem XXX, i. After a survey of the role of melancholy imagination in Ausias March's poetry, the function of these two closely related concepts is analysed in Ficino's Commentarium in Convivium , Hebreo's Dialoghi, Bembo's Gli Asolani, and Castiglione's Il Cortegiano. This enables one to determine that the Florentine theory of love is not insulated from passion, as many literary critics imply. The dialectical relation of natural reason to Augustinian right reason evinces the extremes of imagination and melancholy, as either lunacy or divine rapture. These elements of Florentine Neoplatonism reveal a deep concern for the difficult relation of the body to the soul, and, ultimately, a conscious search for ascesis. These elements, which are common to Ausias March and the Florentine Neoplatonists, are an expression of the Augustinian doctrine of Charity. The common factor between Ausias March and the Florentines is the pseudo-Dionysian - Erigenian concept of beauty. The latter is fundamental to what M. D. Chenu has defined as the secular evangelical current in Europe. It is a sensibility based on a consciousness of the all-pervasive presence of grace in nature, which is articulated in the symbolic mentality of Christian Platonists. This aspect of Ausias March' Work is central to Chapter V. In order to avoid creating the impression that this interpretation of Ausias March's poetry is anachronical this chapter studies the significance of an important segment of this poet's imagery. This serves to contrast Ausias March's use of the pseudo- Dionysian - Erigenian concept of beauty and his consequent handling of the concepts of melancholy and imagination to that used by Andreas Capellanus. Finally, this analysis illustrates Ausias March's predominantly symbolic mentality, as well as his exceptional use of medical theory which distinguishes him from the vast majority of Spanish cancionero poets, and emphasizes his many points of affinity with the Florentine Neoplatonists

The institutionalization of citizens political participation in ecuadorian’s constitutional system

Distintos países en América y Europa están utilizando mecanismos de participación ciudadana para legitimar el poder público. Sin embargo, estos no siempre son suficientes para resolver las crisis democráticas e institucionales que se pueden suscitar o peor aún evitar el origen de Estados totalitarios. Es por eso que, el marco constitucional ecuatoriano institucionalizó la participación democrática en la Función de Transparencia y Control Social y, en concreto, en un órgano que forma parte de esta función, denominado Consejo de Participación Ciudadana y Control Social. En la presente investigación se analiza cómo la institucionalización de la participación ciudadana en el Estado ecuatoriano da facultades a la ciudadanía para que pueda ejercer un control social sobre el poder público, promover de manera eficaz el ejercicio de los derechos de participación y designar a las principales autoridades de distintas instituciones del EstadoDifferent countries in America and Europe are using citizen participation mechanisms to legitimize public power. However, these are not always enough to resolve the democratic and institutional crises that may arise or even worse avoid the origin of totalitarian states. That is why, Ecuadorian’s constitutional system institutionalized democratic participation in the Transparency and Social Control Function and, specifically, in an organ that forms part of this function, called the Citizen Participation and Social Control Council. The present investigation analyzes how the institutionalization of citizen participation in the Ecuadorian State empowers citizens to exercise social control over public power, effectively promote the exercise of participation rights and designate the principal authorities of different State institution