In the Discours des misères de ce temps, Ronsard claims that it would be, for him, to do too much honor to the Genevan preachers, in particular in Montméja, to play against them by interposed works. But Bèze, whom he waited on the ground of the disputatio to dispute against him on the subject of the discord between Catholics and Protestants, first opposes a refusal to the apostrophes which he addressed to him in this direction, as he did to (...) the authors of the pamphlets against him. This study examines the reasons for this silence and its rhetorical value, then it comments on the preface to Poëmata where Bèze finally responds, in a pungent way, to the defenders of the Catholic faith who attacked his person since he played a leading role in the Reformation. (shrink)

Dans les Discours des misères de ce temps, Ronsard prétend que ce serait, pour lui, faire trop d’honneur aux prédicants Genevois, en particulier à Montméja, que de jouter contre eux par oeuvres interposées. Mais Bèze, qu’il a attendu sur le terrain de la disputatio pour controverser contre lui sur le sujet de la discorde entre catholiques et protestants, oppose d’abord une fin de non-recevoir aux apostrophes qu’il lui a adressées dans ce sens, comme il l’a fait à l’endroit des (...) auteurs des pamphlets contre sa personne. Cette étude examine les raisons de ce silence et sa valeur rhétorique, puis elle commente la préface de Poëmata où Bèze répond enfin, de façon piquante, aux défenseurs de la foi catholique qui ont attaqué sa personne depuis qu’il joue un rôle de premier plan dans la Réforme. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps, and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may (...) freely copy and distribute this work, as no entity has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

I have naturally a [comique] and [privé ] style...I hate men base in deeds but wise in words.Although we have many examples of men, contemporary to Montaigne, who claim to write about their private lives, few of them satisfy our curiosity about the state of intimate life in the French Renaissance. For example, in Blaise de Monluc's Commentaires, his vision of recounting his inner self means, as he writes, detailing the "honor and reputation... [he] acquired... by force of arms."3 Similarly, (...) each subject in Théodore de Bèze's Les Vrais portraits des hommes illustres is painted in a more public light. Kings and military leaders reach the "summit of knowledge" and "glory," "surpassing all. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BreathrenKatherine Ibbett (bio)The French Reformation and its aftermath was a battle over breath: literally so, as a matter of life and death, but also because it represented a battle over the Holy Spirit, Saint Esprit, from the Latin spiritus, breath. Over decades of conflict both Catholics and Protestants claimed divine inspiration, arguing that they and only they were breathed on in the way Christ breathes on the apostles when (...) he asks them to receive the spirit (John 20: 22).On the Protestant (Huguenot) side of these early modern disputes, the term esprit is often displaced by a more vernacular and more bodily breath, souffle, so that God blows on his chosen people a little in the way his chosen people might blow on their soup. Souffle renders spirit as something humanly familiar, if still exemplary. In his account of the life and death of Jean Calvin (1564), the Protestant historian and polemicist Théodore de Bèze writes of breath as the last remaining sign of Calvin's presence: the day before his death Calvin is so weak "qu'il ne luy restoit plus que le souffle," ["only breath remained"] but he tells his followers nonetheless that he is still "uni d'esprit" ["joined in spirit"] with them. Like Christ's, Calvin's souffle and spirit inspired many, and the Protestant minority, under increasing and violent pressure from the Catholic state, met his example with a last gasp of their own. The term "souffle" is everywhere in the martyrologies of the many Calvinists executed by Catholics over the following century and more, which insist repetitively on the victim's praise of God "to the last breath."French Protestants also imagined breath as a political metaphor, frequently presenting the minority's right to live on French soil as a right to breathe, some sort of jus spiri: the late seventeenth-century Protestant historian Élie Benoist writes that Catholic violence turned "le Plaisir naturel de respirer l'air du païs natal en une espece de joug servile" ["the natural pleasure of breathing the air of one's own country into a kind of servile yoke"]. This frequent rhetoric of bad air gets re-ventilated in Benoist's account of the Refuge, the period after 1685 when Protestantism became illegal in France, at which point Huguenots fled in hope of what Benoist hopefully calls the "abundance" of air found on welcoming shores elsewhere. [End Page 163] The more upbeat refugee writing somewhat breathlessly celebrated the "change of air" that transnational solidarity brought about. Bref: breath is central to the Huguenot imaginary.A more painful formulation comes in one of the pamphlets that circulated from the 1660s on, throughout Protestant Europe, asking for new air to breathe. Many of these calls for international aid insisted on the sheer miracle of continued Protestant bodily existence, sketching a sort of Protestant vita nuda. A 1667 text published in parallel French and German recounts the misery of the Protestants banned from professional positions and living only "la vie, c'est à dire, un triste soufle qu'ils tirent de leurs tristes coeurs affligez" ["life, that is to say, a sad breath/sigh that they pull from their sad and afflicted hearts"]. But where Agamben's notion of bare life marks the extreme form of a particular model of Western sovereignty, imagining bare life as helpless and voiceless against sovereign power, the Protestant lifebreath is highly strategic, performing its bareness so as to imagine a new political role. The Protestant life retains and performs a "soufle" for its international audience, taking a breath before it speaks, eventually allowing for a new articulation of a Protestant voice that speaks multiple languages and can make itself heard internationally. In response to that voice, in the organizing of English and Dutch and German responses to Huguenot suffering, came a new organization of transnational political community. During the years of the Refuge, at a moment when European neighbors were prepared to take in refugees, the "poor breath" of the Protestant eventually makes room for a new kind of breath-ren. May their history breathe on us again today. [End Page 164]Katherine IbbettUniversity of OxfordKatherine Ibbett Katherine Ibbett... (shrink)

This article considers late additions to the miracles of Antichrist as found in fifteenth-century manuscripts such as Wellcome Library, MS 49 and the Antichrist-Bildertext. One of these miracles—a castle hanging by a thread—has a parallel in the German nonsense poetry tradition. The poem ‘Sô ist diz von lügenen’ from a fourteenth-century manuscript depicts a topsy-turvy world where Rome and the Lateran also hang by a thread. Subsequently the same motif occurs in the Emblemata of Théodore de Bèze (1580). (...) A tense interaction of text and image is a characteristic feature of this motif, which seems to be a local German invention. The borrowing from a tall tale into an eschatological legend, unusual as it seems, underscores the closeness of the topsy-turvy world of the popular imagination and the apocalyptical narrative with the Antichrist playing a demonstrably parodical part. (shrink)

Like the cracking of the genetic code and the creation of the atomic bomb, the discovery of how the brain's neurons work is one of the fundamental scientific developments of the twentieth century. The discovery of neurotransmitters revolutionized the way we think about the brain and what it means to be human yet few people know how they were discovered, the scientists involved, or the fierce controversy about whether they even existed. The War of the Soups and the Sparks tells (...) the saga of the dispute between the pharmacologists, who had uncovered the first evidence that nerves communicate by releasing chemicals, and the neurophysiologists, experts on the nervous system, who dismissed the evidence and remained committed to electrical explanations. The protagonists of this story are Otto Loewi and Henry Dale, who received Nobel Prizes for their work, and Walter Cannon, who would have shared the prize with them if he had not been persuaded to adopt a controversial theory (how that happened is an important part of this history). Valenstein sets his story of scientific discovery against the backdrop of two world wars and examines the fascinating lives of several scientists whose work was affected by the social and political events of their time. He recounts such stories as Loewi's arrest by Nazi storm troopers and Dale's efforts at helping key scientists escape Germany. The War of the Soups and the Sparks reveals how science and scientists work. Valenstein describes the observations and experiments that led to the discovery of neurotransmitters and sheds light on what determines whether a novel concept will gain acceptance among the scientific community. His work also explains the immense importance of Loewi, Dale, and Cannon's achievements in our understanding of the human brain and the way mental illnesses are conceptualized and treated. (shrink)