French Ceremonial Entries in the Sixteenth Century: Event, Image, Text French Ceremonial Entries in the Sixteenth Century: Event, Image, Text. Edited by N <scp>icolas</scp> R <scp>ussell</scp> and H <scp>élène</scp> V <scp>isentin</scp> . (Publications of the Centre for Reformation and Renaissance Studies, 11). Toronto, Centre for Reformation and Renaissance Studies, 2007. 275 pp. Pb $28.00.
Notice bibliographique
Résumé
The eight essays (six in English, two in French) presented in this book demonstrate admirably the importance of an interdisciplinary approach to a cultural phenomenon that combined political concerns with artistic media such as music, architecture and literature. The editors stress in their introduction the need to take into account not just political and cultural contexts but also the written sources (published and archival) that describe the events and their iconography. Drawing examples from a range of entries between 1531 and 1632, the opening essay by Margaret M. McGowan discusses the status and authenticity of entry accounts, the function of images in relation to their political concerns and the nature of the linguistic registers employed. Two chapters consider how different elements combine to give meaning to particular entries. Daniel Russell's analysis of the famous allegorical painting of François Ier demonstrates how text and image together can function rather like an emblem whose meaning is gradually revealed as the viewer progresses along an entry route or through a text. Luisa Capodieci compares Henri II's entries into Reims, Lyon, Paris and Rouen (1547–1550) whose recurrent motifs (the royal name as mirror of virtue; the notion of the Golden Age; the theme of celestial apotheosis) contribute to the monarch's association with the divine as the entry route moves from outside the city to the cathedral. William Kemp's examination of accounts relating to the reign of François Ier considers technical aspects of their production, showing how they developed from simple gothic pamphlet to elaborate commemorative booklet exemplified by Eleonor's Paris entry (1531) published by Geofroy Tory. Three essays examine fresh forms of the entry tradition. Richard Cooper's analysis of the 1552 entries of the papal legate Alessandro Farnese into Avignon and Carpentras reminds us that such events fêted dignitaries other than rulers and reveals how local conventions and conditions could be exploited. A recalibration of the entry album genre is demonstrated in Benoît Bolduc's analysis of a text by the poet Le Plessis describing the arrival of François II and Catherine de Medici at Chenonceau in 1559, not an entry as such, but an account that draws on a variety of contemporary cultural motifs in its portrayal of Catherine as a key political figure following the rout of the Amboise conspiracy. Ann W. Ramsey's discussion of Henri IV's Paris entry of 1594 shows how ceremonial was transformed by the political climate during the wars of religion, the emphasis placed here on the king's performance of religious ritual designed to dispel Catholic unease at being ruled by a heretical monarch. Lawrence M. Bryant's concluding overview illustrates the progressive shift, well established by 1550, from an entry ceremonial based on popular urban ritual to one marked by more elaborate royal and humanistic symbolism designed ‘to serve the interests of new political powers and cultural groupings’. An Index of Names and a set of 25 illustrations complete a richly documented and scholarly collection of articles that offers valuable new insights on and approaches to this complex Renaissance genre.
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Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,005 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,003 | 0,006 |
| Études des sciences et des technologies | 0,005 | 0,003 |
| Communication savante | 0,008 | 0,004 |
| Science ouverte | 0,000 | 0,001 |
| Intégrité de la recherche | 0,001 | 0,001 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,038 | 0,003 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».