A Paper City: On History,Maps, and Map Collections in 18th and 19th Century Paris

ABSTRACT

This essay considers how maps became implicated in historical inquiry, with particular reference to the city of Paris. Three interrelated episodes are discussed, from the early eighteenth century to the mid-nineteenth century, each associated with specific mapmakers and collectors whose activities shaped the early development of map history. These episodes reveal how maps were historicized in different ways in this period, initially as images created in the present to reveal the past and eventually as objects of historical interest in their own right. It is further argued that this intellectual shift was associated with a growing awareness, especially among state officials, that the study and collection of historic maps had important geopolitical implications. In tracing this story across three episodes in a single urban setting, the essay seeks to make larger observations about the relationship between the map as a visual representation, the map collection as an urban ‘assemblage’ of geographical information, and the city as a physical environment.     

La clerecía del Fernán González

The Poema de Fernán González is usually regarded as a hybrid text—while its subject matter is deemed epic, its expression, intentionality, and ideology are considered clerical. This article studies several elements shared by Fernán González and the other poems of the mester de clerecía school: the same stanza (the cuaderna vía) and poetic rules; similar modes of composition, transmission, and reception; and common structural, thematic, and verbal patterns. The article concludes that the Poema de Fernán González fully participates in the common artistry of the mester de clerecía and therefore can be regarded as the attempt to produce epic poetry by this learned clerical school.     

Conciencia nacional y devoción jacobea en el Poema de Fernán González

Jacobean devotion and national awareness are closely related in the Poema de Fernán González (PFG). The great advance of the Reconquest in the thirteenth century and the reevaluation of the past that it caused enabled the broad Hispanic perspective of the PFG. Spain is not only a distant and longed-for reality (“regnum Gothorum”) but a current political concept. This is the frame of the PFG's intense Castilian sentiment. Castile is the bastion of the Visigothic monarchy, which did not yield to the Muslims and was the foundation for the recovery of Spain. The territorial diversity becomes the outstanding feature of this country, in which the “Montaña” takes an important role. Confronting the proposal of the cult of Saint Millán by the Monastery of San Millán de la Cogolla, the author of the PFG, aware of the damages that such a cult was causing to his monastery, clings to the Jacobean devotion that achieved a broad Hispanic scope.     

¿Qué sabemos del Cantar de Fernán González?

The Poem or Book of Fernán González was probably written c. 1250 by a monk of San Pedro de Arlanza (Burgos, Castile) to strengthen the legendary foundation of his monastery by the tenth-century Castilian Count, Fernán González, and to promote his tomb cult there. The Arlanza poet was competing with the benefits that Santiago and San Millán de la Cogolla were trying to get on legendary accounts of the champion of the independence of the County of Castile from the Kingdom of León. It is clear that this is a work of monastic propaganda, designed to attract pilgrims and donations; therefore perhaps a better title for it would be Poem of the Foundation of San Pedro de Arlanza. The Arlanza poet was fond of the popular and orally transmitted Romance epics (Hispanic and Carolingian songs). He knew Siete infantes de Salas, the tradition of the Youthful Deeds of Rodrigo (Gesta de las Mocedades de Rodrigo), the anti-Carolingian song(s) of Bernardo del Carpio, and the Roncesvals Matière. We also suspect that the poet was recasting a now-lost epic cantar de gesta of Fernán González. This cantar was probably also known by Gonzalo de Berceo, who was actively working in San Millán de la Cogolla, a few years earlier, trying to attract pilgrims and donations. In this article, I try to analyze how much we know of the lost Cantar de Fernán González and if the Monastery of Sahagún (León) also reappropriated it for its own propaganda.     

Maurofilia y maurofobia en el Libro del conde de Castilla

The Poema de Fernán González (or Libro del conde de Castilla) is not a crusade song, nor is it an epic poem or a historical account commemorating the foundation of San Pedro de Arlanza Monastery. It is rather a hybrid text that employs all the literary and historical resources available around the middle of the thirteenth century to an educated poet who was intent on transmitting to future generations the memory of the Count who made possible the independence of Castile. All episodes in the poem point to Castile's unique place in history, describing through the protagonist's bellicose deeds its hegemonic ascendency as the most important kingdom of the Iberian peninsula. Its destiny is determined by the hero's combative character against all enemies, whether Christians or Moors, and more specifically by confronting the powerful kings of neighboring states León and Navarre.     

Perspectivismo Narrativo y Enjuiciamiento Social en La familia de Pascual Duarte

The phenomenal ambiguity and irony in Camilo José Cela's La familia de Pascual Duarte has led to many often differing conclusions regarding its social message. While some scholars regard its protagonist as a victim of society and of the new regime that followed the Civil War, others have argued that Pascual is the evil perpetrator of unspeakable crimes who is rightly punished by the new order. This article proposes to reconsider the picaresque nature of this novel, focusing on two features of the picaresque genre, namely its political commitment (or poética comprometida) and the determinism versus free will foil. This analysis will show that Cela replicated the Quevedian vilification of the protagonist and the Alemanian presentation of a false conversion at the end of the story with one purpose: to present Pascual as an unremorseful murderer who lived an irreligious life, killed his mother, and supported the Republican repression in his village killing the local aristocrat, before the new regime makes justice by executing him.     

Des porte-parole protestants au chevet de l'édit de Nantes moribond

This article shows how the Edict of Nantes (1598), that had been criticized by French Protestants when it came out, progressively became the symbol of their belonging to the French nation and the acceptance of their religious particularity. But it is finally after its revocation (1685) that this Edict appears to make most sense to the Huguenot spokesmen. Thinking from a theological point of view as well as an historical, juridical and philosophical one, they consider it as a symbol of religious freedom. However, it is only by giving up their former status lost with the Revocation that they manage to develop an original thinking on the relationship between the State and individuals. In order to achieve this, they must distinguish between the subject or the citizen on one hand, and the believer on the other. But this distinction implies the renunciation of the nostalgia for aProtestant body, recognized as such in the kingdom of France.