Current discourse on Latin imagery in rural Greek churches in Venetian Crete is habitually focused on images of St Francis. The explanations offered by scholars concerning his appearances in this context usually revolve around Francis’s perceived interconfessional appeal, but the introduction of another Latin saint from a different mendicant order into the monumental art of Byzantine character on Crete revises this picture significantly. The present article discusses images of Dominican saints found in Cretan churches of the Venetian period. With statutes promulgated in 1254 and 1256, the General Chapter of the Dominicans encouraged the veneration of Dominican saints through the dissemination of their images, and the representation of St Peter Martyr in his eponymous church in Candia clearly constitutes a visual testimony to this policy. At the same time, the portrait of St Peter Martyr in the Greek (Orthodox) church of St George in the village of Apostoloi in Pediada (in the wider Candia region) provides grounds for a discussion of cultural difference in Venetian Crete, as well as for the interaction between the Latin and Greek communities around the time of the revolt of St Titus. In my view, this representation, which is currently the only known example in a Greek church, should be re-examined in light of the prominent Venetian presence in the aforementioned region and the specificity of the local context.
A small icon depicting the Hospitality of Abraham, executed and signed by the renowned Cretan painter Angelos Akotantos, is now kept in the Palais-Musée des Archevêques in Narbonne. The panel’s iconographic scheme follows that of two well-known works of the second half of the fourteenth century, namely Codex Par. gr. 1242 and the icon in Vatopedi Monastery on Mount Athos. The painter Angelos appears to have been familiar with this scheme, which he supplemented with a few new elements, thereby creating a new iconographic variant that would become established and eventually be adopted by both his contemporaries and later icon-painters from Crete and beyond.
Malgré le réquisitoire de Simone de Beauvoir contre Henry de Montherlant, qu’elle taxe de misogynie, le dialogue entre les deux écrivains n’a pas eu lieu. Il est toutefois possible de mieux comprendre ce qui les oppose en s’intéressant au regard respectif qu’ils jettent sur le mariage de Tolstoï, notamment sur les journaux intimes du couple. Les perspectives différentes qu’ils adoptent sur ce « ménage » permettent de mieux mesurer le fossé qui les sépare, et ce, en dépit parfois de conclusions similaires.
La lecture croisée des personnages féminins et masculins de L’Âge de raison et de L’Invitée permet de mettre en lumière la transformation que subit le matériau biographique dans ces romans de Sartre et de Beauvoir. La transposition fictionnelle du couple donne notamment lieu à des personnages stéréotypés s’offrant comme des caricatures de l’un et de l’autre qui viseraient à dénoncer certains de leurs travers. Loin d’être prisonniers des stéréotypes, les auteurs en joueraient, leurs œuvres fictionnelles rejoignant par là leur philosophie existentialiste.
The Second Sex can be read as a compelling philosophical exploration of masculinity. Beauvoir proposes to understand masculinity as a situation. It is an impasse as men are stuck in a position where they seek recognition from women, but they construct women in such a way that the recognition women can give them is incomplete and unsatisfying. This understanding of masculinity is crucial for Beauvoir’s emancipatory agenda and suggests that men have nonaltruistic reasons to take part in feminist movements.