Suchergebnisse

Acknowledgments; Introduction; 1: Toward a Prison Poetics; 2: Poetry, Pain, and Reconstructive Resistance; 3: Three Studies in Testamentary Reconstruction; 4: B(e)aring Bare Life: Ethnic American Prison Writing; Conclusion; Bibliography; Index; About the Author

Cover -- About the authors -- Title page -- Copyright -- Contents -- Acknowledgements -- Glossary -- Introduction: Voice, Text and the Colonial Archive -- 1: 'I am a woman who wrote this letter': Land Sales -- 2: 'I am pierced by war's alarms': Accounts of War -- 3: 'I am living here a Stranger on this land': Raupatu and Compensation -- 4: 'Look at me, I am just a woman speaking': Politics and Mana -- 5: 'I will not desist from writing to you': Māori Women's Petitions -- 6: 'I am the prosecutrix in this case': Legal Encounters and Testamentary Acts -- 7: 'If I die, I am dying for the Lord': Religion -- 8: 'I am burning like fire': Private Matters -- Epilogue: 'I am writing to you for you to hear' -- Notes -- Note on Sources -- Bibliography -- Index

Abstract
Last Wills in Greek Terms in the Works of Q.C. Scaevola, Paulus and Modestinus. Several responsa from the writings of Q.C. Scaevola, Paulus and Modestinus report trust dispositions in Greek terms. These last wills appear before the constitutio Antoniniana and possibly after the decree de Graecis litteris (224-235 AD) of Alexander Severus. The content of these trusts was often highlighted as evidence for the contrast, in the provincial practice, between local peregrine laws or customs and the classical Roman law. However, the analysis of these Greek provisions implies that non-Roman legal institutions are quite scarce. The attention of the jurists is therefore primarily related to the challenge of bilingual legal communication and the ordinary need to interpret testamentary dispositions.

AbstractLast Wills in Greek Terms in the Works of Q.C. Scaevola, Paulus and Modestinus. Several responsa from the writings of Q.C. Scaevola, Paulus and Modestinus report trust dispositions in Greek terms. These last wills appear before the constitutio Antoniniana and possibly after the decree de Graecis litteris (224-235 AD) of Alexander Severus. The content of these trusts was often highlighted as evidence for the contrast, in the provincial practice, between local peregrine laws or customs and the classical Roman law. However, the analysis of these Greek provisions implies that non-Roman legal institutions are quite scarce. The attention of the jurists is therefore primarily related to the challenge of bilingual legal communication and the ordinary need to interpret testamentary dispositions.

Cover -- Half Title -- Title Page -- Copyright Page -- Dedication -- Table of Contents -- List of illustrations -- Acknowledgments -- List of contributors -- Introduction -- 1. Writing and commemoration in Anglo-Saxon England -- Written in heaven: the model for writing the dead -- Memorial books and libri vitae -- Salvation written in stone: Anglo-Saxon memorial inscriptions -- From tomb to manuscript: Anglo-Saxon epitaphs -- Writing the special dead: relic tags and lists -- Conclusion -- 2. From powerful agents to subordinate objects? The restless dead in thirteenth- and fourteenth-century Iceland -- Introduction -- The case of Glámr the Revenant: unclean spirit as the reanimator of the dead -- Christian influences in the case of Glámr the Revenant -- The subordinate dead in Eddic poetry and fornaldarsögur -- Demonized practice of (pseudo)pagan magic? -- Latin necromancy in Iceland -- Waking up the dead in the poetic tradition -- Who are the awakened and how do they behave? -- Concluding remarks -- 3. Animated corpses and bodies with power in the scholastic age -- Explaining medieval revenants -- Mummies and mumia -- Cruentation -- Dissection -- Corpses and scholastic theology -- 4. Women, dance, death, and lament in medieval Spain and the Mediterranean: Jewish, Christian, and Muslim examples -- Official traditions in overview -- Christian and Islamic stances to the practice -- Medieval processional and graveside practices -- Considering ritual -- considering history -- Conclusion -- 5. Wills and testaments -- The Merovingian era to the twelfth-century shift -- The consolidation of purgatory and testamentary practice -- Conclusion -- 6. Spectacular death: capital punishment in medieval English towns -- 7. Ghostly knights: kings' funerals in fourteenth-century Europe and the emergence of an international style.

Emmanuel Carrere's English lines: the case of grafting in the novel Bravoure. The kind of sharing that supports the testamentary type of tools is based as much on the transmission of programmatic filiation as on creative networks capable of bypassing any lineage. The written page is thus submitted to the test of time and space by questioning its genesis, its transformations but especially the scriptural means to explore the limits and advantages of sharing. How does one read by writing ? How does heritage act upon the rewriting of any texts ? What remains of M. Shelley's Frankenstein in E. Carrère's Bravoure?
Rezumat. Rândurile englezești ale lui Emmanuel Carrère: grefa din romanul Bravoure. Genul de intertextualitate pe care se sprijină instrumentarul de tip testamentar se bazează, în egală masură, pe transmiterea unei filiații programatice, ca și pe acele rețele creative apte să opereze în afara oricărei descendențe. Pagina scrisă este astfel supusă testului timpului și spațiului prin investigarea genezei, a transformărilor sale, dar mai cu seamă a mijloacelor scripturale de explorare a limitărilor și avantajelor intertextualității. Cum se citește scriind? Cum acționează moștenirea textuală asupra procesului de rescriere a oricărui text? Ce rămâne din Frankenstein-ul lui Mary Shelley în romanul Bravoure al lui Emmanuel Carrère?
Cuvinte-cheie: Emmanuel Carrère, Mary Shelley, Moștenire, Dezmoștenire

Some stories are called "classical" when archetypal figures conceal them, patterns of thought and universal benchmarks that at various times in history, emerge in the collective imagination to echo contemporary concerns. From one century to another, these stories irrigate more or less force production and help to forge cultural identity of peoples. The story of King David, in this context, takes on a copy: rooted in tradition-vétérotes testamentary, it has fed for several millennia, the monarchical ideology and faith of the Judeo-Christian nation, given to writers style Biblical inspired poet and musicians, the composer of the divine. In the France of the Renaissance, the fig-re David's profile in works abundant and varied sacred histories, compi-lations, legends, political pamphlets, epics, drama are all places where the writers are inspired by vain his life to shape writing projects. This work attempts to trace the locations of the presence of King David in the years 1490 and 1600 and to identify the various purposes for which it is associated. Initially, the study of sacred sources of culture in the Renaissance shows that David ap-pears as a priority in a book, the Bible, but also in books, Bible in editions that are emerging under the momentum of reforms. In vast compilations, historians also summarize his life into a key moment in world history, the poets tell his deeds in the form of stories in pro-se or in verse, which is sometimes grafted elements of folklore . A study of pamphlets, poems and political goal of some illustrations of psalms written in the time of Charles VIII show, in a second time, David serves as a benchmark and argument to the entourage of the court and the Italians, and it serves the project of conquest and crusade were the wars of Italy. Artists and writers contrent-ren in one project, that of showing how, in David, the original-rooted spiritual ties of the nation. This lineage appears as a symbolic justification of the desire to make Jerusalem the capital of Christians. At the time ...

Some stories are called "classical" when archetypal figures conceal them, patterns of thought and universal benchmarks that at various times in history, emerge in the collective imagination to echo contemporary concerns. From one century to another, these stories irrigate more or less force production and help to forge cultural identity of peoples. The story of King David, in this context, takes on a copy: rooted in tradition-vétérotes testamentary, it has fed for several millennia, the monarchical ideology and faith of the Judeo-Christian nation, given to writers style Biblical inspired poet and musicians, the composer of the divine. In the France of the Renaissance, the fig-re David's profile in works abundant and varied sacred histories, compi-lations, legends, political pamphlets, epics, drama are all places where the writers are inspired by vain his life to shape writing projects. This work attempts to trace the locations of the presence of King David in the years 1490 and 1600 and to identify the various purposes for which it is associated. Initially, the study of sacred sources of culture in the Renaissance shows that David ap-pears as a priority in a book, the Bible, but also in books, Bible in editions that are emerging under the momentum of reforms. In vast compilations, historians also summarize his life into a key moment in world history, the poets tell his deeds in the form of stories in pro-se or in verse, which is sometimes grafted elements of folklore . A study of pamphlets, poems and political goal of some illustrations of psalms written in the time of Charles VIII show, in a second time, David serves as a benchmark and argument to the entourage of the court and the Italians, and it serves the project of conquest and crusade were the wars of Italy. Artists and writers contrent-ren in one project, that of showing how, in David, the original-rooted spiritual ties of the nation. This lineage appears as a symbolic justification of the desire to make Jerusalem the capital of Christians. At the time ...

Literary imitations of the testament form have a European tradition going back to classical times and constitute a neglected part of English literature. Although examples appear from the 14th century onwards, no thorough study of last wills and testaments as a specific form of English literature has been undertaken. This neglect may be because, within the broad field of the literary idea of 'legacy', parodies of the testament form ('mock testaments') and serious imitations ('lovers' testaments' etc.) appear in nearly every genre as either single texts or parts of larger ones, themselves crossing the genre boundaries. Then too, a large number of literary testaments come under the heading of 'minor literature' , such as shortlived pamphlets and broadsides. Yet the use which major authors like Shakespeare and Donne made of the literary testament shows that it had become an established form in the 16th century. The texts under examination here would normally be referred to as courtly love poems, political pamphlets, jests, cook-books, nursery rhymes, epic poems, autobiographical verse (Chatterton's Will), modern poems (yeats, Auden and McNeice) or as parts of masques, plays or novels. The aim is to show that one can legitimately speak of all these texts as belonging to a single literary category. In addition to adescription of the history of the literary testament in England, the central problem of this study was one of generic form. The attempt has been made to apply recent ideas of genre theory, i.e., the structuralist generative approach, to texts imitating a non-literary or utility document. This non-literary model is narrowly defined by criteria set by the Church and the Law. Thus it becomes possible to proceed as if the model were the generic norm of a corpus of greatly varying literary texts, thereby avoiding the problems of defming and re-defming selective principles (and of the need to assume a hypothetical 'first form') for the gathering of texts. The testament is a private re cord especially weil suited for studies of this kind because of its traditional fixed form and wide popularization from the Middle Ages onwards. In its complexity, the testament allows for more variation of style, content and purpose than does the letter, but is more disciplined in its form. In categorizing the testaments as such, it is necessary to study contemporary connotations and to defme the basic structure of the model. A selection of genuine, nonficticious testaments drawn up by members of the University of Cambridge in the 16th century has been examined for this purpose. (The 16th and 17th centuries can be taken as the most productive of literary testament writing.) There seems to exist a dichotomy in the testament itself; on the one hand there are mundane considerations (bequeathing of property) and on the other thoughts directed towards the life to come. Ihis dichotomy is observable not only on the content level, but also on the formal level and the semantic level. Ihe relation between the two testamentary elements, which is characterized by polarization, can be postulated as the basic structure of the testament and as the genre norm of the literary texts examined here. Taking into account the fact that the testament has been of varying importance in various ages, a wide selection of literary imitations of the testament from Chaucer to Yeats and after is studied in detail. A distinction may be drawn between mock testaments and serious imitations, with the former representing rebellion against the exalted authorities behind the testament. When the theoretical rebellion coincides with the practical function of satire or attack in a particular case, then the mock testament is raised to a true literary form. The serious imitation, on the other hand, makes use of the metaphysical element of the testament, and is directed to a worldly being or to the 'human condition' (as in examples drawn from the modern poets). Its problems and aim assign this study to the wider fjeld of genre research, particularly research into the relationship between genuine documents (utility texts) and their literary imitations.

Mykhayliv M. The legal nature of a secret testament in private international law Based on the analysis of the civil legislation of Ukraine and foreign states, the legal nature of the secret testament is investigated in this article. It is noted that the common feature for states that provide the possibility to make secret testament is that the content of such a testament is known only to the testator, and other persons can learn about the content of such an testament only when the inheritance becomes available. It is established that in some states there are different approaches to the form of such a testament, the place of its preparation, the place of storage and the presence of witnesses. Emphasis is placed on the fact that in Ukraine there is no need for witnesses either when making such a will or when transferring the latter to a notary for safekeeping. In this regard, given the specifics of such a testamentary disposition, it is justified to implement to the legislation a provision according to which the transfer of a secret testament to a notary is possible only in the presence of two witnesses who could confirm that such a person has never been under the outside influence at the time of the transfer of such a testament. The article also draws attention to the fact that based on the principles of notarial activity, the definition of a secret testament is provided in Part 1 of Art. 1249 of the Civil Code of Ukraine needs to be finalized and amended, in particular, this is due to the fact that the notary cannot certify a secret testament, but only is obliged to certify the authenticity of the testator's signature on the envelope. Attention is drawn to the need to single out a secret testament as a separate type of will, which has the following features: such a transaction is a voluntary act of the testator, who independently determines, on the basis of secrecy, the legal fate of rights and obligations in case of death known only to the testator; the testator reflects the content of such a will in writing, and independently determines the method of expression of such a form - personally or with the help of conventional technical means; special procedure for notarial acts related to the certification of the testator's signature on the envelope containing the secret will. As a result of the above, it is proposed to enshrine a special article "Secret Testament" to the Civil Code of Ukraine. ; У статті на підставі аналізу цивільного законодавства України та іноземних держав досліджено правову природу секретного (таєм­ного) заповіту. Звертається увага, що спільним для держав, які перед­бачають можливість складення секретного (таємного) або закри­того заповіту, є те, що зміст такого заповіту відомий лише заповідачу, інші особи можуть довідатися про зміст такого розпорядження лише після відкриття спадщини. Встановлено, що в державах відрізняються підходи до форми такого заповіту, місця його скла­дення, місця зберігання та присут­ності свідків. Акцентовано увагу на тому, що в Україні не передба­чена необхідність свідків ні під час складення такого заповіту, ні під час передачі останнього на збері­гання нотаріусу. У зв'язку із цим з урахуванням специфіки такого заповідального розпорядження обґрунтовано необхідність перед­бачити в законодавстві положення, відповідно до якого передання секретного заповіту нотаріусу відбувалося лише в присутності двох свідків, які б засвідчували сам факт передання такого заповіту та могли б підтвердити, що така особа на момент передання такого заповіту не піддавалася сторон­ньому впливу. У статті звертається увага і на те, що, виходячи із принципів нотаріальної діяльності, визна­чення секретного заповіту, що передбачене ч. 1 ст. 1249 ЦК Укра­їни, потребує доопрацювання та відповідних змін, зокрема, це пов'я­зано із тим, що нотаріус не може посвідчувати секретний заповіт, а лише засвідчити справжність під­пису заповідача. Звертається увага на потребу виокремити секретний заповіт як окремий вид заповіту, якому при­таманні такі ознаки: такий пра­вочин є вольовим актом особи запо­відача, який самостійно визначає на засадах таємності юридичну долю прав та обов'язків на випа­док смерті, тобто зміст такого заповіту відомий лише особі запо­відача; зміст такого волевияв­лення заповідач відображає в пись­мовій формі, причому самостійно визначає спосіб вираження такої форми - власноручно чи за допомо­гою загальноприйнятих технічних засобів; спеціальний порядок вчи­нення нотаріальних дій, пов'яза­них із засвідченням справжності підпису заповідача на конверті, в якому міститься секретний запо­віт. У підсумку викладеного запро­поновано в Цивільному кодексі України закріпити спеціальну статтю «Секретний заповіт».

The objective of this article is to analyze the relationship between Túquerres and Latacunga from the action and theory deployed by Simón Rodríguez in both places during the construction of the Republic. Throughout the text, the importance assigned by Simón Rodríguez to the conformation of the Republic is shown; the main components of republican education and its implementation methodology are analyzed, and finally, the relations of this vast region regarding the education system required today are addressed. Few educational projects have emphasized the profound link between education and democratic and social life as much as that of Simón Rodríguez; hence, understanding this model requires a prior examination of his conception of American society, which, in his opinion, was marked not only by acute national conflicts but, above all, by those of a social nature and therefore, divided by a new genre of dominators and dominated people. On these and other categories, Simón Rodríguez organizes his plan of a 'republican and social education', as he himself calls it, of which he had been speaking and writing publicly and privately for more than twenty-four years, based on a strong criticism and rupture with traditional or testamentary education and bringing at the same time a clear alternative character to the project. It is in the denunciation of an inherited and current past, as well as in the announcement of a future to be built, that he constitutes the plan of a 'republican and social education', making both phases of the project converging into two sides of the same coin. ; El objetivo de este artículo es analizar la relación entre Túquerres y Latacunga a partir de la acción y la teoría desplegada por Simón Rodríguez en uno y otro lugar durante la construcción de la República. A lo largo del texto se muestra la importancia asignada por Simón Rodríguez a la conformación de la República; se analizan los principales componentes de la educación republicana y su metodología de implementación, y finalmente, se aborda las relaciones de esta vasta región respecto del sistema de educación que se requiere en la actualidad. Pocos proyectos educativos han resaltado tanto la profunda vinculación de la educación con la vida democrática y social como el de Simón Rodríguez; de ahí que comprender este modelo suponga examinar previamente su concepción de la sociedad americana, la misma que, a su criterio se presentaba marcada no solo por agudos conflictos nacionales sino ante todo por los de carácter social y por eso dividida por un nuevo género de dominadores y dominados. Sobre estas y otras categorías organiza Simón Rodríguez su plan de una 'educación republicana y social', como él mismo la denomina, y sobre la cual nos narra que hacía ya más de veinticuatro años que él venía hablando y escribiendo pública y privadamente, apoyándose en una fuerte crítica y ruptura con la educación tradicional o testamentaria e imprimiendo a su vez al proyecto un claro carácter alternativo. Es en la denuncia de un pasado heredado y vigente, así como en el anuncio de un porvenir por construir, como constituye el plan de una 'educación republicana y social', haciendo que una y otra fase del proyecto confluyesen como las dos caras de una misma moneda. ; O objetivo deste artigo é analisar a relação entre Túquerres e Latacunga a partir da ação e da teoria implantada por Simón Rodríguez em um e outro lugar durante a construção da República. Ao longo do texto é evidenciada a importância atribuída por Simón Rodríguez à formação da República; São analisados os principais componentes da educação republicana e sua metodologia de implementação e, por fim, abordam-se as relações dessa vasta região com o sistema educacional que se exige atualmente. Poucos projetos educacionais destacaram tanto o vínculo profundo entre a educação e a vida democrática e social quanto o de Simón Rodríguez; Portanto, compreender esse modelo significa examinar previamente sua concepção de sociedade americana, que, em sua opinião, foi marcada não apenas por agudos conflitos nacionais, mas sobretudo por aqueles de natureza social e, portanto, dividida por um novo gênero de dominadores e dominados. Sobre essas e outras categorias, Simón Rodríguez organiza seu plano de uma 'educação republicana e social', como ele mesmo a chama, sobre a qual nos conta que fazia quase vinte e quatro anos que falava e escrevia em público e em particular. com uma crítica forte e rompimento com a educação tradicional ou testamentária e por sua vez dando ao projeto um caráter alternativo claro. É na denúncia de um passado herdado e atual, bem como no anúncio de um futuro a ser construído, que se constitui o projeto de uma 'educação republicana e social', fazendo convergir as duas fases do projeto como as duas faces do uma mesma moeda.

Some stories are called "classical" when archetypal figures conceal them, patterns of thought and universal benchmarks that at various times in history, emerge in the collective imagination to echo contemporary concerns. From one century to another, these stories irrigate more or less force production and help to forge cultural identity of peoples. The story of King David, in this context, takes on a copy: rooted in tradition-vétérotes testamentary, it has fed for several millennia, the monarchical ideology and faith of the Judeo-Christian nation, given to writers style Biblical inspired poet and musicians, the composer of the divine. In the France of the Renaissance, the fig-re David's profile in works abundant and varied sacred histories, compi-lations, legends, political pamphlets, epics, drama are all places where the writers are inspired by vain his life to shape writing projects. This work attempts to trace the locations of the presence of King David in the years 1490 and 1600 and to identify the various purposes for which it is associated. Initially, the study of sacred sources of culture in the Renaissance shows that David ap-pears as a priority in a book, the Bible, but also in books, Bible in editions that are emerging under the momentum of reforms. In vast compilations, historians also summarize his life into a key moment in world history, the poets tell his deeds in the form of stories in pro-se or in verse, which is sometimes grafted elements of folklore . A study of pamphlets, poems and political goal of some illustrations of psalms written in the time of Charles VIII show, in a second time, David serves as a benchmark and argument to the entourage of the court and the Italians, and it serves the project of conquest and crusade were the wars of Italy. Artists and writers contrent-ren in one project, that of showing how, in David, the original-rooted spiritual ties of the nation. This lineage appears as a symbolic justification of the desire to make Jerusalem the capital of Christians. At the time of reforms, Catholics and Protestants are also turning David into a forum for the expression of aesthetic sensibility and religious. The poets include the King Catholic Biblical writing projects of epic. Illus-be to make the French language, they are challenged to compose and Israélia-Davidiades of competing in prestige with the Iliad and the Odyssey. Protestants prefer, in turn, translate the Psalms into French and call plays that involved reflecting on his status as a believer. The last part of our work analyzes this sacred dimension given to David in the dramatic works of the Reformation and wonders whether he acquires prophetic: the psalmist appears as the archetype of the persecuted believer but victorious, the archetype of the repentant sinner and, given the musician who was able to finally renew the lyrical dimension of the service. These different forms of David's presence in French literature attest that no, the Renaissance, a reading consistent and unique character from the biblical writers. David marries aspirations and a thousand thousand reasons, it is to re-take an expression of Jean Dorat, "a veritable Proteus." ; Certaines histoires sont dites " classiques " lorsqu'elles recèlent des figures archétypa-les, des modèles de pensée et de repères universels qui, à différents moments de l'histoire, surgissent dans l'imaginaire collectif pour faire écho aux préoccupations contemporaines. D'un siècle à l'autre, ces récits irriguent avec plus ou moins de force les productions culturelles et contribuent à forger l'identité des peuples. L'histoire du roi David, à cet égard, prend une allure exemplaire : ancrée dans la tradition vétérotes-tamentaire, elle a nourri, pendant plusieurs millénaires, l'idéologie monarchique et la foi des nations judéo-chrétiennes, donné aux écrivains le modèle biblique du poète inspiré et aux musiciens, celui du divin compositeur. Dans la France de la Renaissance, la figu-re de David se profile dans des œuvres abondantes et variées : histoires saintes, compi-lations, légendes, pamphlets politiques, épopées, théâtre sont autant de lieux où les écri-vains s'inspirent de sa vie pour donner forme à des projets d'écriture. Ce travail tente de retracer les lieux de la présence du roi David entre les années 1490 et 1600 et de discerner les différentes fins auxquelles il y est associé. Dans un premier temps, l'étude des sources de la culture sacrée à la Renaissance montre que David appa-raît en priorité dans un livre, la Bible, mais aussi dans des livres, dans les différentes éditions bibliques qui voient le jour sous l'impulsion des Réformes. Dans de vastes compilations, les historiens résument également sa vie pour en faire un moment clé de l'Histoire universelle ; les poètes racontent ses hauts faits sous la forme de récits en pro-se ou en vers, auxquels se greffent parfois des éléments de folklore. Une étude des pamphlets, des poèmes à visée politique et de quelques illustrations de psaumes écrits au temps de Charles VIII montrent, dans un second temps, que David sert de repère et d'argument à l'entourage de la cour et aux Italiens, et qu'il sert le projet de conquête et de croisade que furent les guerres d'Italie. Artistes et écrivains se ren-contrent dans un même projet, celui de montrer comment, en David, s'ancrent les origi-nes spirituelles de la nation. Cette filiation symbolique apparaît comme une justification du désir de prendre Jérusalem pour en faire la capitale des chrétiens. Au temps des Réformes, catholiques et protestants se tournent également vers David pour en faire un lieu d'expression de la sensibilité esthétique et religieuse. Les poètes catholiques intègrent le roi biblique à des projets d'écriture d'épopée. Pour rendre illus-tre la langue française, ils relèvent le défi de composer des Davidiades et des Israélia-des qui rivalisent en prestige avec l'Iliade et l'Odyssée. Les protestants préfèrent, pour leur part, traduire les psaumes en français et composer des pièces de théâtre engagées qui réfléchissent sur sa condition de croyant. La dernière partie de notre travail analyse cette dimension sacrée prêtée à David dans les œuvres dramatiques issues de la Réforme et s'interroge sur le caractère prophétique qu'il y acquiert : le psalmiste apparaît comme l'archétype du croyant persécuté mais victorieux, l'archétype du pécheur repenti et par-donné, le musicien enfin qui sut renouveler la dimension lyrique du service religieux. Ces différentes formes de la présence de David dans les lettres françaises attestent qu'il n'y a pas, à la Renaissance, une lecture homogène et unique du personnage biblique de la part des écrivains. David épouse mille causes et mille aspirations, il est, pour re-prendre une expression de Jean Dorat, " un véritable Protée ".