... François Cornillat offers a brilliant reading of Jean Lemaire's Concorde des deux langag... more ... François Cornillat offers a brilliant reading of Jean Lemaire's Concorde des deux langages, focusing on the tensions between linear allegory and ... Also of interest to scholars of literature will be Perrine Galand-Hallyn's detailed analysis of the pseudo-Theocritan “Adonis” poems ...
Rabelais, a French humanist and comic writer of the Renaissance, is best known for his chronicles... more Rabelais, a French humanist and comic writer of the Renaissance, is best known for his chronicles of Gargantua and Pantagruel, in which coarse popular humour, fine Lucianic irony and staggering erudition are uniquely blended, and which claim to reveal, first appearances notwithstanding, ‘certain very high sacraments and dread mysteries, concerning not only our religion, but also our public and private life’ ([1532–52] 1955: 38). Rabelais has been subjected to the most contradictory interpretations and judgments. Like Erasmus, whom he admired, Rabelais was attacked in his own time by schismatic Protestants (most notably Calvin) and by reactionary Catholics (most notably the faculty of theology at Paris), as an obscene Lucianic atheist and a heretic. At the same time he was admired and supported by high-minded patrons including Francis I, the king’s devout sister Marguerite de Navarre, and Cardinal Jean Du Bellay. Even today Rabelais’ religion and philosophy are the subject of debate ...
Cet ouvrage rassemble les Actes du colloque Rabelais de Tours de 1994 qui avait reuni la grande m... more Cet ouvrage rassemble les Actes du colloque Rabelais de Tours de 1994 qui avait reuni la grande majorite des specialistes de ce dernier quart de XXe siecle. Ils offrent ici les commentaires les plus avertis, les associations les plus fines, les developpements les plus erudits de l'exegese rabelaisienne. Architecte incontestable, Rabelais s'ingenie a travers une maitrise sans faille de son art a creer un espace narratif duquel se degagent les plus serieuses considerations morales et philosophiques. Les analyses pointues de ces exegetes permettent ainsi au lecteur de decouvrir l'univers de Rabelais dans sa complexite et visent a degager l'intention ideologique derriere la facade comique des romans.
Itineraries in French Renaissance Literature, 2017
Twenty original perspectives on such authors as Marguerite de Navarre, Rabelais, Montaigne, Marot... more Twenty original perspectives on such authors as Marguerite de Navarre, Rabelais, Montaigne, Marot, Labe, and Helisenne de Crenne, as well as on less familiar works of religious polemics, emblems, cartography, geomancy, bibliophilism, and ichthyology.
tween several Pléiade members with the objective of promoting the group’s poetic program, and suc... more tween several Pléiade members with the objective of promoting the group’s poetic program, and such a conclusion might be illuminated further in its relation to Du Bellay’s manifesto for the Pléiade, Deffense et illustration de la langue françoise. The second half of the book provides the reader first with a comprehensive publication history of the musical supplement with the Amours, categorical charts of the sonnets according to the musical annotations, and, finally, the music itself. Modern musical editions of the nine songs that accompany the Amours precede facsimiles of the originals. First is Nicolas du Chemin’s edition, printed with the first Amours in 1552. This is followed by the second edition in 1553 printed by Michel Fezandat. As the authors explain, Ronsard’s desire was that all might sing the sonnets, not merely the poet (as was the fashion of France’s court poets); the documents included in the appendixes afford the modern reader the opportunity. As such, the text may be an unlikely practical resource for performers of early modern music. Overall, Collarile and Maira’s book is staggering in detail, a quality that strengthens the authors’ conclusions about the musical supplement’s history. The amount of appendix material provides direct access to the extensive archival research performed by the authors. While the authors’ thoroughness can sometimes be overwhelming in its detail, this renders the book an invaluable resource for those studying musical accompaniments to poetry collections.
Thanks to the work of scholars like M. A. Screech and Gérard Defaux, the image of Marot as a cour... more Thanks to the work of scholars like M. A. Screech and Gérard Defaux, the image of Marot as a court poet notable only for his ‘élégant badinage’ has been entirely eclipsed in recent years by the more compelling image of a committed and courageous ‘évangélique’ variously inspired by the mystical Paulinism of a Marguerite de Navarre and the Christian humanism of a Budé and an Erasmus. By focusing narrowly on Marot’s representations of François I and analysing the ‘political theology’ and ‘theopolitical meaning’ of familiar poems like Le Temple de Cupido, ‘Au Roy, pour avoir esté desrobé’, ‘Au Roy, du temps de son exil à Ferrare’, and the 1541 dedication of the Psaumes de David, Ehsan Ahmed adds a new dimension to this image and proposes some plausible corrections and refinements to our understanding of Marot’s particular brand of evangelism. It is useful to be reminded that Marot addressed twice as many poems to François as to François’s pious sister Marguerite, and that in these poems Marot invariably contrived to fuse royalty and divinity in the person of his king. Marot represents François not simply as a patron and protector but as a surprisingly orthodox roi thaumaturge and figure of Christ the redeemer. While some of Ahmed’s readings are more convincing than others, his demonstration as a whole is compelling. Ahmed is skilful at explaining the relevance of traditions like the sacre, at narrating crucial events like those surrounding the ‘Affaire des Placards’, and at analysing Marot’s reworking of poetic models. He is also good at drawing fine distinctions among orthodox, evangelical, and reformed theologians — concerning not only the sacred nature of kings but the meaning of ‘literal meaning’ in biblical exegesis — while at the same time respecting the deliberate vagueness of many of Marot’s positions. From all of this emerges a fine sense of the characteristic blurring of sacred and profane in the various syncretistic and typological roles Marot ascribes to François. What emerge rather less clearly are the strategies that motivate these various representations. Some of the poems discussed here are not nearly as innocent as they appear in Ahmed’s account. Rather than using his own real-life difficulties as convenient pretexts for expressing sincere ideological commitments, as Ahmed sometimes seems to suppose, Marot frequently manipulates situations and ideologies in a highly calculated way to manœuvre the king, by sheer rhetorical and symbolic force, into a position (religious, political, or simply personal) he might otherwise be strongly disinclined to occupy. Closer attention to the rhetorical, strategic and frankly manipulative aspects of these poems would undoubtedly lead to a clearer understanding not only of Marot the ‘évangélique’ but also of Marot the poet, the satirist, and the propagandist. All readers will nevertheless benefit from Ahmed’s insights into the ideologies of Christian kingship at work in Marot’s poetry.
Ambiguite du personnage de B. Fonction de l'episode de B. dans la structure compositionnelle ... more Ambiguite du personnage de B. Fonction de l'episode de B. dans la structure compositionnelle symetrique du roman. "Pantagruelisme" et jugement. Pantagruelisme et formulation humaniste du precepte: "tu ne jugeras pas". Le TL: une sorte d'epopee de l'humanisme chretien.
En analysant le “dessin” du Tiers Livre – sa composition formelle aussi bien que son intention so... more En analysant le “dessin” du Tiers Livre – sa composition formelle aussi bien que son intention sous-jacente – E. Duval degage la coherence profonde d’une œuvre qui passe le plus souvent pour ambigue et “menippeenne”. Cette coherence, qui se manifeste simultanement a deux niveaux (celui du dessin de Pantagruel dans la quete, celui du dessin de Rabelais dans son livre), permet a l’auteur non seulement de resoudre plusieurs apories de la critique rabelaisienne, mais de decouvrir dans le Tiers Livre des dimensions et des ironies inapercues jusqu’a present.
... François Cornillat offers a brilliant reading of Jean Lemaire's Concorde des deux langag... more ... François Cornillat offers a brilliant reading of Jean Lemaire's Concorde des deux langages, focusing on the tensions between linear allegory and ... Also of interest to scholars of literature will be Perrine Galand-Hallyn's detailed analysis of the pseudo-Theocritan “Adonis” poems ...
Rabelais, a French humanist and comic writer of the Renaissance, is best known for his chronicles... more Rabelais, a French humanist and comic writer of the Renaissance, is best known for his chronicles of Gargantua and Pantagruel, in which coarse popular humour, fine Lucianic irony and staggering erudition are uniquely blended, and which claim to reveal, first appearances notwithstanding, ‘certain very high sacraments and dread mysteries, concerning not only our religion, but also our public and private life’ ([1532–52] 1955: 38). Rabelais has been subjected to the most contradictory interpretations and judgments. Like Erasmus, whom he admired, Rabelais was attacked in his own time by schismatic Protestants (most notably Calvin) and by reactionary Catholics (most notably the faculty of theology at Paris), as an obscene Lucianic atheist and a heretic. At the same time he was admired and supported by high-minded patrons including Francis I, the king’s devout sister Marguerite de Navarre, and Cardinal Jean Du Bellay. Even today Rabelais’ religion and philosophy are the subject of debate ...
Cet ouvrage rassemble les Actes du colloque Rabelais de Tours de 1994 qui avait reuni la grande m... more Cet ouvrage rassemble les Actes du colloque Rabelais de Tours de 1994 qui avait reuni la grande majorite des specialistes de ce dernier quart de XXe siecle. Ils offrent ici les commentaires les plus avertis, les associations les plus fines, les developpements les plus erudits de l'exegese rabelaisienne. Architecte incontestable, Rabelais s'ingenie a travers une maitrise sans faille de son art a creer un espace narratif duquel se degagent les plus serieuses considerations morales et philosophiques. Les analyses pointues de ces exegetes permettent ainsi au lecteur de decouvrir l'univers de Rabelais dans sa complexite et visent a degager l'intention ideologique derriere la facade comique des romans.
Itineraries in French Renaissance Literature, 2017
Twenty original perspectives on such authors as Marguerite de Navarre, Rabelais, Montaigne, Marot... more Twenty original perspectives on such authors as Marguerite de Navarre, Rabelais, Montaigne, Marot, Labe, and Helisenne de Crenne, as well as on less familiar works of religious polemics, emblems, cartography, geomancy, bibliophilism, and ichthyology.
tween several Pléiade members with the objective of promoting the group’s poetic program, and suc... more tween several Pléiade members with the objective of promoting the group’s poetic program, and such a conclusion might be illuminated further in its relation to Du Bellay’s manifesto for the Pléiade, Deffense et illustration de la langue françoise. The second half of the book provides the reader first with a comprehensive publication history of the musical supplement with the Amours, categorical charts of the sonnets according to the musical annotations, and, finally, the music itself. Modern musical editions of the nine songs that accompany the Amours precede facsimiles of the originals. First is Nicolas du Chemin’s edition, printed with the first Amours in 1552. This is followed by the second edition in 1553 printed by Michel Fezandat. As the authors explain, Ronsard’s desire was that all might sing the sonnets, not merely the poet (as was the fashion of France’s court poets); the documents included in the appendixes afford the modern reader the opportunity. As such, the text may be an unlikely practical resource for performers of early modern music. Overall, Collarile and Maira’s book is staggering in detail, a quality that strengthens the authors’ conclusions about the musical supplement’s history. The amount of appendix material provides direct access to the extensive archival research performed by the authors. While the authors’ thoroughness can sometimes be overwhelming in its detail, this renders the book an invaluable resource for those studying musical accompaniments to poetry collections.
Thanks to the work of scholars like M. A. Screech and Gérard Defaux, the image of Marot as a cour... more Thanks to the work of scholars like M. A. Screech and Gérard Defaux, the image of Marot as a court poet notable only for his ‘élégant badinage’ has been entirely eclipsed in recent years by the more compelling image of a committed and courageous ‘évangélique’ variously inspired by the mystical Paulinism of a Marguerite de Navarre and the Christian humanism of a Budé and an Erasmus. By focusing narrowly on Marot’s representations of François I and analysing the ‘political theology’ and ‘theopolitical meaning’ of familiar poems like Le Temple de Cupido, ‘Au Roy, pour avoir esté desrobé’, ‘Au Roy, du temps de son exil à Ferrare’, and the 1541 dedication of the Psaumes de David, Ehsan Ahmed adds a new dimension to this image and proposes some plausible corrections and refinements to our understanding of Marot’s particular brand of evangelism. It is useful to be reminded that Marot addressed twice as many poems to François as to François’s pious sister Marguerite, and that in these poems Marot invariably contrived to fuse royalty and divinity in the person of his king. Marot represents François not simply as a patron and protector but as a surprisingly orthodox roi thaumaturge and figure of Christ the redeemer. While some of Ahmed’s readings are more convincing than others, his demonstration as a whole is compelling. Ahmed is skilful at explaining the relevance of traditions like the sacre, at narrating crucial events like those surrounding the ‘Affaire des Placards’, and at analysing Marot’s reworking of poetic models. He is also good at drawing fine distinctions among orthodox, evangelical, and reformed theologians — concerning not only the sacred nature of kings but the meaning of ‘literal meaning’ in biblical exegesis — while at the same time respecting the deliberate vagueness of many of Marot’s positions. From all of this emerges a fine sense of the characteristic blurring of sacred and profane in the various syncretistic and typological roles Marot ascribes to François. What emerge rather less clearly are the strategies that motivate these various representations. Some of the poems discussed here are not nearly as innocent as they appear in Ahmed’s account. Rather than using his own real-life difficulties as convenient pretexts for expressing sincere ideological commitments, as Ahmed sometimes seems to suppose, Marot frequently manipulates situations and ideologies in a highly calculated way to manœuvre the king, by sheer rhetorical and symbolic force, into a position (religious, political, or simply personal) he might otherwise be strongly disinclined to occupy. Closer attention to the rhetorical, strategic and frankly manipulative aspects of these poems would undoubtedly lead to a clearer understanding not only of Marot the ‘évangélique’ but also of Marot the poet, the satirist, and the propagandist. All readers will nevertheless benefit from Ahmed’s insights into the ideologies of Christian kingship at work in Marot’s poetry.
Ambiguite du personnage de B. Fonction de l'episode de B. dans la structure compositionnelle ... more Ambiguite du personnage de B. Fonction de l'episode de B. dans la structure compositionnelle symetrique du roman. "Pantagruelisme" et jugement. Pantagruelisme et formulation humaniste du precepte: "tu ne jugeras pas". Le TL: une sorte d'epopee de l'humanisme chretien.
En analysant le “dessin” du Tiers Livre – sa composition formelle aussi bien que son intention so... more En analysant le “dessin” du Tiers Livre – sa composition formelle aussi bien que son intention sous-jacente – E. Duval degage la coherence profonde d’une œuvre qui passe le plus souvent pour ambigue et “menippeenne”. Cette coherence, qui se manifeste simultanement a deux niveaux (celui du dessin de Pantagruel dans la quete, celui du dessin de Rabelais dans son livre), permet a l’auteur non seulement de resoudre plusieurs apories de la critique rabelaisienne, mais de decouvrir dans le Tiers Livre des dimensions et des ironies inapercues jusqu’a present.
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