Academic literature on the topic 'Blasons anatomiques'

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Journal articles on the topic "Blasons anatomiques"

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Goeury, Julien. "De quoi les blasons anatomiques sont-ils le nom ?" Littérales 47 (2020): 39–56. http://dx.doi.org/10.4000/11z2q.

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Uulders, Hedzer. "Two Fragmentary blasons anatomiques at the City Library of Arnhem (The Netherlands)." Quaerendo 44, no. 3 (January 28, 2014): 179–85. http://dx.doi.org/10.1163/15700690-12341296.

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GARCÍA DE MESA, Rafael, and José REYES DE LA ROSA. "Blasons et contreblasons anatomiques du corps fémenin: cuatro ejemplos de traducción al castellano." Hikma 1, no. 1 (October 1, 2002): 19. http://dx.doi.org/10.21071/hikma.v1i1.6779.

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Los “blasones y contrablasones” de los que presentamos cuatro ejemplos de traducción al español, constituyen un tiempo de poesía frecuentemente marginada en la producción poética francesa del s. XVI. Se trata de una poesía erótica y procaz dentro de la tradición popular gauloise, recuperada en la segunda mitad del s. XX. En este artículo, además de la traducción, pretendemos acercamos a esta poesía erótica que revela no pocas coincidencias estético-culturales con la poesía española de la época.
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Giordano, Michael. "The Heraldic Shield and the Woman’s Body in the Blasons Anatomiques du corps féminin (1543)." Paragone Past and Present 2, no. 1 (July 16, 2021): 71–95. http://dx.doi.org/10.1163/24761168-00201003.

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Abstract In the French Renaissance, the term ‘anatomical blason’ (blason anatomique) designated a highly descriptive love poem praising a single part of a woman’s body, while in heraldry, the noun ‘blason’ defined the ensemble of ornamental components constituting the shield. Just as the French verb blasonner meant to describe and to interpret the shield’s material and symbolic parts, so could this verb be used in amatory poetry to signify the act of lauding the details of the beloved’s anatomical parts. This study examines the structural analogies between heraldic shield and the anatomical blason, addressing how the technical terms defining the shield’s components such as partitions, points, charges, tinctures, and the achievement could be given analogous expressions in the anatomical love poetry.
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Gérardy, Elise. "Anatomie d’une anatomie: nouvelles recherches sur les blasons anatomiques du corps féminin. Sous la direction de Julien Goeury et Thomas Hunkeler." French Studies 74, no. 2 (March 16, 2020): 291–92. http://dx.doi.org/10.1093/fs/knaa010.

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Lyulekina, Elizaveta. "Anatomie d’une anatomie. Nouvelles recherches sur les blasons anatomiques du corps féminin , sous la direction de Julien Goeury et Thomas Hunkeler, Genève, Droz, 2018, 741 p." Réforme, Humanisme, Renaissance N° 90, no. 1 (June 1, 2020): V. http://dx.doi.org/10.3917/rhren.090.0151e.

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Preisig, Florian. "« Marot y fut » : Le Discours de la court de Claude Chappuys." Renaissance and Reformation 36, no. 3 (December 2, 2013): 33–59. http://dx.doi.org/10.33137/rr.v36i3.20546.

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In 1543 Claude Chappuys published Le Discours de la court, a long poem in praise of the court of Francis I. This text, a hybrid of moral allegory and enumerative discourse, recalls themes, structures, and poetic language that can be found in Guillaume de Lorris, Jean Lemaire de Belges, and above all, as I will argue, Marot, with whom Chappuys had collaborated earlier, for example in the context of the Blasons anatomiques du corps féminin. Yet at the same time, and more importantly, this article demonstrates that Chappuys’s poem, despite its non-controversial tone, can be read as an implicit rejection of key aspects of Marot’s heritage. Indeed, Chappuys condemns Marot’s polemical vein indirectly through the negative depiction of the Pasquin-L’Arétin duo, a clear figure of the satirical genre, and through veiled allusions to L’Enfer and the coq-à-l’âne poems. This presence of Marot in the intertext of an extremely consensual work written for Francis I is all the more significant when one remarks that the Discours was published just a few months after Marot’s flight to Geneva, in a renewed context of interconfessional tension; it constitutes, so to say, the poem’s flipside. Symptomatically, the only direct mention of Marot in the Discours is laconic, "Marot was here," and can be read in different ways. This article can be seen as a discussion of this short phrase and its resonances, with special attention given to its specific location in the carefully elaborated catalogue of the court that makes up the second half of the work. Generally speaking, the following offers an introduction to Chappuys’ poem and attempts to rehabilitate a work that has been neglected or read primarily in a political perspective.
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Benkov, Edith J. "Anatomie d'une anatomie: Nouvelles recherches sur les blasons anatomiques du corps féminin. Julien Goeury and Thomas Hunkeler, eds. Cahiers d'Humanisme et Renaissance 154. Geneva: Droz, 2018. 742 pp. + color pls. $90." Renaissance Quarterly 75, no. 4 (2022): 1425–27. http://dx.doi.org/10.1017/rqx.2022.410.

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Books on the topic "Blasons anatomiques"

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Anatomie d'une anatomie: Nouvelles recherches sur les blasons anatomiques du corps féminin. Genève: Droz, 2018.

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Book chapters on the topic "Blasons anatomiques"

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Goeury, Julien. "Les Blasons anatomiques du corps feminin and the Fabrication of Nudity." In The Politics of Obscenity in the Age of the Gutenberg Revolution, 193–218. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003083214-16.

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Persels, Jeffery. "Masculine Rhetoric and the French Blason anatomique." In High Anxiety, 19–36. Penn State University Press, 2002. http://dx.doi.org/10.1515/9780271090979-004.

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Persels, Jeffery. "Masculine Rhetoric and the French Blason anatomique." In High Anxiety, 19–36. Pennsylvania State University Press, 2002. http://dx.doi.org/10.5325/j.ctv1c9hnbj.6.

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Alonso, Béatrice. "Des Blasons anatomiques du corps féminin (Langelier, Paris, 1543) au Blason de la femme et à l’Énigme de La Louenge des Femmes (Jean de Tournes, Lyon, 1551) : la décomposition du corps féminin à l’épreuve des études de genre." In La décomposition, 111–19. Presses universitaires de Perpignan, 2019. http://dx.doi.org/10.4000/books.pupvd.6633.

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Jones, Ann Rosalind. "‘Blond chef, grande conqueste’: Feminist Theories of the Gaze, the blason anatomique, and Louise Labé's Sonnet 6." In Distant Voices Still Heard, 85–106. Liverpool University Press, 2000. http://dx.doi.org/10.5949/liverpool/9780853237853.003.0004.

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