Academic literature on the topic 'Littérature romane – Avant 1500'
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Journal articles on the topic "Littérature romane – Avant 1500":
Bonhomme, Marc. "L’exhibition des tabous dans la littérature argotique moderne. L’exemple d’Alphonse Boudard." ACTA UNIVERSITATIS LODZIENSIS. FOLIA LITTERARIA ROMANICA, no. 12 (May 22, 2017): 257–69. http://dx.doi.org/10.18778/1505-9065.12.22.
Dissertations / Theses on the topic "Littérature romane – Avant 1500":
Abida, Dorra. "Le mensonge, son expression dans la littérature médiévale (XIIe – XIIIe siècles)." Paris 4, 2008. http://www.theses.fr/2008PA040173.
When we evoke "lying", it is very difficult to deviate from the attitude inspired by religion. Lying is categorically forbidden by the Biblical text as well as by the men of the church. Nevertheless, in the medieval literature, falsehood is presented as the heroes' privilege. Though lying as they breathe, the latter win the narrator's favour. In spite of the gravity of this sin, lying is constantly present in the life of these heroes through multiple shapes. The truth, then, becomes transformed, distorted, and concealed. The heroes seem to be talented in the art of speaking and are magnified thanks to a portrait that turns them into some exceptional beings. The choice of terms is very revealing. Such terms as "mentir" and "mençoigne" are generally replaced by others that attenuate them and give them a certain legitimacy. But how can we talk about legitimacy in a world guided by religion ? The narrator vainly tries to applaud the heroes' cunning ; but he cannot forget that liars have to be penalised for their lies. Falsehood, thus, benefits from a status that makes it advocated and devalued at the same time. Devalued since it does not go with a society severely impregnated with a religious tonality. And privileged because it reflects a certain degree of intelligence and a limitless know-how. Constructing his arguments coherently, watching his style, finding the appropriate figures and an apt turn of phrase, speaking distinctly and lively is the mission of the liar who seeks not to be just but rather effective
Besnardeau, Wilfrid. "Représentations littéraires de l'étranger au XIIe siècle : des chansons de geste aux premières mises en roman." Versailles-St Quentin en Yvelines, 2004. http://www.theses.fr/2004VERS027S.
Our thesis examines how some literary works of the twelfth century depict strangers. The chanson de geste set up a series of stereotypes in such a way that the audience is seldom surprised by the protrait given of the strangers, which as a matter of fact must fulfil some expectations. However, throughout the century, the idea of the stranger becomes more complicated because of a two-fold movement of inclusion and exclusion: it outlines strangers in the process of being integrated and natives in the process of being outcast. This happens at the same time as the birth of a new literary genre: the novel in which every character is a stranger. They appear to some extent as strangers of epics but, as forerunners of the medieval chivalry in which the public claims to have its roots, they turn out to be particularly ambivalent individuals, some of whom being really praised
Evdokimova, Ludmilla. "Livre et roman : l'opposition de la forme-vers et de la forme-prose au XIIIe siècle." Paris 4, 1998. http://www.theses.fr/1997PA040126.
I study peculiar language of French prose of the 13th century by comparing literary works similar as to their content and the date of appearance but different in form (either prosaic or poetic). I compare several pairs of texts in order to reveal artistic means characteristic of prose and then to form an idea of language of prose and the semantics of prosaic form. In the course of this analysis the opposition of prose and poetry is illuminated, i. E. Various parameters determining the opposition of prosaic and poetic texts to each other are revealed. I study manifestations of this opposition on different levels of the text, as well as changes caused by the +translation; of the text from the prosaic to the poetic language or vice versa. Close similarity of the texts under comparison makes it possible to specify the minimal set of differences between a prosaic and poetic text possessing the same plot or the same source. The following texts were selected for the comparison: 1) “Joseph” by Robert de Boron and its prosaic version; 2) various lives of saint Mary of Egypt; 3)several chronicles; 4) bestiaries by Guillaume le Clerc and Pierre de Beauvais; 5)”Bestiary of love” by Richard de Fournival and its poetic versions. My thesis comprises two parts, the first part discusses in what way various topics were developed into prosaic or poetic texts and what styles were adopted. The second part of the thesis discusses the composition of texts under comparison. Here i look at the position of lettrines in manuscripts of literary works. My researches includes: 1) analysis of the position of lettrines characteristic of the family of manuscripts of a literary work; 2) comparison of different manuscript traditions; 3) comparison of structures of prosaic and poetic texts; 4) general conclusions about types of structural components and functions of lettrines characteristic of various textual forms
Obry, Vanessa. "Désigner, construire : le personnage dans les romans en vers des XIIe et XIIIe siècles." Aix-Marseille 1, 2010. http://www.theses.fr/2010AIX10080.
Gomes, C. Antunes Maria de Fatima. "Le "Roman de Flamenca" : humour, religion et sensualité." Bordeaux 3, 1987. http://www.theses.fr/1987BOR30072.
This is a study of the various aspects of the religious commitment in the central core of the novel, of the reversal of religious and moral values and their replacement by the theories of "fin'amor". This deals with their impact on the imaginative contents of the novel : the imagery, the symbolism, the formulas and rituals, which proceed from two imaginative fields. The religious and the erotic cut across each other in a bold and clever confrontation, fraught both with solemnity and simplicity. The expression of the narrator and the sensuous inclination for wordly society (seen through the five senses) reinforce an original vision of the sacred with regard to courtly love and chevaleresque
Bartosz, Antoni. "Le sens et la représentation du geste dans le roman français des XIIème et XIIIème siècles." Paris 4, 1994. http://www.theses.fr/1994PA040125.
Medieval romance is a network of signs which are specified and organized in a signifying structure. Gesture is one of its original elements and what is brings about is interesting in many respects. On the one hand, it lies beneath the relationship between text and picture in appealing to the reader's eye by way of miniatures. On the other hand, it takes on echoes of its own within the represented world. In fact, romance means above all a rewriting of the real in its figurative and creative projection, and French romance acquired such autonomy and power in the middle of the 12th century. What is more, gesture not only activates - or even signifies action, and shapes the characters' psychology, it is also inserted into the temporality of the text or into the thickness of the textual world. These components sometimes appeal directly to the attention of the reader who is offered texts whose narrative modes invite him to reflect. Consequently, a study of gesture in romance means a reflexion on the genesis and literary status of the genre in relationship with the aspect of an active reader, a criterion which is too often overlooked
Plet, Florence. "Les noms propres dans le roman de Tristan en prose." Paris 10, 2000. http://www.theses.fr/2000PA100058.
Poublan-Couste, Emmanuelle. "L'eau comme élément romanesque dans le "Lancelot-Graal"." Bordeaux 3, 1992. http://www.theses.fr/1992BOR30036.
The aquatic element plays a prominant part in the whole lancelot-graal, a thirteenth ncentury novel in prose relating arthur's legend and the feats of the hero lancelot. Participating in the everyday life of the knight or the saint, this elment structures the romantic space as well, giving it its limits and its landmarks. The economic stake representated by water is also important. The hero is sensitive to the aquatic forms which he subjectively describes revealing his admiration or his fear. Each appearance of water is highly connoted. The aquatic element serves the didactic and religious discourse and illustrates the fairy enchantment. It gives its symbolism to the elements which are associated to it : isle, ship, tree, tower, hillok, well, swamp. It enlightens the novel and constitutes the magic place of the mystic ordeal. Tightly linked to the verb and to the narrative, water exalts and gives impulse to the adventures that often arise on its banks. In the novel its function of demiurge brings out aquatic kingdoms and characters, often fairylike
Ferreira, Maria do Céu Mendes. "Le thème de l'absence dans la lyrique amoureuse profane galicienne-portugaise : contribution à l'étude de l'unité et de la diversité des littératures romanes médiévales." Toulouse 2, 1999. http://www.theses.fr/1999TOU20099.
Chung, Kyung-Nam. "Vertus chevaleresques et monde arthurien dans le roman de "Tristan en prose"." Reims, 1997. http://www.theses.fr/1997REIML009.
All through the 13th century, romance writers were still inspired by arthurian material and offered a new analysis of the history and destiny of the kingdom of king Arthur and his knights. The novel tristan en prose, presumably written during the first third of the 3rd century, constitutes a really original landmark amidst these romances : a large synthesis in which are gathered not only the essential elements on which the story of king Arthur is based but also those people who told of the unhappy love of Tristan and yseut. The project of the alleged author, luce del gat, was to bring these two tales born in brittany, but which until then had parallel destinies. He imagined how the end of arthurian times concurred with the disappearance of a knight such as tristan. The link between these two tales is explicated very simply : the author tells us how tristan, exiled from the kingdom of Cornouailles, blends with the arthurian world thanks to his value as a knight. Still the literary tradition in which novels from the 12th and 13th century are based isn't changed : the story of the arthurian kingdom cannot be altered and the world in which king Arthur rules is doomed despite the coming of a new knight such as Tristan however prestigious and valuable he may have been
Books on the topic "Littérature romane – Avant 1500":
Mitterand, Henri. Littérature: Textes et documents. Paris: Nathan, 1988.
Rieger, Dietmar. Chanter et dire: Études sur la littérature du Moyen Age. Paris: H. Champion, 1997.
Daniel, Poirion, and Regalado Nancy Freeman, eds. Contexts: Style and values in medieval art and literature. New Haven, Conn: Yale University Press, 1991.
Hugh, Blair, and Abraham Mills. Lectures On Rhetoric And Belles Letters. Whitefish, Montana: Kessinger Publishing, 2007.
Hugh, Blair. Lectures on rhetoric and belles lettres (1819). Delmar, New York: Scholars' Facsimiles & Reprints, 1993.
Hugh, Blair. Lectures on rhetoric and belles lettres. Carbondale: Southern Illinois University Press, 2005.
Hugh, Blair. Lectures on Rhetoric. Whitefish, Montana: Kessinger Publishing, 2004.
Hugh, Blair, and Abraham Mills. Lectures On Rhetoric And Belles Letters. Whitefish, Montana: Kessinger Publishing, 2006.
Armstrong, Catherine. Writing North America in the seventeenth century: English representations in print and manuscript. Aldershot, Hants, England: Ashgate, 2007.
Berengar. Beringerius Turonensis Rescriptum contra Lanfrannum. Turnholti: Brepols, 1988.