Dissertations / Theses on the topic 'Medieval latin literature - literary criticism'
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Sykes, Catherine Philippa. "Latin Christians in the literary landscape of Early Rus, c. 988-1330." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/273750.
Full textRose, Patricia Elizabeth. "The Role of medieval and matristic romance literature in spiritual feminism /." [St. Lucia, Qld.], 2001. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16284.pdf.
Full textTyutina, Svetlana V. "Hispanic Orientalism: The Literary Development of a Cultural Paradigm, from Medieval Spain to Modern Latin America." FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1592.
Full textUpton, Christopher A. "Studies in Scottish Latin." Thesis, University of St Andrews, 1986. http://hdl.handle.net/10023/2734.
Full textNeidorf, Leonard. "The Origins of Beowulf: Studies in Textual Criticism and Literary History." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11366.
Full textGrimes, Jodi Elisabeth. "Rhetorical Transformations of Trees in Medieval England: From Material Culture to Literary Representation." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc12130/.
Full textShaw, Angela Mary. "The form and function of the Merveilleux in the old French prose Lancelot." Thesis, University of Exeter, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369977.
Full textBrefeld, Josephie. "A guidebook for the Jerusalem pilgrimage in the late Middle Ages a case for computer-aided textual criticism /." Hilversum : Verloren, 1994. http://catalog.hathitrust.org/api/volumes/oclc/30968186.html.
Full textSneddon, Duncan Stewart. "Adomnán of Iona's 'Vita Sancti Columbae' : a literary analysis." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31169.
Full textKeršienė, Dovilė. "Epistolography in the Grand Duchy of Lithuania in 14-16 century: from ars dictaminis to literary letter." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100915_162526-93951.
Full textDisertacijos tyrimo objektas – europinė epistolografijos tradicija ir jos perėmimo formos LDK XIV–XVI a., išryškinant žanrinius ir tipologinius aspektus, raidos tendencijas. Šiame darbe analizuojama, kaip susikuria ir kaip kinta europinė laiškų rašymo tradicija, teorinio vadovėlio struktūra, turinys, laiško samprata ir modelis; kokie egzistavo panašumai ir skirtumai tarp Viduramžių ir Renesanso laiškų rašymo vadovėlių; kokias vertybes jie formavo; kokią reikšmę turėjo bendroje švietimo sistemoje, kultūros formavimęsi. Tiriama, kada ir kokiu būdu europinė lotyniškosios epistolografijos tradicija perimama LDK, kaip ji funkcionavo lotyniškoje LDK epistolikoje, mokymo programose, kultūriniame gyvenime. Disertacijoje analizuojama, kaip keičiasi LDK epistolikos įvairovė XIV–XVI a., kaip laiškas, Viduramžiais atlikęs gana formalizuotas dalykinio ir asmeninio bendravimo funkcijas, Renesanso epochoje virsta saviraiškos forma, literatūriniu kūriniu. Pagrindiniai atlikto tyrimo šaltiniai – Viduramžių laiškų rašymo vadovėliai (artes dictandi) ir renesansiniai epistolografijos teoriniai veikalai (modi epistolandi). Dvi skirtingas epistolografijos tradicijas šiame darbe iliustruoja Ldk Vytauto (1350–1430) laiškai, kaip Viduramžių kanceliarinės korespondencijos pavyzdys, ir Saliamono Risinskio (? –1625) laiškų rinkinys, kaip humanistinė Renesanso laiškų išraiška. Konstatuojama, kad LDK XIV–XVI a. nebuvo sukurta originalių teorinių laiškų rašymo veikalų, bet buvo remiamasi europiniu... [toliau žr. visą tekstą]
Avis, Robert John Roy. "The social mythology of medieval Icelandic literature." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:2837907c-57c8-4438-8380-d5c8ba574efd.
Full textMcIntyre, James Stuart. "Written Into the landscape : Latin epic and the landmarks of literary reception." Thesis, University of St Andrews, 2009. http://hdl.handle.net/10023/543.
Full textStoll, Daniel. "The Aesthetics of Storytelling and Literary Criticism as Mythological Ritual: The Myth of the Human Tragic Hero, Intertextual Comparisons Between the Heroes and Monsters of Beowulf and the Anglo-Saxon Exodus." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/577.
Full textMurray, Kylie Marie. "Dream and vision in Scotland, c.1375-1500." Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669934.
Full textCosta, Lilian Nunes da 1985. "Gêneros poéticos na comédia de Plauto = traços de uma poética plautina imanente." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270793.
Full textTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: A obra do comediógrafo romano Tito Mácio Plauto (c. 254 ¿ 184 a.C.) é marcada pela presença dos gêneros trágico, épico e mesmo lírico em determinadas passagens, que têm sido identificadas por diversos critérios, como menção, alusão e associação por paralelos formais. Estudos teóricos sobre "mescla" ou "cruzamento de gêneros" vêm se desenvolvendo ao menos desde a proposição do conceito de "Kreuzung der Gattungen" por W. Kroll (Studien zum Verständnis der römischen Literatur, 1924). No entanto, estudiosos como A. Barchiesi ("The crossing", 2001) passam a questionar premissas do trabalho do filólogo alemão, que tomava a "miscigenação" como "decadência" da cultura literária helenística e romana. Em nossa pesquisa sobre as mesclas genéricas na comédia plautina, também nos afastamos da perspectiva de W. Kroll e não propomos, como ponto de partida, que as peças que abrigam outros gêneros resultem necessariamente em híbridos. Na verdade, preferimos uma abordagem como a de S. J. Harrison, que lida com a noção de "generic enrichment" (Generic enrichment in Vergil and Horace, 2007). A sistematização da presença de outros gêneros poéticos no corpus de Plauto selecionado (a peça Cativos, bem como passagens de Báquides, O cabo, O soldado fanfarrão, dentre outras) nos interessa no sentido de explorar o quanto a comédia é enriquecida precisamente por meio de elementos perceptíveis pelo público plautino como "alheios" a esse gênero. Assim, nosso método envolve a identificação de aspectos (temáticos e formais) sob os quais esses gêneros aparecem ou transparecem, bem como uma reflexão sobre a possibilidade de, a partir da observação das convenções poéticas com que ele brinca em seus textos, pensar em uma poética imanente em Plauto
Abstract: The presence of the tragic, the epic, and even the lyric genre in the work of the Roman comic poet Titus Maccius Plautus (c. 254 ¿ 184 BC) has been already noted in the field of classical studies. Among the various criteria used in the identification of those poetic genres there is not only direct mention of elements of the works pertaining to them, but also (thematic or formal) allusion to such elements. Theoretical studies about "genres miscellany" or "genres crossing" have been developed at least since the proposition of the concept of "Kreuzung der Gattungen" by W. Kroll (Studien zum Verständnis der römischen Literatur, 1924). However, scholars such as A. Barchiesi ("The crossing", 2001) now question premises from Kroll¿s work, which considered the "miscegenation" as a "decadence" on the Hellenistic and Roman literary cultures. The present research does not assume Kroll¿s perspective, i.e. it does not presuppose that the plays in which the presence of other genres is evinced are necessarily hybrids. Rather, it favors an approach like that of S. J. Harrison, which deals with the notion of "generic enrichment" (Generic enrichment in Vergil and Horace, 2007). While systematizing such a presence of different poetic genres in the selected Plautine corpus (the play Captiui, as well as passages from Bacchides, Miles gloriosus, Rudens, among others) this study intends to appreciate to what extent comedy is enriched precisely by the elements perceived by the plautine public as extraneous to this genre. The method is based on the identification of (thematic and formal) aspects under which such genres emerge as the play goes on. The observation of the poetic conventions with which the Roman dramatist plays in his texts may also provide a reflexion on an imanent poetics in Plautus
Doutorado
Linguistica
Doutora em Linguística
Pellissa, Prades Gemma. "La ficció sentimental catalana de la segona meitat del s. XV." Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/132580.
Full textA series of works were written in the second half of the fifteenth century that shared the same motifs and rhetorical resources concerning love passion (theorization about love, description of love symptoms, first-person narrators, use of allegories and letters, prosimetrum, sentimental imagery). It was not the genesis of a new genre, but it was the development of a new literary trend known as 'sentimental romance'. This thesis deals with the first comprehensive overview of Catalan sentimental romance. To this purpose, a census was created. It contains all the works (translations, original texts and works in prose or in verse) that should be studied in relation to this trend. Moreover, the census showed critical gaps that had to be addressed, such as the need for an edition and a study of Faula de Diana ('Diana's Fable') and the unpublished work Requesta ('Love Request'), both written by Francesc Alegre. The analysis of Faula de Diana reveals it was influenced by Tragèdia de Caldesa ('Caldesa's Tragedy') by Joan Roís de Corella and Alegre's Catalan translation of Ovid's Metamorphoses. Last but not least, this thesis also contains an annex with the edition of Paris and Vienne's Catalan version which has been based on the incunable preserved at The Royal Library in Copenhagen. The comparison between this version and the French one is certainly useful in order to understand the nature of sentimental romance as a literary trend.
Whelan, Fiona Elizabeth. "Morals and manners in twelfth-century England : 'Urbanus Magnus' and courtesy literature." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:4ccb50b9-7e0e-49c8-b9c5-104dfefa3fea.
Full textLangdell, Sebastian James. "Religious reform, transnational poetics, and literary tradition in the work of Thomas Hoccleve." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:a2e8eb46-5d08-405d-baa9-24e0400a47d8.
Full textPolastri, Bárbara Elisa 1987. "Um estudo do intertexto virgiliano no Culex." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/271111.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Esta dissertação tem como principal objeto de estudo o poema latino intitulado Culex ("O Mosquito"), que faz parte da Appendix Vergiliana ("Apêndice Virgiliano"), conjunto de textos que foi transmitido junto com as obras de Virgílio. No primeiro capítulo, após uma breve apresentação da Appendix, discute-se a recepção, a autoria e a datação do poema em questão, e, com base na teoria intertextual nos Estudos Clássicos, procura-se refletir sobre como a autoria influencia a leitura e a análise do Culex. Discute-se, ainda, o gênero do poema ¿ o epílio ¿ e analisa-se em detalhes sua estrutura e matéria, em que é marcante a mistura de gêneros, o caráter paródico e o diálogo com as Bucólicas, Geórgicas e Eneida. O segundo capítulo consiste em uma tradução (ainda inédita em língua portuguesa) amplamente anotada do poema, acompanhada do texto latino. E, por fim, o terceiro capítulo é composto por análises ¿ embasadas na teoria intertextual ¿ de alguns trechos do Culex e das três obras canônicas de Virgílio
Abstract: This dissertation has as the main object of study the latin poem entitled Culex ("The Mosquito"), which is part of the Appendix Vergiliana ("Virgilian Appendix"), a collection of texts transmitted together with Virgil¿s masterpieces. On the first chapter of this study, after a brief presentation of the Appendix, a discussion about the reception, the authorship and the date of the concerning poem is presented, and, based on the Classical Studies intertextual theory, it is attempted to reflect about in which degree the authorship influences on the Culex reading and analysis. It is also discussed the poem¿s genre ¿ the epyllion ¿ and it is presented a detailed review of its structure and subject, in which is remarkable the genre miscellany, the parodic character and the dialogue with the Eclogues, Georgics and Aeneid. The second chapter consists of a broadly annotated translation of the poem (up to now inedited in Portuguese), followed by the Latin text. At last, the third chapter is composed by some analysis ¿ based on the intertextual theory ¿ of some passages of the Culex and of the three Virgil¿s canonical works
Mestrado
Linguistica
Mestra em Linguística
Oelze, Micah J. "The Symphony of State: São Paulo's Department of Culture, 1922-1938." FIU Digital Commons, 2016. http://digitalcommons.fiu.edu/etd/2549.
Full textSedeño-Guillén, Kevin R. "MODERNIDADES CONTRA-NATURA: CRÍTICA ILUSTRADA, PRENSA PERIÓDICA Y CULTURA MANUSCRITA EN EL SIGLO XVIII AMERICANO." UKnowledge, 2017. https://uknowledge.uky.edu/hisp_etds/34.
Full textNa, Yunhao. "Les voies de l'écrit à la fin du Moyen Âge ˸ la Vie de saint Fiacre dans ses différentes versions françaises et latines, manuscrites et imprimées." Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030015.
Full textVenerated since the Early Middle Ages, Saint Fiacre was one of the most well-known saints in France during the Middle Ages and even afterwards. Many medieval texts about his life, from the 9th century to the end of Middle Ages, in Latin as well as in French, have survived to this day. The numerous manuscripts and printed works prove the widespread circulation of this saint’s Lives during the 14th, 15th and 16th centuries, in such different forms as narrative prose, poem and drama. Most of the Lives in French and some texts in Latin are still unedited. This dissertation aims to participate in the editing work of these texts. It offers six editions of French Lives which have different lengths and one edition of the Vita rhythmica (188 verses). This homogenous set of texts could make it possible for literature scholars and historians to reconsider the reception and the transformation of a sacred figure of the 7th century in the late medieval French literature. The general introduction of this thesis deals with this concrete question but is also put in a much larger history of the Saint Fiacre cult throughout the centuries, in order to describe the possible continuity and bifurcations of a hagiographic tradition. In the linguistic and literary studies of the Vita rhythmica and of the theatre play La Vie de monsieur sainct Fiacre filz du roy d’Escosse par personnaiges, this work focuses on the medieval Latin rhythmic versification — a less-explored area — and the relationship between the complicated syntax, the formal restriction and the discursive simplicity of a medieval theatre language. The different texts with various generic, formal and genealogical characteristics edited in this dissertation present a plurality of different philological exercises
Newman, Jonathan M. "Satire of Counsel, Counsel of Satire: Representing Advisory Relations in Later Medieval Literature." Thesis, 2008. http://hdl.handle.net/1807/16806.
Full textHerzovich, Guido Roman. "The Task of Inequality: Literary Criticism and the Mass Expansion of Publishing in Argentina (1950-60)." Thesis, 2017. https://doi.org/10.7916/D8J38S5T.
Full textCarreto, Carlos F. Clamote. "O mercador de palavras ou as encruzilhadas da escrita medieval : (1100-1270)." Doctoral thesis, 2003. http://hdl.handle.net/10400.2/2470.
Full textO século XII francês caracteriza-se por múltiplas transformações (políticas, sociais, económicas, jurídicas, ideológicas, culturais) que redefinem, lenta mas profundamente, os contornos da civilização medieval. Ora, uma das mutações mais decisivas (senão a mais decisiva e marcante) reside justamente na passagem, que perscrutamos atentamente a partir dos múltiplos discursos que in-formam o texto poético, de uma economia oblativa, intimamente ligada ao pensamento simbólico, para uma economia mercantil e monetária, subordinada ao imaginário do signo. Será por mero acaso se vemos nascer e desenvolver-se, neste preciso contexto, a narrativa ficcional em língua vernacular (em romance)? Ou será uma mesma viragem epistemológica que dá simultaneamente origem à notável monetarização (aos mais diversos níveis) das relações sociais, ao renascimento da vitalidade urbana (factores através dos quais tendem a dissolver-se os laços, extremamente fortes e ritualizados, que uniam os homens uns aos outros na sociedade feudal), ao desabrochar do pensamento escolástico e das Ordens Mendicantes, à irrupção das catedrais góticas e à emergência de uma literatura profana que reivindica, pouco a pouco, a sua autonomia perante os sistemas poéticos latinos ou neolatinos? Surgia assim uma rede coerente de possíveis analogias na qual se vislumbrava a estranha e singular geminalidade entre a imagem ambígua do mercador (modelo da fertilidade e comunicação restauradas sobre o qual plana, todavia, e inelutavelmente, o espectro da usura, da avareza, da fraude, da mentira e da falsificação diabólicas) e a não menos ambígua figura do poeta, esse demiurgo que se compraz no jogo, ao mesmo tempo lúdico e subversivo, dos simulacros da Palavra, da Criação e da Verdade. Sobre ambos, pesa o anátema da danação; ambos aspiram, no limiares de uma espécie de Purgatório da linguagem, à plena legitimação dos respectivos discursos. Numa altura em que começam a desagregar-se os valores constitutivos do feudalismo, em que a relação com um Significado fundador, referencial, se torna cada vez mais longínqua e irrecuperável, a ficção e a moeda cunhada emergem assim como dois novos tipos de mediação ante o objecto de desejo, como duas formas de escrita (homólogas, embora distintas e autónomas) que modificam as relações com o Outro e com o mundo (e com o Outro-Mundo inclusive), tanto quanto as suas respectivas representações, e através das quais se elaboram, em suma, novos processos de simbolização. A dualidade e duplicidade que se instauram entre estes dois modos privilegiados de representação (mental e socialmente construída) não podia deixar de ter influências na própria concepção da palavra poética. Com efeito, a forma como dialogam, se entrelaçam, colidem ou se excluem mutuamente imaginário oblativo (bem patente no ideal cavaleiresco e cortês de liberalidade, por exemplo) e imaginário mercantil, abre-nos um terreno de investigação único para observarmos o modo como os dois principais géneros narrativos em verso dos séculos XII-XIII (a canção de gesta e o romance que analisamos mais minuciosamente), reflectem e/ou inflectem o universo que os rodeia e, nesse processo, verificar de que forma se interrogam sobre o seu próprio estatuto e se posicionam um face ao outro através de secretas ou explícitas relações dialógicas e intertextuais. Se, nesta perspectiva, vemos o discurso épico dar, frequentemente, corpo e voz ao inconsciente ideológico e textual recalcado nos inúmeros inter-ditos, ou não-ditos, que estruturam o imaginário romanesco (e vice versa), evidenciando simultaneamente as potencialidades e os limites de uma determinada concepção da linguagem poética e da visão do mundo que (a) sustenta e veicula, caberá à chamada narrativa "realista" do século XIII levar este processo de reflexão (no sentido cognitivo e especular do termo) às últimas consequências. Com efeito, ao multiplicar falaciosamente os "efeitos de real" e as referências ao universo económico, esta narrativa sugere que a única realidade da/na literatura consiste, na verdade, no facto de ser uma arte, subtil e engenhosamente, tecida através de uma temível e sedutora manipulação da retórica da linguagem e das formas significantes nas quais se espelha incessantemente. Desta nova economia poética, emerge uma (in)suspeita, mas agora triunfal e triunfante, relação entre o poeta e o mercador de palavras, entre a usura e a narrativa ficcional enquanto infinita reprodução de simulacros e perpétua deslocação metafórica de uma significação ao mesmo tempo proliferante e sempre ausente; relação na qual se vislumbra a natureza paradoxal, evanescente e profundamente enganadora, do texto medieval como eterna falsa moeda sígnica e semântica.
The twelfth century is a complex period, characterised by an unusual quantity of transformations at all levels (political, social, economic, juridical, ideological and cultural) which would, slowly but profoundly, redefine the contours of Western Civilization. One of the most decisive mutations (if not the most decisive and impactive one) lies in the transition, deeply analysed by us through the several discourses which in-form the poetical text, from the so-called gift economy, closely related to the symbolic though, to a monetary mercantile economy, subordinated to the sign imaginary. Can it be mere chance if we can also find, precisely during that period and context, the beginning and development of the written fictional narrative in vernacular language, (the romance)? Or is it not rather the same epistemological turnover which originates, simultaneously, the remarkable monetarization of social relationships, the rebirth of urban vitality (the towns being the set for an important progressive weakening of the strong and ritualised personal bonds which maintained the cohesion of the traditional feudal society), the flourishing of scholastic thought and Mendicant Orders, the irruption of Cathedral churches and the emergence of profane Literature which slowly takes its autonomous place among the latin and neolatin poetic systems? Faced with this vast net of possible analogies, we were forced to recognise the strange and singular similarity and closeness between the ambiguous image of the merchant (a model of restored fertility and communication, upon whom, nevertheless, always planes the spectre of usury, greed, fraud, lie and devilish forgery) and the none the less ambiguous one of the poet, the demiurge who indulges himself permanently in the vain, ludic and subversive gamble of playing with the Word, the Creation and the Truth. The anathema of damnation stands upon both of them; they both aspire - at the verge of a sort of Purgatory of the Language – to the universal recognition of the legitimacy of their respective discourses. In an era in which the feudal values were starting to dissolve, and the relation to a founding Signified, source of every reference, becomes more and more distant and irrecoverable, the fiction and the minted coin emerge as the two new models for mediation in the face of the object of desire, as two forms of writing (similar although very distinct and autonomous), which drastically modify the relation to the Other and to the World (and to the Other World, as well), just as their respective representations, thus creating a whole new process of simbolization. The duality and duplicity which pervade these two privileged forms of representation (mentally and socially constructed) would forcibly end up behaving serious reflections in the poetic word. In fact, the forms through which the oblative imaginary (in the centre of the chivalric and courtly code of honour) communicates, intermixes, collides or opposes the mercantile imaginary, opens a unique field of research which enables us to observe the way in which the two main versified narrative genres in the twelfth-thirteenth centuries (the chanson the geste and the romance being the ones here under scrutiny) reflect and/ or inflect the universe surrounding them. And, in the course of that same process, to verify the ways in which they position themselves facing one another, through secret or explicit dialogic and intertextual relations. If, under this perspective, we frequently see the epic discourse as voicing and embodying the ideological and textual unconsciousness of the repressed inumerous inter-dicts or non verbalised (unsaid) concepts which shape the romance imaginary (and vice versa), thus enlightening the potentialities and the limits of a certain conception of poetic language and of the respective world vision which feds it and promoted it, it will be the "realistic" narrative of the thirteenth-century to take this process of reflection to its last consequences. By fictively multiplying the "reality effects" and the references to the economic universe, this narrative suggests that the only reality of/ in Literature consists, basically, in the fact that it is an art, subtle and ingeniously, woven through a frightening and seductive rhetoric manipulation of the language and the signifier forms in which it is unceasingly mirrored. From this new poetic economy comes an unsuspected but now triumphal and triumphant relation between the poet and the merchant of words, between usury and fictional narrative. An infinite reproduction of fictiveness and a perpetual metaphoric dislocation of a meaning which is simultaneously proliferating and absent. A relation in which we can envisage the paradoxical, evanescent and profoundly deceiving nature of the medieval text as an eternal false coin of sign and meaning.
Le XIIe siècle est incontestablement une période bigarrée dont les contours multiformes traduisent les diverses transformations (sur le plan politique, social, économique, juridique, culturel ou idéologique) qui redessinent, lentement mais en profondeur, les traits de la civilisation médiévale. Or, une des plus marquante, sinon la plus marquante et décisive, de ces mutations réside justement dans le passage, que nous observons attentivement en nous appuyant sur les nombreux discours qui in-forment le texte poétique, d'une économie du don, intimement liée à la pensée symbolique, à une économie monétaire et marchande subordonnée à l'imaginaire du signe. Est-ce, dès lors, une simple coïncidence si nous voyons immerger et se développer, dans ce contexte, une foisonnante littérature écrite en langue vernaculaire (le roman)? Ou est-ce un même tournant épistémologique qui ouvre simultanément les portes à une remarquable (sous tous les points de vue) monétarisation des rapports sociaux, au renouveau de la vitalité urbaine (la ville étant l'espace où se distendent désormais les liens, extrêmement forts et ritualisés, qui unissaient les hommes au cœur de la société féodale traditionnelle), à l'éclosion de la pensée scolastique et à la multiplication des Ordres Mendiants, à l'irruption des cathédrales gothiques et à la naissance d'une littérature profane qui revendique, peu à peu, son autonomie face aux systèmes poétiques latins ou néo-latins? On voit ainsi se mettre en branle un réseau très cohérent d'analogies possibles au sein duquel on commence à soupçonner d'une étrange et singulière gémellité entre l'image ambiguë du marchant (modèle de fertilité et exemple d'une communication restaurée sur lesquels plane cependant le spectre diabolique de l'usure, de l'avarice, de la fraude, du mensonge et de la contrefaction) et celle, non moins ambiguë, du poète, ce démiurge qui se plait incessamment à prendre le lecteur au jeu tout à la fois vain, ludique et subversif des simulacres de la Parole, de la Création et de la Vérité. Sur l'un comme sur l'autre pèse l'anathème de la damnation; tout deux aspirent également – au seuil d'une espèce de Purgatoire du langage – à voir leurs discours accéder pleinement à la légitimité. À une époque où l'on assiste à la désagrégation des valeurs constitutives de la féodalité, où le rapport à un Signifié fondateur et source de toutes références devient de plus en plus lointain et irrécupérable, la fiction et la monnaie frappée émanent comme deux nouveaux modèles de médiation à l'égard de l'objet du désir, comme deux formes d'écriture (analogues bien que distinctes et autonomes) qui modifient profondément les rapports à l'Autre et au monde (et à l'Autre-Monde, bien entendu), aussi bien que la façon dont ils sont représentés, et autour desquelles se bâtissent, en somme, de nouveaux processus de symbolisation. La dualité et la duplicité qui s'instaurent ainsi entre ces deux modes privilégiés de représentation (mentalement et socialement construite) avaient forcément des reflets sur la conception même de la parole poétique. En effet, la façon dont l'imaginaire oblatif (au cœur de l'idéal de la largesse chevaleresque et courtoise, par exemple) dialogue, s'entrelace ou entre en rupture avec l'imaginaire marchand, ouvre à la recherche un domaine riche et unique où il est permis d'observer comment les deux principaux genres narratifs en vers des XIIe et XIIIe siècles (la chanson de geste et le roman que nous analysons le plus en détail) réfléchissent et/ou infléchissent l'univers qui les entoure, et ce faisant, comment ils se questionnent sur leur propre statut et se positionnent l'un par rapport à l'autre par le biais des relations dialogiques ou intertextuelles qu'ils maintiennent secrètement ou explicitement. Si le discours épique apparaît, dans cette perspective, comme une forme qui donne fréquemment corps et voix à l'inconscient idéologique et textuel refoulé ou enfoui dans les innombrables inter-dits et non-dits qui structurent l'imaginaire romanesque (et vice versa), mettant ainsi en évidence les potentialités et les limites d'un certain langage poétique et de la vision du monde qu'il véhicule et qui le soutient tout à la fois, il incombera au récit - que la critique désigne vulgairement de "réaliste" - du XIIIe siècle de pousser jusqu'aux ultimes conséquences ce processus de réflexion (au sens cognitif et spéculaire du terme). En effet, en multipliant illusoirement les "effets de réel" et les références à l'univers économique, ce récit suggère, en fait, qu'il d'existe d'autre réalité de/dans la littérature que celle qui la définit comme un art subtilement tissé par une menaçante et séductrice manipulation (de la) rhétorique du langage et des signifiants où il se miroite continûment. Il ressort de cette nouvelle économie poétique un (in)suspect, mais désormais triomphal et triomphant, rapport entre le poète et le marchant de paroles, entre l'usure et la fiction en tant que reproduction infinie de simulacres et perpétuel déplacement métaphorique d'une signification à la fois sans cesse foisonnante et toujours absente; rapport qui laisse deviner la nature paradoxale, évanescente et profondément trompeuse, du texte médiéval en sa qualité d'éternelle fausse monnaie du signe et du sens. Sujets: Littérature médiévale française (XIIe-XIIIe siècles); Le marchant dans la littérature médiévale; Culture et civilisation du Moyen Âge, Histoire et critique littéraires; Théorie(s) de la littérature (rhétorique, poétique, théorie des genres); Économie et littérature; Langage et imaginaire.
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