Dissertations / Theses on the topic 'Ronsard, Pierre de (1524-1585) – Style'
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Fayard, Emma. "Une muse diserte. Copia et pertinence dans les Œuvres de Ronsard." Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUL112.
Full textA study of Ronsard’s work raises a simple, yet fundamental question for 21st-century readers: why write so much? Whether with multiple variations on the same theme, as in the Amours, or with successive amplifications and ramifications, as in the Hymnes, Ronsard’s words never seem to dry up; yet they are constantly seeking an ideal state of completeness and completion. This is the question this thesis wants to answer, from a stylistic and rhetorical perspective, by re-reading the Œuvres through the prism of the dual notion, revived by Erasmus, of copia verborum et rerum. This work articulates two complementary aspects: on the one hand, a rhetorical reflection on the traditions and implications of the copia, rhetoric of "abundance" but also principle of selection in a vast poetic matter, and as such indissociable from the notion of aptum; on the other hand, a stylistic study of the ways in which copia shapes the Ronsardian text. As a matter of fact, while we know that a "copious" text remains a coherent, motivated one, where the appearance of digression is more akin to improvisatory orality than to anarchic proliferation, the diversity of the Œuvres nevertheless requires us to question the specificity of the resources used by Ronsard, as the "recapitulative" author of his time, according to poetic genres. Above all, we want to show that Ronsard's copia is deeply dependent on a principle of relevance: as a necessary counterpart to abundance, relevance orchestrates the deployment of the poem as a coherent, efficient unity. Copia and relevance are thus at the heart of « Ronsard's style »
Kwon, Hee-Chang. "Le vocabulaire scientifico-technique dans les "Hymnes" de Ronsard (1555-1556)." Dijon, 1994. https://nuxeo.u-bourgogne.fr/nuxeo/site/esupversions/c81c879b-29c6-48b2-aaa5-166b18834f91.
Full textStudies on Ronsard have known a considerable proliferation for the last ten years or so, in particular, the Hymnes have benefited from this exceptional development. However, few studies about the Hymnes are connected to formal problems and especially concerning the language, nothing is particulary obvious. Thus it appears useful to initially proceed in making a complete list of scientific and technical vocabulary in order to examine its specificity. After, this lexicographic piece of work, our investigation will address the poet's position in the Hymnes vis-a-vis the numerous linguistic declarations made since 1550 which aim at enriching the French language by appealing to ancient and living languages, to old French sources and to neologismes. Secondly we will examine the function and the value of the vocabulary describing the relationnelle structure of the semantic values displayed in the work. We will try to clarify the ideas of Ronsard
Bjaï, Denis. "La franciade sur le metier : ronsard et la pratique du poeme heroique." Paris 10, 1997. http://www.theses.fr/1997PA100141.
Full textAlthough the long-disregarded franciade has prompted renewed interest over the past twenty years, it still hasn't formed the object of any overall study which would take into account the actual practice of the epic rather than its theory as stated in the artes poeticae. Our critical tools are borrowed from lexicology (a. E. Creore's word-index) and intertextuality. Unlike the epic designed for henri ii, "la franciade de charles ix" opens with a noteworthy "epistre au lecteur", enlightening us on what is at stake. The action itself starts in buthrote, that counterfeit, troy, home of a hidden and drowsy prince that some gods will soon awaken. The storm pushes francus headlong "dans les erreurs de crete", the isle of the antiquity's great myths, an enclosed space where the antagonistic forces of order and disorder, soon embodied by the trojan prince and phovere the tyrant, oppose each other. The hero is put to a second test when, loved by two princesses, he has to reject one and woo the other. In the last book, "des plus beaux" according to amadis jamyn, magic takes over after love, the history lesson after eschatology. This extensive royal catalogue is rife with political and aesthetic meanings. Throughout the four cantos, the voices of homer, apollonios, virgil and ovid, though subdued, meet and ring into the reader's ears. We can also hear ronsard himself as he takes up many previously treated themes and motifs to offer here a new if not last variation. His practice of the heroic poem, free from theoretical rules, favours invention and varietas, thus making of la franciade a kind of "roman". Even uncompleted, the vendomois's bold undertaking was not to be left unnoticed : we keep track of its contemporary reception till 1578, as well as of its painstaking integration into the edifice of the oeuvres
Dauvois, Nathalie. "Mémoire et poésie dans l'oeuvre de Ronsard." Paris 10, 1986. http://www.theses.fr/1986PA100097.
Full textThis survey aims to wonder about the status of memory within the Ronsard’s masterwork. In this notion are defined the stakes of a writing. The link established in the Ronsard’s work between the treasure of invention of the poem and its future memory situates it into the tradition of epidictical rhetoric. Memory is the source of a topic which is inkeeping with the system of virtues. The poet dedicates an immortal Mnemeion to the celebrated hero sighting him out as an exemplarity of virtue, searching into his memory the material and the means of this illustration. From this model are studied the modifications operated by the text, is drawn an evolution: this one of a poetry where is enhanced the rhetoric function, the persuasive and didactic will, where teaching value and memorable value are mingled, and a poetry where is enhanced the poetic value, the aim of the work towards itself, and which obliges the reader to take part to the constitution of a contextual memory. This contextual memory is elaborated within the network of an intertextual memory: the author conceives progressively his work renewing his own way of imitation and particularly writing out the same myths. The game of variation and auto citation establishes a dialogue in the reader's memory and within the same language between antic works and Ronsardian work and, defining the singularity of a poetic voice, defines it as memorable as Homeric or Virgilian voices. The invention of a poetic of memory is therefore linked to the birth of a memory of libraries, place of return to the source of poetic voices, place of a renewed dialogue between works, authors and readers of past, present and future
Carnel, Marc. "Le Sang embaumé des roses : Sang et passion dans la poésie amoureuse de Pierre de Ronsard." Paris 4, 2003. http://www.theses.fr/2003PA040043.
Full textThe Pléiade group's love poetry reflects the neo-platonic philosophy which sees passion as a disease of the blood. After presenting the system of humours accepted by Renaissance medicine, this study will explore a series of commonly accepted beliefs about blood and blood disorders in Ronsard's love poems. His works, in fact, retrace a ritual : in springtime the patient is infected by a fatal attack of love. The poet carries an incurable wound in his heart, which compels him to write. The poison, which spreads through his body, shares the age-old dread caused by women's cursed blood and obsessive images fill his spirit. The lover is threatened by Cassandre's bile, by Marie's phlegm and by melancholy. The 1578 editions of his poems, and in particular his Sonets pour Helene, seek to exorcise this evil by restoring the luminous blood of the past. At the same time, the poet dreams of changing his blood and his heart. He yearns to be a living sacrifice while desiring the intimate blood of virginal roses
Jomphe, Claudine. "Les théories de la dispositio et le grand oeuvre de Ronsard." Paris : H. Champion, 2000. http://catalogue.bnf.fr/ark:/12148/cb371142514.
Full textDenizot, Véronique. ""Comme un souci au rayon du soleil" : le jeune Ronsard : une poétique de la merveille?" Paris 10, 2000. http://www.theses.fr/2000PA100107.
Full textPouey-Mounou, Anne-Pascale. "L'imaginaire cosmologique de Ronsard." Paris 10, 1999. http://www.theses.fr/1999PA100143.
Full textDumontet, Fabienne. "Le poète, son commentateur et leur public dans les "Amours" de Pierre de Ronsard commentés par Marc-Antoine de Muret (1553)." Grenoble 3, 2007. http://www.theses.fr/2007GRE39038.
Full textHow do, positivist knowledge of the texts, like philology pretends to be, and that which escapes on the side of creation and reception, articulate ? With this in mind, we will question the commentary as a reading instrument more specifically the type of knowledge it provides, the type of method used, its legitimacy, its language, the targeted public. Our investigation focused on a prolific period, philologically, linguistically and literarily, the Renaissance, and on a problematic case: the commentary of Amours by Pierre de Ronsard by hi: scholarly friend Marc-Antoine de Muret in 1553. We will show how the commentator, on a national reconciliation mission around the figure of the famous author, endorses the ideal of a communication from the whole and the part to the particular and the common. His flexible method shows a strong connivance with the author, when tracking down his unspeakable conceptions; with the reader, by trying to seduce and instruct him; and with the French language when illustrating it. Finally he echoes the lyric project and the erotic subject of the compilation, inviting his audience to an adjustment in views, a practice of self and an indulgence in the pleasures of reading
Andersson, Benedikte. "L'invention lyrique : visages d'auteur, figures du poète et voix lyrique chez Ronsard." Paris 3, 2002. http://www.theses.fr/2002PA030085.
Full textIn their concern to promote the dignity of common language literature, Renaissance poets restore the ancient category of the lyric. Like Horace, Ronsard defines his lyrical identity and constructs his poetics through an emulation of the lyrical poets of antiquity. In 1550, faithful to the multifaceted musical poetics of Pindar and to the Horatian model of autobiographical subjectivity, Ronsard aims at giving birth to French lyrical poetry in writing his odes. Then, inspired notably by the discovery of the pseudo-Anacreon, he promotes a new conception of lyrical poetry, open to diverse forms and based on voice rather than musical form. Hence, the lyrical voice in Ronsard's poetry creates a resounding echo in his work which puts an end to a purely generic and hypertextual conception of lyrical poetry. The primacy of voice establishes the poet's authority and is to be observed in mythology, in the images of inspiration and in enunciative polyphony. It contributes to Ronsard's literary canonization which provides the model for a new lyricism. At the same time a form, a genre and a mode, the Ronsardian lyrical category is at the junction of ancient and modern lyrical poetics
Pigné, Christine. "Le sommeil, la fantaisie : l'âme, l'image et le corps selon Ronsard." Paris 10, 2005. http://www.theses.fr/2005PA100058.
Full textRonsard discovers, at the point where body and soul connect, the riches of imagination, of human fantasy. The incarnate soul lives constantly surrounded by images, whether they come from the organs of the senses, from blood, from the spiritus fantasticus, from memory, from fantasy freed of all rational control while dreaming, or from demons. . . After explaining how imagination is used as a link between soul and body, the survey both of sleep and fantasy will allow us to study the poet's works in chronological order. In the first ten years of his poetic creation, Ronsard, in his works, subsists on manifold fantastic images. The water of sleep also carries many oneiric images that fascinate the poet, as much as the complete lack of ideation during deep sleep. At the beginning of the 1560's, the poet undergoes a dual crisis, internal and external, which leads him to define " good health " in imagination. Being careful not to accept all the fantastic creatures into his mind any longer, the poet appears to listen increasingly to the bond between his body and his soul. As death draws nearer, Ronsard carefully gets rid of all the forms of illusion that could disturb such a beautiful association
Sohn, Joo-Kyoung. "Plaire aux grands seigneurs & au Roy : Ronsard, poète de cour dans Elegies, Mascarades et Bergerie (1565)." Tours, 2002. http://www.theses.fr/2002TOUR2005.
Full textGirot, Jean-Eudes. "Pindare en France avant Ronsard : de l'émergence des études grecques à la publication des qQuatre premiers livres des Odes (1550)." Tours, 1997. http://www.theses.fr/1997TOUR2001.
Full textGois, Neves Mariana. ""L'héritage médiéval dans les épopées du Tasse, de Camões et de Ronsard"." Poitiers, 2005. http://www.theses.fr/2005POIT5010.
Full textThe Franciade, the Lusíadas and the Jerusalem Delivered contain medieval intertextual elements. This influence becomes evident if we conduct a comparative analysis of the narrative and descriptive "motifs" from the chansons de geste, to the characters, their speeches, and the excursus. The common "motifs" are the assemblies, the combat, cross-dressing, the dreams, the island, the forest, and the locus amoenus. The secondary episodes feature kidnapping/prison, liberation of the prisoners, flight of the persecuted heroes, the pursuit and the innocent victim. The excursus, the prayers, and the speeches employ several traditional topoi of the Latin Middle Ages: false modesty, nobility of soul, an upside down world and praise for the sovereign. The love speeches reveal the influence of the fin'amor and of Ovidian love rhetoric, and vestiges of plahn and reverdie are still found. Armida is again the oriental seductress of late chansons de geste, as Herminia is the Saracen in love with a Christian, and Argante the Tassian Cornumaran. Some of the most important medieval "hypertexts" are La Conquête de Jérusalem, the chronicle of William of Tyre (Tasso), the Cligès and the romance of Eneas (Ronsard), and the chivalrous narrative of Bourgogne, in The Twelve of England (Camões)
Trotot, Caroline. "Poétique de la métaphore de la Deffence et illustration de Du Bellay à l'abbrégé de l'art poétique de Ronsard : "Le bal de tant d'astres divers"." Paris 10, 2001. http://www.theses.fr/2001PA100167.
Full textLa Pléiade is characterized by a poetic revolution claimed by its leaders Ronsard and Du Bellay. The poetic activity is accompanied by a theoretical movement of which La Deffence et Illustration and L Abbregé de l'art poétique and many other treatises among which the ramists'one offer a testimony. Besides the ramists, who are close to La Pléiade, happen to focus on metaphors. We wonder why. Does this focus correspond to the global vision of the Pleiade poets? Does it correspond to the practice shown by poets ? To answer these questions, a first part has examined the theoretical texts dedicated to metaphor from Aristotle to Scaliger. It appeared that the ramists had rebuilt the aristotelician theory of metaphor, based on mimesis. And it happens that mimesis is envisaged, in the Renaissance times, through the concept of imitation, the key concept for Pleaide poetics. Imitation is itself considered through rhetorical categories of evidence and energy. The two following parts have examined Du Bellay and Ronsard's metaphors in connection with the notion of evidence and energy. One part is dedicated to metaphorical evidence and the other to energy. The corpus at hand goes from 1549 to 1565 so as not to exceed too much Du Bellay's death and so as to consider all the poetic genders illustrated by the two authors. Metaphors appear as an essential instrument of the Pleiade poetics, instrument of copia and imitation
Holzer, Georg. "Théorie et pratique de la traduction poétique : les "Sonnets pour Hélène" de Pierre Ronsard en allemand." Thesis, Pau, 2017. http://www.theses.fr/2017PAUU1026/document.
Full textIt is impossible to translate poetry, but still poetry is being translated: this seems to describe the state of the art of poetic translation. The love poetry of Pierre de Ronsard (1524-1585) has never been translated to German in its entirety. The purpose of this thesis is not only to translate Ron-sard’s last important poetry collection Sonnets pour Hélène, but also to reflect the theory of poetic translation and to create a German version of the poems based on an attentive analysis of the text, its historical conditions and its academic reception. Being transported in another language, Ronsard’s poetic art reveals to be complicated as well as inventive, accessible, and engaging. The poet of the French Renaissance is certainly not a coeval to a 21th century translator and reader, but his works prove to be surprisingly modern and deserve to be presented to a public „outre-Rhin“ some 440 years after their first publication
Hennessey, Jeanne. "Quatre portraits par Walter Pater : Ronsard, Montaigne, Giordano Bruno et Pascal." Paris 4, 1991. http://www.theses.fr/1991PA040309.
Full textDisciple of Sainte-Beuve, Walter Pater sought int the literary portrait a means of understanding his own rich artistic and religious sensibility. Platonist and hegelian he envisaged, in his later years, a trilogy which would show the action of the spirit in three "negative" periods of history : antonine rome, France under the last of the valois and England of the "lumieres" Marius the epicurean was the only novel in the trilogy to be finished. In this thesis we have examined the three literary portraits inserted in the novel of the trilogy- Gaston de Latour in order to show that Pater endeavoured in this unfinished work to follow the action of the spirit in this second period of history which was capital for hegel- modernity. Each meeting with th "stars" of the renaissance represents a stage in the itinerary followed by Pater himself. However it is not in Gaston de Latour that Pater will find the synthesis of the different aspects of truth that he has found. To follow pater's itinerary to the end we must examine another work, also unfinished, the portrait pascal. For the artist the search for truth is also a search for a "style". Attracted by the subjectivity of Montaigne's sytle, Pater is convinced that Pascal's prose in its ability to express the thoughts of the mind and the heart, is the prose that has shaped modern french
Ndong, Sangoul. "Le discours de l’enrôlement dans la poésie militante des guerres de religion. Pierre de Ronsard et Agrippa d'Aubigné." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL039.
Full textWith The Tragics, Aubigné demolishes the accusations of sedition and heresy conveyed on the account of the Huguenots by Ronsard. Arises between this work and the Discourses of political and religious cleavages where the poetic creation is, on behalf of the camp of each poet, the means to favor some provisions on the allocutaries. The question of reception thus occupies a central place in these two antagonistic works. It poses the problem of enlistment. This is a set of rhetorical resources whose challenge is to convince the adversary of his mistakes, to strengthen the partisans and to conquer public opinion. What are these resources that allow Ronsard and Aubigné to put their speakers in specific roles for their respective parties ?In our thesis, we are interested in the following questions : under what ethical traits do Ronsard and Aubigné speak each to subordinate his allocutaries to his convictions ? Who are these allocutaries ? With what discursive processes do the two poets act on the thoughts and behaviors of these recipients? Towards the theses of what poet is likely to lean readers ?With these questions, we have observed the roles of the enunciator's representation and his figures in the enlistment discourse, the categories of allocutaries and the oratorical styles set in motion to produce persuasion, firmness and mobilization
Alduy, Cécile. "Les "Amours" en France : poétique et génèse d'un genre français nouveau (1544-1560) : le leurre de l'unité." Reims, 2003. http://www.theses.fr/2003REIML008.
Full textWith the success of petrarchan sonnet sequences such as Délie by Scève (1544), L'Olive by Du Bellay (1549) or the Amours by Ronsard (1552-1560), a new genre is born between 1544 and 1560: the "Amours". These works differ from other poetic collections of the time by their strong longing for formal, lyrical, stylistic and thematic unity, achieved thanks to a minute rhetorical dispositio. From their explicit model, Petrarch, to hidden sources (Venetian anthologies, Marot), the genealogy of this genre exposes the novelty of a platform that, in spite of its Italian origins, imposes a specifically French poetics of variation. The genesis of the works is then analyzed through a comparison of their successive editions. Finally, the poetics of the sonnet sequences shows how they are structured and what they signify through the tensions of their paradoxical form, at once unified and discontinuous, exploited in favor of a collective agenda, that of "Defense and Illustration of the French Tongue"
Picard, Louis. "Rhétorique et savoir maniéristes : sonnets amoureux de Ronsard (Le premier livre des Amours), Góngora, Marino (Rime amorose) et Shakespeare (Sonnets)." Paris 7, 2008. http://www.theses.fr/2008PA070075.
Full textRonsard's Premier Livre des Amours, Gôngora's love sonnets, Marino's Rime as well ai Shakespeare's Sonnets offer similar rhetorics. The conscience of not coming first, of writing after Petrarch — perhaps even against Petrarch —, requires an esthetics of maraviglia, definitely shifting the weight from res to verba. Which leads to question the degree of earnestness of such an effects-oriented discourse, that seemingly rejects, under the aegis of the jocus serius, every steady interpretation available. We shall assume that in these sonnets where many an early-modern practice is highly condensed, expressivity, both hyperbolic and coded, embodies a specific, complexity-oriented, discourse. Mannerism - contemplated from the point of view of the practice of the sonnet, of the specificities of its representation and of the management of meaning - calls for a paradoxology. Paradox can come under the guise of metaphors and oxymorons -highly condensed in concetti -, of the uncertain reference of the representation or of the allusive unequivocal, self-conflicting significations. However, paradoxology calls for an unified discourse, guaranteet by the lyric persona. The mannerist self may be an uncertain complexion: he above ail is voice, enunciative might, able to assume the strengh of evidence within the experience of complexity. Verbal cornucopia will not be converted into any stable or pacified meaning, but the enunciative force may stand for it
Berriet, Thomas. "Poétiques du blâme à la Renaissance." Paris 7, 2014. http://www.theses.fr/2014PA070112.
Full textThis PhD thesis originates in Renaissance poetry's wavering between two critical stances : on the one hand the stance involved by the satirical game inherited from Horace, and on the other hand the stance which resorts to the blame coming from archaic poetry or rhetorical tradition. It aims at shedding light on the core meaning of such wavering beyond superficial disagreements, so as to gain a better understanding of the Renaissance poets' epideictic project. As a result, this work has no generic or formai perspective, but pertains to an anthropological poetic. Its originality can be found in its specific approach of epideictic poetics, by way of blame instead of praise. Based on Antiquity texts and practices, the first section investigates the rhetorical, philological, philosophical and poetic dimensions of blame's history. Borrowing analytical tools from Maussian anthropology and historical sociology, it raises its stakes again while connecting both notions of parrhesia and parenesis. The second section focuses on the Renaissance period. Relying on Erasme, Budé or Castiglione, it scrutinizes the political and symbolical issues regarding poetical language, considered as an attempt to maintain the coherence of the public's « ontological » body. Through a lexicographic survey it also highlights the humanists' disapproval of discord, calumny and defamation. An account of the high standards regulating the ethos of blame can then be given : despite the cost of frankness, they paradoxically allow to address the Prince within an epideictic pact which is often idealized. Three poets are being studied using this lens : Marot, Ronsard, and Du Bellay. Mediations and textual appropriations underlying the invention of these sung genres
Lombart, Nicolas. "Réinventer un "genre" : l'Hymne dans la poésie française de la Renaissance." Montpellier 3, 2004. http://www.theses.fr/2004MON30072.
Full textThe hymn, specially devoted to singing the praises of Gods in ancient pagan poetry or in ecclesiastical Christian poetry, is with the ode or the canticle one of the great lyric genres of eulogy in the XVIth century French poetry. But because of its abundance and heterogeneousness, the hymnary corpus presents two difficulties : the French hymn can take any possible shape (stanzaic or not, long or short. . . ), and it can sing the praises of a great diversity of subjects, either religious ones (Olympian deities, liturgical occasions, Christian notions. . . )or not (places, individuals, profane abstractions, events. . . ). There is no problem in giving the historical definition of the hymn : "It is a song with praise of God" wrote Saint Augustine whose definition has been taken up by the classical scholars about Greek hymns. However, when dealing with the French corpus, the problematic extension of the field covered by the praise of gods needs questioning. Far from defining an essence of the genre, the thesis proposes a pragmatical study of a large corpus of French pieces so as to set up a typology of the French hymn of the Renaissance which is regarded as the original acclimatization of both a pagan and Christian poetic inheritance. Three parts are devoted to the re-invention of the hymn : its slow emergence between 1500 and 1549 in its traditional ecclesiastical form ; its taken-up by the Brigade between 1550 and 1556 (from the ancient pagan species to the natural ronsardian hymns) ; its multiple militant takovers (both political and religious) between the 1560's and the end of the reign of Henry IV
Sicard, Claire. "Poésie et rapports sociaux autour de la cour de France (1538-1560)." Paris 7, 2013. http://www.theses.fr/2013PA070094.
Full text1538, Marot publishes his Œuvres. In 1560, it's time for Ronsard to have a complete edition published. Between those two dates François 1st, Henri II and François II will follow each other on the throne. Under those three reigns, there are changes at the court and in the way the powerful relate to the numerous verse writers. The social and anthropological changes which take place have an influence on the aesthetic, the means of publication adopted by the poets. The purpose of this work is to show , within a real human comedy combining the use of verses and court relastionship, how networks are elaborated, how poets use them to take their own position in the society, how these social relations appear in their written work and what aesthetic transformations are implied by the schanges in the society. The study is first based on the court and on the relationships that poets can have with the prince and the people around him, depending on how close or on the contrary how left aside from this milieu they are or have the feeling they are. Then we will tackie the question of the gift and the counter-gift, which is at the core of the social relations initiated by the authors with their protectors as well as with their pears. Eventually we will analyse the way the relationships with the pears, friendly or conflictual, account for the position of authors in the curial and poetic environment as well as they contribute to the elaboration of contrasted aesthetic projects, enabling some, such as Ronsard, to impose their image as authors while others like Saint Gelais try their best to blur it
Vintenon, Alice. "Phantasia plus quam fantastica : penser en fiction à la Renaissance." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100121.
Full textThis study intends to highlight and explain the development, in the Renaissance, of a category of fictions characterized by their comical improbability and their - more or less serious - claim to convey a philosophical content. Based on a corpus of six Italian and French “philosophical fantasies” (Alberti’s Momus, Ariosto’s Orlando Furioso, Folengo’s Baldo, Rabelais’s works, Ronsard’s “seasonal hymns”, and Philippe d’Alcripe’s Nouvelle Fabrique), our study aims at defining this category, and showing how a fictional pattern, initially borrowed by Italian humanists from Lucian of Samosata, has been adapted to new philosophical stakes and controversies. Our last six chapters are devoted to case studies. The five previous ones explore, from a theoretical perspective, the status of incredible fictions in the horatian, platonic and aristotelian poetics: far from being systematically regarded as lies, or considered as artistic failures, they benefit from the high value granted to fictional invention and to the intellectual impact of astonishment. However, their relationship to the allegorical tradition is complex: while they constantly refer to it, they resist to the allegorizers’s investigation. This ambiguity is specific to the products of creative fantasy which, in Renaissance philosophy, is a strongly ambivalent faculty of the soul
Bayrou, André. "Le Chœur des justiciables : contrôles, libertés et usages judiciaires de la poésie à la Renaissance (France, 1500-1560)." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA014/document.
Full textIn XVIth century France the legal system hunts down heresy among the writers and printers attracted by the Reformation. Some well-known examples are the repetitive legal actions against Clément Marot and the execution of Étienne Dolet, burned at the stake in 1546. But this repressive policy was not limited to only these sadly famous cases, nor to matters of religious faith. Many other poets, famous and unknown, are put on trial because of their religious, satirical, and, in a pair of isolated cases, even obscene writings. Moreover the various actors implicated in the making of the book confront each other in some cases concerning literary ownership. This study aims to understand how such legal constraints influenced the writing of poetry in the Renaissance. The first steps are to reconstruct the process in which poetic texts were censored, from the identification of the suspicious text to the interrogation of the poet, including the licensing of the book and the investigation of satirical verses posted at town intersections. This is the system of control which poets stand up against, attempting to defend their freedom of speech, –the right to write satire and to sing their religious beliefs, the freedom to play with the codes of erotic poetry. In fact, the idea of freedom of speech is not so foreign to them as we could think, as they give political meaning to the notion of « license », which ordinarily justifies the excentricities of poetic language. Through their writing, poets try to advance their cause and to reappropriate their experience of the law : these specific goals make legal poetry a genre of its own, both in dealing with the reality and in recreating the events in an unrealistic manner