Academic literature on the topic 'French literature – History and criticism – 17th century'
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Journal articles on the topic "French literature – History and criticism – 17th century"
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Agratina, Elena E. "THE EMERGENCE OF ART CRITICISM IN FRANCE IN THE SECOND HALF OF THE 17TH AND THE FIRST HALF OF THE 18TH CENTURY." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 3 (2022): 146–64. http://dx.doi.org/10.28995/2073-6401-2022-3-146-164.
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The topic of the emergence of art criticism in France in the second half of the 17th and the first half of the 18th century, being rather widely covered in foreign academic literature, is still underdeveloped in Russian art history. Nevertheless, that issue is extremely important for understanding the processes that took place in the French and more widely in the European artistic milieu. The article aims to highlight the process of the criticism formation not only as a literary genre but primarily as a phenomenon of cultural life. Based on original written sources and foreign academic literature, the author traces how the appearance of fine art in the light of publicity was prepared in the Parisian artistic milieu. The author addresses the important questions that arose during the formative and legitimizing phase of criticism, such as its distinction from pre-existing art theory, as well as the distinction between the critic and the theorist or fine art historian. The artwork must now satisfy not only the master and the customer and a small circle of connoisseurs, society also becomes an active participant in artistic life, and the viewer enshrines the right to judge the art. The author shows how criticism is gradually becoming more diverse and polyphonic. Works written on behalf of a wide variety of characters are appearing, writers are adapting various literary genres that already exist: epistolary, diary, plays, poems, dialogues. For many years, criticism becomes an active channel of communication linking all participants in artistic life.
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Jaumann, Herbert. "Wozu hütete Abel seine Schafe, wenn es keine Diebe gab? ‒ Altes und Neues zu Isaac La Peyrère und seiner Präadamiten-These (1655)." Scientia Poetica 23, no. 1 (October 21, 2019): 22–43. http://dx.doi.org/10.1515/scipo-2019-002.
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Abstract The two treatises of 1655, entitled Prae-Adamitae and Systema theologicum ex Praeadamitarum hypothesi, are among the principal works of the French Huguenot author Isaac La Peyrere (1596-1676). Peyrere ‘s theses have occupied a key position within the heretical branch of 17th-century Biblical Criticism: God must have created a human race before Adam, the Bible does not tell the history of mankind but of the elect people of Israel only, and the books of the Pentateuch were certainly not written, if at all, by Moses alone. The present contribution offers an outline of the recent La Peyrere Edition of 2019 and considers a few questions for further study. (1) How close are the Preadamites to early modern utopian literature? (2) What are we to make of Adriaan Beverland’s reference to the Praeadamitae in his infamous book on the Peccatum originale of 1678? (3) Taking up Isaac Popkin’s (1987) interesting suggestion, should we not as well consider a “pre-Eveite theory” alongside La Peyrere’s Preadamite hypothesis? This article concludes by addressing (4) another special desideratum: the early reception of La Peyrere and its continuing effects after the first critical responses as early as 1655/56.
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Welch, E. R. "Veiled Encounters: Representing the Orient in 17th-Century French Travel Literature." French Studies 63, no. 4 (October 1, 2009): 459–60. http://dx.doi.org/10.1093/fs/knp123.
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Mishina, L. A. "THE FAMILY PHENOMENON IN SEVENTEENTH-CENTURY AMERICAN LITERAURE." Bulletin of Udmurt University. Series History and Philology 32, no. 2 (April 29, 2022): 355–62. http://dx.doi.org/10.35634/2412-9534-2022-32-2-355-362.
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The purpose of this article is to analyze the phenomenon of the New English family of the 17th century, the first century of the existence of American national literature, presented in the works of early American authors - period insufficiently studied in literary criticism. Untranslated or incompletely translated into Russian works of such religious and public figures, writers as Richard Mather (Diary), Inkris Mather (The Life and Death of the Reverend Richard Mather), Edward Johnson (The Miraculous Providence of the Savior of Zion in New England) , Samuel Sewall (Diary), John Cotton (God’s Promise to His Plantation), Cotton Mather (Life of Mr. Johnatan Burr), are introduced into literary criticism. Being one of the key in the early history and literature of the United States, the theme of the family has the following aspects considered within the framework of the article: the move of families to a new continent, settling in a new place, the status of a father, mother, and child. The process of formation and existence in extreme conditions of a Protestant family is analyzed, the role of the family community in the fulfillment of the sacred mission - the creation of the kingdom of Christ on new lands - is determined. The conclusion is made about the uniqueness of the New English family of the 17th century, which combined the features of both the family structure that developed in European society and those born in the process of American experiments. The idea is emphasized that the disclosure of the family theme by early American authors clearly represents the features of American literature of the 17th century in general. The article uses biographical, structural, cultural and historical methods of literary analysis.
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Pavlova, Svetlana Yu. "Russian literary criticism of the 20th century on Moliere’s comedy “The Misanthrope”." Izvestiya of Saratov University. Philology. Journalism 23, no. 1 (February 21, 2023): 48–54. http://dx.doi.org/10.18500/1817-7115-2023-23-1-48-54.
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The article addresses the reception of J.-B. Moliere’s comedy “The Misanthrope” (1666) by the Russian literary critics of the 20th century, reflected in monographs, academic publications, textbook, articles and the scientific apparatus to the complete works of the great French playwright. The reason of this persistent interest to this play is determined by two essential factors: its ambiguity and its influence on A. S. Griboyedov’s comedy “Woe from Wit”. The author of the article traces the transformation of the researchers’ evaluations, ranging from the pre-revolutionary period and up to the latest reviews. It is stated that the reception of “The Misanthrope” can be generally traced back to the ideas of A. N. Veselovsky, the founder of the Russian studies of Moliere. Having been perceived controversially by the closest followers of the scientist, they became ideological in the works of the Soviet researchers of the 1930–1940s, then they were in the focus of attention of the literary critics of the middle of the century and were further developed in the studies of the turn of the 20th – 21st centuries. Addressing “The Misanthrope”, the Russian researchers of the French literature of the 17th century focus on the distinguishing features of the comic, on the biographical basis of the play, on the system of images, prototypes of the main character and the essence of his conflict with the society. They invariably concentrate on the issue of the author’s viewpoint, and on the question of who Moliere sides with – Alceste or Philinte. The carried-out analysis shows that the research thought has changed from the biographical, social and political interpretation of the comedy “The Misanthrope” to refocusing on ethical issues. It appears that, despite the importance of all of these aspects, clearly significant for the comprehension of the play, a cultural studies approach, characteristic for the French literary studies and based on the most recent studies of the gallant epoch, will facilitate a more sensible perception of the play.
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Rizal Mahendra, Fahmi. "Amr Ma'ruf wa Nahi Munkar: Gerakan Kadizadeli dan Kritik Sufisme di Kerajaan Ottoman Abad ke-17." Refleksi Jurnal Filsafat dan Pemikiran Islam 22, no. 2 (April 28, 2023): 306–30. http://dx.doi.org/10.14421/ref.v22i2.3950.
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This research will explore the Kadizadeli movement in the Ottoman empire in the 17th century. The Kadizadeli movement is a movement led by clerics who were previously Friday preachers at mosques in Istanbul. This movement wanted to purify Islam from the heretical behavior and activities of the Sufis who according to them had demoralized Ottoman society in the 17th century. In Islamic history, for example, there are several figures who also criticized Sufism, Ibn Tayimiyah or Ibn Jauzi. The complex problems of the 17th century have inspired some scholars, especially Kadizadeli, to fix them. Using the jargon, Amr ma'ruf wa nahi munkar, they began to criticize and attack the practices of Sufism in the Ottoman empire. By using historical research and literature this research produced several findings. Historically, this movement was led by three people, namely: Kadizade Mehmed, Ustuvani Mehmed and Vani Mehmed. Initially this movement only conveyed their criticism of Sufism activities through sermons and writings. However, when Ustuvani and Vani led this movement and gained a special relationship with the ottoman rulers, this movement led to radical actions. Apart from criticizing and criticizing, they also attack the infrastructure of Sufism and direct physical attacks on them. Keywords : bidah, kadizadeli, ottoman empire, sufism, ulema
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Maritchik-Sioli, Youlia A. "“Very Russian, the French Would Say... Very French, the Russians Would Say”: The Metamorphosis of E. Bakunina’s Novel ‘The Body’ in French and Russian Literary Criticism." Literary Fact, no. 1 (31) (2024): 217–41. http://dx.doi.org/10.22455/2541-8297-2024-31-217-241.
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The article is devoted to the reception of the novel “The Body” (1933) by emigré writer E.V. Bakunina in French and Russian literary criticism in the early 1930s. A number of researchers have already analyzed the responses of Russian critics to the publication of the novel but have not paid enough attention to a cross-sectional view of the perception of the writer’s work. This question is of interest insofar as it allows us to identify weaknesses and strengths of Bakunina’s work and rethink the literary and cultural norms established in the early 20th century. One of the article’s crucial questions is critics’ reaction to the verbalization of the female character’s body experience. In France, the literary context of the 1920s and 1930s, the presence of progressive journals, and some trends in the history of French literature contributed to the fleeting but genuine interest of critics in the novel. At the same time, the focus on preserving the best traditions of Russian literature in exile, the historical “memory of culture,” and the requirement to observe the artistic measure led to a sharp rejection of body discourse among emigré critics. The conclusion focuses on the stereotypical perception of the novel by French and Russian literary criticism, and emphasizes the importance of studying the creative heritage of “minor” authors. If French literary criticism often perceived Bakunina’s novel through the prism of the distinctive features of the “Slavic soul,” then Russian criticism judged the writer’s novel through an established grid of artistic criteria (measure, taste, femininity).
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Caldwell, Patricia. "Why Our First Poet Was a Woman: Bradstreet and the Birth of an American Poetic Voice." Prospects 13 (October 1988): 1–35. http://dx.doi.org/10.1017/s0361233300005226.
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Anne Bradstreet has come a long way since John Harvard Ellis hailed her over a century ago as “the earliest poet of her sex in America.” Today, more justly, we view Bradstreet simply as “the first authentic poetic artist in America's history” and even as “the founder of American literature.” At the same time, a more sensitive criticism is looking anew at Bradstreet's personal drama as a woman in the first years of the New England settlement: her life as a wife, as mother of eight children, as a frontier bluestocking (though still, in many critics' eyes, “restless in Puritan bonds”), and even as a feminist in the wilderness. Feminist critics in particular have revitalized our understanding of Bradstreet and her work by probing her subtle “subversion” of patriarchal traditions, both theological and poetical, and by placing her among contemporary 17th-Century women writers, making her no longer a phenomenon on the order of Doctor Johnson's dancing dog, but finally a participating voice in her age.
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Caldwell, Patricia. "Why Our First Poet Was a Woman: Bradstreet and the Birth of an American Poetic Voice." Prospects 13 (October 1988): 1–35. http://dx.doi.org/10.1017/s0361233300006670.
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Anne Bradstreet has come a long way since John Harvard Ellis hailed her over a century ago as “the earliest poet of her sex in America.” Today, more justly, we view Bradstreet simply as “the first authentic poetic artist in America's history” and even as “the founder of American literature.” At the same time, a more sensitive criticism is looking anew at Bradstreet's personal drama as a woman in the first years of the New England settlement: her life as a wife, as mother of eight children, as a frontier bluestocking (though still, in many critics' eyes, “restless in Puritan bonds”), and even as a feminist in the wilderness. Feminist critics in particular have revitalized our understanding of Bradstreet and her work by probing her subtle “subversion” of patriarchal traditions, both theological and poetical, and by placing her among contemporary 17th-Century women writers, making her no longer a phenomenon on the order of Doctor Johnson's dancing dog, but finally a participating voice in her age.
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Brandes, Georg, and Lynn R. Wilkinson. "The 1872 Introduction to Hovedstr⊘mninger i det 19de Aarhundredes Litteratur (Main Currents of Nineteenth-Century Literature)." PMLA/Publications of the Modern Language Association of America 132, no. 3 (May 2017): 696–705. http://dx.doi.org/10.1632/pmla.2017.132.3.696.
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From Comparative Literature to Cultural Renewal: Georg Brandes's 1872 Introduction to Main Currents of Nineteenth-Century Literature“The only literature that is alive today is one that provokes debate.” These words ring out in the first published version of a lecture Georg Brandes gave at the University of Copenhagen on 3 November 1871. The lecture was the introduction to a series that changed the course not only of his life but also of Scandinavian and European cultural history. Born in Copenhagen in 1842 to assimilated Jewish parents, Brandes had recently completed a dissertation on French aesthetics and literary criticism and hoped that his lecture series would allow him to replace Carsten Hauch as professor of aesthetics at the university. Brilliant and iconoclastic, the lectures also responded to the Danish defeat in the 1864 war with Prussia, portraying Danish literature and culture as morbidly inward and insular. Brandes urged his countrymen to look abroad, to traditions such as the French, whose literature included many notable writers who grappled with social and political issues, especially those who came of age during the revolutions of 1789 and 1830.
Dissertations / Theses on the topic "French literature – History and criticism – 17th century"
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Dufresne, Virginie. "De Versailles à Clarens : nature et politique dans les jardins littéraires de l'âge classique." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99589.
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During the 17th and 18th centuries, the French garden history witnesses the triumph and then the decline of the French formal garden, to which succeeds the fashion of landscape gardening of foreign inspiration. Integrating and nourishing this debate, the literary texts of that period enable to grasp the stakes that it brings up. The garden notably lends itself to the expression of an emerging sentiment of nature, as well it also serves that of a political thought enlightened by new ideas. Effectively, the treatment that these texts give to the garden is a witness to the revival that installs itself in the way of conceiving nature, and the relation that nature holds with man and the art of the gardens. The garden's topic and scenography are a testimony of changes that in turn affect its imaginary and that of the walk. Finally, the critical discourse exploits the analogy that establishes itself between the art of the gardens and the exercise of power, polarizing the debate around the political metaphor.
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Patterson, Jonathan Hugh Collingwood. "Representations of avarice in early modern France (c.1540-1615) : continuity and change." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610850.
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Monette, Isabelle. "Récritures de récits criminels en France sous l'Ancien Régime." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79966.
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Three original stories are the basis for our study of rewriting during the French Ancien Regime: the story of Thibaud de la Jacquiere, that of the "sorcier Gaufridy" and that of the Marquise de Ganges, which Sade will rewrite as a novel. Having all originated from a "canard", they appear in the 1679 edition of the Histoires tragiques of Francois de Rosset, and two of them can also be found in Francois Gayot de Pitaval's Causes celebres. Each of these stories was rewritten by different authors at least three times. Using Gerard Genette's theory of the narrative, we will analyse the processes of transformation that the rewriting operates in the text, as well as the changes it imposes to its original meaning. The number of rewritings of each text---up to five for the Marquise de Gange---is a testament to the importance of textual reappropriation as much as it shows the relevance of a study which brings to light the role of rewriting in the survival of these stories.
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Jones, Suzanne Barbara. "French imports : English translations of Molière, 1663-1732." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:8d86ee12-54ab-48b3-9c47-e946e1c7851f.
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This thesis explores the first English translations of Molière's works published between 1663 and 1732 by writers that include John Dryden, Edward Ravenscroft, Aphra Behn, and Henry Fielding. It challenges the idea that the translators straightforwardly plagiarized the French plays and instead argues that their work demonstrates engagement with the dramatic impact and satirical drive of the source texts. It asks how far the process of anglicization required careful examination of the plays' initial French national context. The first part of the thesis presents three fundamental angles of interrogation addressing how the translators dealt with the form of the dramatic works according to theoretical and practical principles. It considers translators' responses to conventions of plot formation, translation methods, and prosody. The chapters are underpinned by comparative assessments of contextual theoretical writings in French and English in order to examine the plays in the light of the evolving theatrical tastes and literary practices occasioned by cross-Channel communication. The second part takes an alternative approach to assessing the earliest translations of Molière. Its four chapters are based on close analysis of culturally significant lexical terms which evoke comically contentious social themes. This enquiry charts the changes in translation-choices over the decades covered by the thesis corpus. The themes addressed, however, were relevant throughout the period in both France and England: marital discord caused by anxieties surrounding cuckoldry and gallantry, the problems of zealous religious ostentation, the dubious professional standing of medical practitioners, and bourgeois social pretension. This part assesses how the key terms in translation were chosen to resonate within the new semantic fields in English, a target language which was coming into close contact with new French terms.
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Wilton-Godberfforde, Emilia Eleni Rachel. "Mendacity and the figure of the liar in seventeenth-century French comedy." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609698.
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Ribeiro, Ana Claudia Romano. "Sou do país superior : utopia e alegoria na libertina Terra Austral conhecida (1676), de Gabriel de Foigny : tradução e estudo." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269938.
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Orientador: Carlos Eduardo Ornelas BerrielTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-10-02T19:50:58Z (GMT). No. of bitstreams: 1 Ribeiro_AnaClaudiaRomano_D.pdf: 462497191 bytes, checksum: 95a1bcb4a0a455fe962de04edb99c491 (MD5) Previous issue date: 2010
Conteudo: v.1. Estudo ; v.2. Tradução
Resumo: Analisar e traduzir La Terre Australe connue são os objetivos desta tese de doutorado. Segundo "G. de F", narrador do prefácio, La Terre Australe connue é a tradução do relato da viagem de Nicolas Sadeur ao último continente ainda desconhecido no século XVII, chamado nos mapas da época de terra australis incógnita, um lugar aprazível, habitado e totalmente planejado - em todos os seus aspectos - por hermafroditas perfeitamente racionais. Este pseudodocumento é uma utopia literária que foi, em realidade, escrita por Gabriel de Foigny e publicada em Genebra, em 1676, sob falso nome de editor e de cidade. O trabalho está dividido em dois volumes. O volume 1 é dedicado à análise da obra e contém dois capítulos principais. O primeiro trata da definição da utopia como gênero literário partindo do texto paradigmático de Thomas Morus, A Utopia. No segundo capítulo, apresento uma biografia de Gabriel de Foigny, faço uma revisão bibliográfica da crítica já publicada sobre sua utopia para, em seguida, desenvolver minha interpretação da figura do hermafrodita como alegoria da hibridização 1) do poder real absoluto, 2) do Estado absolutista e 3) do panorama religioso francês desta época. Passo em seguida à análise da figura do hermafrodita tal como ela é descrita pelo autor, percebendo que ela se insere na tradição menipéia e luciânica. Na parte seguinte, estudo outros temas relevantes para a compreensão desta utopia: a questão religiosa no capítulo VI ("Da religião dos austrais"), a ciência e a técnica na Terra Austral, o prefácio e o narrador-editor, a temática das línguas e da tradução nesta utopia e, por fim, o libertinismo. Um apêndice é dedicado ao estudo das fontes gregas da utopia. No volume 2 está a tradução para o português, organizada numa edição bilíngue acompanhada de notas.
Abstract: The aim of this doctoral thesis is to analyze and translate La Terre Australe connue. According to "G. de F. ", the narrator of the preface, La Terre Australe connue is the translation of Nicolas Sadeur's voyage account to the last continent still unknown in the 17th Century, called terra australis incognita on the maps of the period, an inhabited place, in all aspects pleasing and totally planned by perfectly rational hermaphrodites. This pseudodocument is a literary Utopia. It was, in fact, written by Gabriel Foigny and published in Geneva in 1676, under a false name of city and editor. The work is divided into two volumes. Volume 1 is dedicated to the analysis of the text and contains two main chapters. The first one deals with the definition of Utopia as a literary genre starting from the paradigmatic text of Thomas More, Utopia. The second brings a biography of Gabriel de Foigny, a review of the published criticism about his Utopia with the purpose of, afterwards, presenting my personal reading of it, based on the figure of the hermaphrodite as an allegory of the hybridization of 1) the absolute royal power, 2) the absolutist state and 3) the religious panorama of 17th Century France. I examine, then, the figure of the hermaphrodite as it is described by the author, observing that it continues the menippean and lucianic tradition. After that, I study other relevant subjects to the understanding of this Utopia: the religious question in Chapter VI ("The religion of the Southern"), science and technology in the Southern Land, the preface and the narrator-editor, the thematics of language and translation in this Utopia and, eventually, the philosophical libertinism. An appendix is devoted to the study of Greek sources of Utopia. In volume 2 we present the Portuguese translation, organized in a bilingual edition, accompanied by notes.
Doutorado
Historia e Historiografia Literaria
Doutor em Teoria e História Literária
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Gaubert, Benoit Céline. "Le goût d'écrire et de lire dans le conte de fées français des 17° et 18° siècles. Fantaisies de l'écriture, du livre, de la bibliothèque et de la lecture." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA086.
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L’étude du conte de fées de 1690 à 1789, période de la mode du genre en France, montre que la matière merveilleuse s’est constituée dès ses débuts avec des éléments de pratiques lettrées transposés du réel mais aussi et surtout transformés de manière fantaisiste. Les premiers conteurs (1690-1704) érigent en effet le genre selon une poétique complexe mariant l’oralité des temps naïfs et l’écrit, signe d’une pratique sociale et culturelle du conte. Les conteurs suivants en apportent des infléchissements plus parodiques, des imitations et des variations notamment orientalisantes. L’ensemble des auteurs est concerné mais à des degrés divers, Perrault, Choisy et Fénelon étant moins prolixes en la matière que Madame d’Aulnoy, Pétis de la Croix ou le chevalier de Mailly.Le pays merveilleux dévoile ses arcanes, son secret de fabrication métatextuelle à travers des scènes plus ou moins fugaces de lecture, d’écriture et d’évocations de bibliothèques féériquesThe study of the fairy tale over the years 1690-1789, when the genre was in fashion in France, shows that, from its inception, the subject matter grew up with elements of realistic literary practice which were largely reshaped by imagination. The first storytellers (1690-1704) set up the literary genre according to a complex poetics allying the orality of naive times with literacy, which is the mark of a social and cultural practice of the story. The contributions of the forthcoming storytellers are imitations, parodies or are tinged with Orientalism. All the writers are affected, but to varying degrees: Perrault, Choisy and Fénelon are less inventive in this respect than Madame d’Aulnoy, Pétis de la Croix or the Chevalier de Mailly. The wonderland reveals its mysteries and the secret of its metatextual layout through more or less fleeting scenes of book reading or writing conjuring up a magical library
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De, Craim Alexandre. "L'unité narrative de L'Astrée: structures architextuelle, textuelle et thématique." Doctoral thesis, Universite Libre de Bruxelles, 2012. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209749.
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L’Astrée d’Honoré d’Urfé marqua à divers titres le roman de la première moitié du XVIIe siècle. Non seulement cette œuvre ouvrait la voie aux vastes fictions héroïques de Gomberville ou de Scudéry, mais elle apparaissait également comme un modèle de composition parvenant à unir, au sein d’un unique roman, une matière hétéroclite. La complexité de L’Astrée est donc tout autant thématique que structurelle :les traditions pastorale et chevaleresque s’entremêlent et le récit principal est sans cesse interrompu par des narrations secondes prises en charge par les personnages mêmes de la diégèse. Cependant, le récit n’en forme pas moins un ensemble unifié ;d’ailleurs, il fut d’emblée reçu comme un roman et non comme un recueil de nouvelles. C’est pourquoi, nous avons désiré étudier le « système » que l’auteur met en place afin d’unifier l’œuvre aussi bien au niveau de la forme qu’au niveau du contenu. Pour y parvenir, nous avons établi une description complète des structures narratives de L’Astrée via une observation narratologique qui s’attache tantôt à rechercher dans différentes traditions littéraires les éléments de structure faisant sens dans le roman d’Urfé, tantôt à cartographier la mécanique narrative qui régit la progression des nombreux fils du récit. Ensuite, d’un point de vue davantage thématique, nous avons souhaité mettre au jour divers mécanismes – dont les variations sur le thème de la perte et du regret – qui assurent au roman une unité quant à sa matière foisonnante. Par ces analyses, nous espérons éclairer le fonctionnement d’un roman-clé de l’histoire, qui posa les premiers jalons de la modernité romanesque.Doctorat en Langues et lettres
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Le, Cocq Jonathan. "French lute-song, 1529-1643." Thesis, University of Oxford, 1997. https://ora.ox.ac.uk/objects/uuid:1a712369-836c-45e4-9f84-91045f297b3f.
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A study of French-texted solo songs and duets with lute or guitar accompaniment notated in tablature, dating from the sixteenth and seventeenth centuries. Connected repertoires include the Parisian chanson, psalm, voix de ville, dialogue, and air de cour. Sources are examined in terms of their background, composers represented in them, relationship to concordant and other musical sources, repertoire, and musical conception. Foreign and manuscript sources are included. Literary references indicating the status of sixteenth-century lute-song, its importance to humanists (including its role in the Académie de Poésie et de Musique), and its position in theatrical works, are considered. Issues of notation, musical and poetic form, prosody, rhythm, ornamentation, lute pitch and tuning, relationship to polyphonic versions, to the ballet de cour, to dance forms, and to solo instrumental styles such as stile brisé are examined. Early references to continuo practice and to the theorbo are noted. Several arguments are developed, including 1. that the sixteenth-century Le Roy publications were conceived primarily as solo lute music, 2. that from the late sixteenth-century onwards lute-songs were initially conceived as melody-bass outlines, and may to an extent be regarded as continuo realisations, and 3. that rhythmic features of the air de cour commonly related to the influence of musique mesurée may also be explained with reference to earlier attempts to adapt the voix de ville to humanist goals, and also to the influence of the Italian villanella. Includes tables and bibliographies. Musical examples, facsimiles, and transcriptions are included in a separate volume.
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Taylor, Helena. "The lives of Ovid : secrets, exile and galanterie in writing of the ‘Grand Siècle’." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:4571c071-a499-44e7-a870-ed747d69bdc5.
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This study examines the constructions and uses of the figure of Ovid in French writing of the second half of the seventeenth century, and explores how they were modulated by contemporary aesthetic and cultural concerns. As the influence of Ovid’s poetry made itself felt in various ways – in the mythopoeia of the Sun-King and the fashionable galant salons – interest in the story of Ovid’s life blossomed. This, I argue, was facilitated by new forms of ‘life-writing’, the nouvelle historique and histoire galante, and fuelled in unexpected ways by the escalating querelle des Anciens et des Modernes. Research has been done on the reception and influence of Ovid’s poetry in this period, but little attention has been paid to the figure of Ovid. This thesis offers a new perspective and, informed by recent renewed interest in life-writing, argues that analysis of biographical depictions is vital for establishing a coherent picture of the uses of Ovid in the ‘Grand Siècle’. I explore a diverse range of textual descriptions of Ovid (Vies; prefatory material attached to translations and editions of his work; correspondence; dialogues des morts; biographical dictionaries and historical novels), organized according to their different, though intersecting, ways of writing about this poet. He was constructed as a historical figure, an author, a fictional character and a ‘parallèle’ – a point of identification or contrast for contemporary writers. Through close analysis of a multi-authored corpus, this thesis identifies and examines two instances of paradox: though an ancient poet, Ovid became emblematic of 'Moderne' movements and was used to explore aspects of galanterie; and, though his creative work was mobilized in the service of royal propaganda, Ovid, as a figure for the exiled poet, was also used to express anxieties about the sway of power and the machinations and pitfalls of the world of the court.
Books on the topic "French literature – History and criticism – 17th century"
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Birkett, Jennifer. A guide to French literature: Early modern to postmodern. New York: St. Martin's Press, 1997.
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Robin, Perlmutter Jennifer, ed. Relations & relationships in seventeenth-century French literature: Actes du 36e congrès annuel de la North American Society for Seventeenth-Century French Literature, Portland State University, 6-8 mai 2004. Tübingen: Gunter Narr Verlag, 2006.
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Stone, Harriet. The classical model: Literature and knowledge in seventeenth-century France. Ithaca: Cornell University Press, 1996.
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Bernard, Daniel George, and Kem Judy, eds. Plaire et instruire: Essays in sixteenth and seventeenth-century French literature in honor of George B. Daniel, Jr. New York: P. Lang, 1993.
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Roger, Zuber, ed. Littérature française du XVIIe siècle. Paris: Presses universitaires de France, 1992.
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Ernst, Schäfer Walter. Die satirischen Schriften Wolfhart Spangenbergs. Tübingen: M. Niemeyer, 1998.
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Peter, Alexandra-Bettina. Vom Selbstverlust zur Selbstfindung: Erzählte Eifersucht im Frankreich des 17. Jahrhunderts. Tübingen: Niemeyer, 2002.
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Danielle, Pister, and Université de Metz. Centre "Littérature et spiritualité", eds. L' image du prêtre dans la littérature classique: XVIIe-XVIIIe siècles : actes du colloque organisé par le Centre "Michel Baude--Littérature et spiritualité" de l'Université de Metz, 20-21 novembre 1998. Bern: P. Lang, 2001.
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William, Brooks, and Zaiser Rainer 1955-, eds. Theatre, fiction, and poetry in the French long seventeenth century =: Le théâtre, le roman, et la poésie à l'âge classique. Oxford: Peter Lang, 2007.
Find full textBook chapters on the topic "French literature – History and criticism – 17th century"
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Patronnikova, Yulia S. "Francesco Fulvio Frugoni’s “The Tribunal of Criticism”. The Critical View on the Literature of the 17th Century." In “The History of Literature”: Non-scientific sources of a scientific genre, 350–67. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0684-0-350-367.
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The article looks at the critical analysis of the 17th-century literature carried out by Francesco Fulvio Frugoni in his life’s main opus, “Il Cane di Diogene” (“The Dog of Diogenes”, 1687–1689) — or, more, precisely, in its most famous, tenth novel “Il Tribunal della Critica” (“The Tribunal of Criticism”). The critical evaluation of the authors and their works has an allegorical form of the tribunal of the Criticism over the books. It takes place in Apollo’s temple on Mount Parnassus, where the opus’s main hero — dog Saetta owned by the Cynic philosopher Diogenes — arrives to after a long period of wandering. The tribunal evaluates typologically different works, for the most part, written in Roman languages in the first half of 17th century — presumably the author shares the knowledge he acquired while studying and travelling. A number of famous figures of Seicento are thus left out of consideration. The key criterion used in the evaluation of a text is the ratio of the pleasant and the useful in it. The pleasant refers to a text’s being written in a flamboyant style and the useful — to its containing a certain message or idea. For all the shortcomings of the baroque authors, Frugoni takes his age to be exemplary. Despite its incompleteness and partiality, Frugoni’s analysis is an important source of information about Seicento literature, as well as Seicento theory of literature. In addition, being an analysis of literary texts, it contributes to the development of the history of literature as a self-standing discipline.
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Staf, Irina K. "The Formation of Meta-Language in French Literature in the 16th Century: from Poetical Treatises to “Libraries”." In “The History of Literature”: Non-scientific sources of a scientific genre, 93–131. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0684-0-93-131.
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“The article deals with the changes which the concept of literature underwent in 16th century France. The late medieval concept of poetry as fabula, allegorical fiction, is replaced in the middle of the century (by T. Sébillet, J. Peletier du Mans, Ronsard) by the Platonic idea of an innate divine gift. The idea of poetry-philosophy describing all possible phenomena of the universe henceforth serves as a prerequisite for the creation of works perfect from a formal point of view. The idea of the relation between poetry and rhetoric as well as the models to be imitated by the poet changes. Lists of canonical authors turn into a poetic topos as early as the late Middle Ages, but under the influence of Pleiades’ theories there is an increased interest in the figure of the “great author”, a symbol of national language and poetry, whose emergence means the achievement of the national culture of the Golden Age. Lists, however, are transformed at the end of the century into the first attempts to describe the totality of French literature (Lacroix du Maine and A. Duverdier’s “Libraries of France”) and its history (a work on ancient poets by C. Fauchet and Book VII of E. Pasquier’s “Inquiries into France”). In the Renaissance disputes and polemics becomes more visible the outlines of both the literary canon, which was embodied in the 17th century, and the historical approach to literature.
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Belkind, Alexandra Yu, and Alexander L. Lifshits. "Schwank on “One Moscow Patriarch”." In Hermeneutics of Old Russian Literature. Issue 21, 549–66. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/horl.1607-6192-2022-21-549-566.
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The article examines Schwank on “one Moscow patriarch.” Among the numerous pieces of literature printed on the territory of German states in the 17th century, one can still find unknown sources on the history of Russian-European relations. The vocal work, composed by the Baroque music theoretician, composer and writer Georg Daniel Speer (1636–1707), is one of them. It has all the features of the earlier Fastnachtsspiel, or fabliau set to music with a considerable number of immodest details. Quiproquo in the bedroom is a traditional plot of these stories known throughout Europe, but in this case, “one Moscow patriarch” acts as the main character of opus. However, nothing will distinguish him from a German priest or a French abbot. On the contrary, music that accompanies the vocal piece is called Moscow Dance and probably reflects the composer’s ideas about secular music of Muscovy state. All this gives evidence to the fact that by the last quarter of the 17th century, Muscovy in ordinary consciousness of Europeans was turning from an exotic and fabulous territory into a country in the neighborhood, about which familiar jokes are told.
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Golubkov, Andrey V. "Hesiod’s dream: the History of World Literature in the Novel of French Précieuse (“Clélie, l’histoire romaine” by Madeleine de Scudéry)." In “The History of Literature”: Non-scientific sources of a scientific genre, 705–52. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0684-0-705-752.
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The research focuses on the annotated translation into Russian language of the Hesiod’s Dream, large fragment from the 2nd book of the 8th volume of the novel “Clélie, l’histoire romaine” of the French writer of the middle of the 17th century Madeleine de Scudéry, which is a consistent narration about the world history of the literature in Ancient Greece, Ancient Rome, Renaissance Italy, as well as in France from the late Middle Ages up to the 1650’s. The introductory article analyzes the metatextual nature of the narrative (it is presented as the reading of a manuscript by the heroes of the novel, which tells about Hesiod, to whom the muse of poetry Calliope tells the future development of literature), as well as the context of the creation of an episode that reflected the influence of ancient and renaissance poetics and rhetoric. In the course of the research, it is demonstrated that Scudéry builds the logic of the evolution of Western literature in the context of the idea of “progress”: the ancient and Renaissance Italian tradition appears as a stage that prepared the flowering of gallant poetry in France; such an understanding of the logic of the development of Western literature, leading to an emphasis on the role of women and focusing on light love poetry (Catullus, Petrarca) to the detriment of the philosophical tradition (Dante) is the result of the cultural policy of Superintendent Nicolas Fouquet, who was considered by a significant part of the French elites as a new “Patron of the Arts”.
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Sommer, Tim. "Usable Pasts: Anglo-American Literature and the Authority of Tradition." In Carlyle, Emerson and the Transatlantic Uses of Authority, 69–100. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474491945.003.0003.
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This chapter analyses how discussions about race and nationhood surfaced in nineteenth-century British and American literary criticism and literary historiography. It discusses Carlyle’s and Emerson’s writings about the relationship between literature and nationality and argues that, drawing on a handful of near-contemporary German and French authors, they positioned themselves at the crossroads of cultural nationalism and literary cosmopolitanism. The second half of the chapter explains how Carlyle and Emerson conceptualised continuity and change in literary history and highlights the role of Romantic expressivism in their nation-centred poetics. The two developed conflicting accounts of English literary history: where Carlyle’s narrative emphasised the past achievement and future global dominance of metropolitan writing, Emerson tended to invest in the authority of the English canon to locate the future of a specifically Anglo-American tradition in the cultural periphery.