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Dissertations / Theses on the topic 'Grail literature'
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Ropa, Anastasija. "Representations of the Grail quest in medieval and modern literature." Thesis, Bangor University, 2014. https://research.bangor.ac.uk/portal/en/theses/representations-of-the-grail-quest-in-medieval-and-modern-literature(f6ca3faa-16eb-499a-b941-10d93dd8b6cf).html.
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This thesis explores the representation and meaning of the Grail quest in medieval and modern literature, using the methodologies of historically informed criticism and feminist criticism. In the thesis, I consider the themes of death, gender relations and history in two medieval romances and three modern novels in which the Grail quest is the structuring motif. Comparing two sets of texts coming from different historical periods enhances our understanding of each text, because not only are the modern texts influenced by their medieval precursors, but also our perception of medieval Grail quest romances is modified by modern literature. Studying medieval and modern Grail quest literature side by side also places the phenomenon of modern medievalism into a new perspective; this approach brings out the differences between the Grail quest in texts written in a society that shared a set of Christian values and those written in a post-religious context. Research conducted in the thesis shows that the texts within each group also differ between themselves, depending on the socio-historical circumstances in which the texts were written and read. In the first part of the thesis (Chapters 1-4), I discuss the themes of death, the role of women as spiritual guides, and the relation between familial and world history in two medieval romances. I approach these issues from the perspective of minor characters, women and non-elect knights (who have previously been little studied). I argue that the experiences of these marginal characters are important for understanding both the context in which the romances‟ major characters operate and the representation of questers in modern literature, which often places the unheroic, ordinary or even deviant characters into the limelight. In the second part of the thesis (Chapters 5-7), I consider three modern novels that use the Christian motif of the Grail quest to structure their narratives, examining ways in which modern writers use medieval tropes in a post-religious age. In each chapter, I explore the place of death, relations between the questers and female characters and the impact of family and the world histories on the individual‟s identity in the respective novel. The conclusion brings together the research findings and suggests areas for further research in medieval and modern literature about the Grail quest.
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McCarthy, Marcella. "Late medieval English treatments of the Grail story." Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.304980.
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Archer, Leona Mary. "Gender and space in the Old French Lancelot-Grail cycle." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648670.
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Bell, William. "In Search of the Grail: The Poetic Development of T.S. Eliot." TopSCHOLAR®, 1985. https://digitalcommons.wku.edu/theses/2151.
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In Poets of Reality, Joseph Hillis Miller seeks to establish T.S. Eliot as a precursor of the modern movement towards romantic. subjectivism. By applying his phenomenological critique, Miller claims that several major modern writers, including Eliot, adopt aesthetics based on various forms of philosophical monism.
The point underlying this thesis is that Eliot stands opposed to any such position and, until 1930, breaks with philosophy, monistic or otherwise. His art from this period is instead characterized by a search for solution in poetic artifice, a pure art. However, with "Ash Wednesday," the poet once again enters fully into the realm of ideas, and by Four Quartets has achieved a synthesis of art and idea that is clearly dualistic in nature and affirms the importance of a progressive, and not destructive tradition. All of this he finally undergirds with a logocentric belief in language as a vehicle to be purified, far from the linguistic nihilism of Miller's "Yale School" colleague, Jacques Derrida.
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Baldon, Martha Claire. "The logic of the Grail on Old French and Middle English Arthurian romance." Thesis, Cardiff University, 2017. http://orca.cf.ac.uk/111220/.
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Approaching Grail narratives as a distinct subgenre of medieval romance, this thesis compares five Old French and Middle English Grail texts: Chrétien de Troyes’ Perceval (c.1190), the Didot-Perceval (c.1200), Perlesvaus (early thirteenth century), the Vulgate Cycle Queste del Saint Graal (c.1225) and Thomas Malory’s Tale of the Sankgreal (1469). Through detailed analysis of the ways these texts explore three primary areas of Christian experience – sight, space and time – this thesis illuminates both concepts shared across these Grail narratives, and characteristics that distinguish them from each other. The comparative analysis of this thesis shows how the Grail romances operate according to a distinct form of logic that furthers their interests in spiritual instruction. This thesis opens with an introduction to the five texts under consideration and an overview of previous scholarship on the Grail narratives. The introduction also discusses some of the conventional features of Arthurian romance and foregrounds the ways in which the Grail romances disrupt and distort these familiar expectations. Chapter One, ‘Hermeneutic Progression: Sight, Knowledge, and Perception’, explores the ways in which the Grail narratives utilise medieval optical theories to highlight hermeneutic contrasts between normative Arthurian aventures and Grail aventures. The knights’ failures in perception in the latter are marked by a geographical disorientation. Chapter Two, ‘Spatial Perception: The Topography of the Grail Quest’, argues that once the knights embark upon the quest of the Holy Grail, they enter a separate temporal framework in which their physical progression is dictated by their spiritual improvement. Chapter Three, ‘Temporal Transformations: Grail Time’, suggests that in the Grail narratives, concepts of time are transformed to allow readers and Grail knights to travel between the Arthurian present and the biblical past. It is through interpreting and understanding the relationship between past and present that the significance of the Grail aventures emerges. The conclusion to this thesis explores contemporary medieval ideas of demonstrative and dialectic argumentation to suggest that the Grail romances function as a visual form of demonstrative argumentation. This thesis argues that this logic distinguishes the Grail narratives from more secular Arthurian romances and enables both Grail knights and readers to develop their appreciation and understanding of the Grail miracles themselves.
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Johnson, Flint. "The abduction and grail romances as literary sources for the fifth and sixth centuries." Thesis, University of Glasgow, 2000. http://theses.gla.ac.uk/3945/.
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The objective of the following thesis is to demonstrate the conceivability that the various romances relating to King Arthur may be used to reconstruct some of the many Welsh literary sources that have been lost to us over the past fifteen centuries. To do this, I will examine two stories written by one of the earliest and the most influential of all the Arthurian romance writers, Chrétien de Troyes. These are the abduction of Guinièvre and the grail. The Preface and Introduction will explain the broad assumptions upon which I base my present volume. First, that there was a British Heroic Age between the fifth and early seventh centuries. Second, that it did produce several literary works of historical value. My theory is that some of these literary sources were at one point written and, though badly marred by progressive influences, have survived in the form of romances. If this theory is correct, the study of all extant early variations of what is essentially one story should reveal a series of independent connections to the Dark Age British. In addition, there is a high probability that this story will be able to be seen in the context of fifth or sixth-century British culture. This is what will be attempted with the abduction and grail narratives. In the second chapter I will summarize the influences of the known sources of Chrétien de Troyes in writing Le Chevalier de la Charrette. This will have two purposes. First, it will serve to point out the degree of influence Chrétien's patron had on him. Second and what is more important, this will lead to the conclusion that Chrétien's primary importance to the stories is his creative manipulation of his knowledge and sources around his patrons' desires; he has not simply invented any aspect of the Matter of Britain.
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Villasenor-Oldham, Victoria Anne. "Multiplicity and gendering the Holy Grail in The Da Vinci Code and the Mists of Avalon." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3237.
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This thesis explores how both texts - The Da Vinci Code and The Mists of Avalon - write femininity onto the Holy Grail in seemingly problematic ways, and the way in which women's voices, through the feminization of the Grail, are often silenced.
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Séguy, Mireille. "Les romans du Graal ou Le signe imaginé /." Paris : H. Champion, 2001. http://catalogue.bnf.fr/ark:/12148/cb37651616p.
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Gonçalves, Francisco de Souza. "O bifrontismo do feminino em A Demanda do Santo Graal: Redescobrindo o substrato céltico das personagens femininas na busca do Santo Cálix." Universidade do Estado do Rio de Janeiro, 2011. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=3007.
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A figura da mulher ocupa significativo papel nas novelas de cavalaria do Ciclo Bretão. Emergindo como um elemento que traz liga às narrativas do lendário artúrico, constitui-se adjuvante essencial e multifacetada na construção dos episódios, numa interação constante com o masculino representado, principalmente, pelos cavaleiros. O Medievo traz à tona uma imagem matizada do feminino: a mulher socialmente vista sob clivagens diversas é refletida na literatura de cavalaria, conforme se pode verificar em A Demanda do Santo Graal. A presença feminina é importantíssima na narrativa, sobretudo na sua tensa relação com a cavalaria, agora ligada ao elemento religioso - monastizada, celibatária e ascética.
O objetivo precípuo de nossos estudos é investigar de que maneira a fôrma sociocultural medieva, na qual foi moldada A Demanda do Santo Graal, se relaciona com seu substrato: as narrativas provindas da cosmovisão inerente ao imaginário céltico. Desta feita, nosso viés analítico verticaliza-se no elemento feminino presente na obra. Mais especificamente, toma-se por escopo a imagem de personagens que refletem a ideologia clerical moralístico-didatizante do século XIII, mas, sobretudo, resgata-se a imagem de personagens imbuídas de singular dualidade; ambigüidade esta que é marca não só do medievo paradoxal concernente ao feminino, mas também de personas literárias concebidas entre dois mundos, dois pólos ideológicos distintos. Em outros termos, fala-se de personagens que são seres ficcionais bifrontes: personagens localizadas entre as herdades e as identidades. Foram tomados como corpora de pesquisa os episódios em que estas damas polidimensionais aparecem e se tornam adjuvantes na ação literária, seja para cooperar, confundir ou prejudicar os cavaleiros que empreendem a sagrada, inefável e venturosa busca do Santo Cálix que dará fim às aventuras do Reino de Logres<br>The figure of woman takes leading role in the novels of chivalry Cycle Breton. Emerging as an element that links the narratives of the legendary Arturo, it constitutes a vital and multifaceted adjuvant in the construction of the episodes in an ongoing interaction with the male represented mainly by knights. The Medieval brings up a nuanced picture of the female: the woman socially viewed under various divisions is reflected in the literature of chivalry, as it can be seen in The Quest for the Holy Grail. The female presence is important in the narrative, especially in its tense relationship with the chivalry, now linked to the religious element monasticated, ascetic and celibaterian.
The main objective of our study is to investigate how the sociocultural medieval mold, in which was shaped The Quest for the Holy Grail relates to its substrate, the narratives originated of the worldview inherent in the Celtic imagination, thus our analytical bias uprights in the female element in this work. More specifically, it becomes a scope which the image of characters reflects the ideology of clerical didactic and moralistic of the thirteenth century. However it redeens the image of characters imbued with singular duality; that ambiguity which is not only a mark of the medieval paradoxical concerning the female, but also of literary characters designed between two worlds, two distinct ideological poles. In other words, it is about personas who are "bifront fictional beings". Characters located between the inheritances and identities. The research bases were the episodes in which these polidimensionals ladies appear and become adjuvants in literary action, either to cooperate, confuse or impair the knights who undertake the sacred, ineffable and "fortunate" quest for the Holy Chalice which will end the adventures of the Kingdom of Logres
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Hall, Kenneth. "Technology and the Grail in Fringe, In Search of Klingsor and Other Nazi Scientist Tales." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/7809.
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Rothstein, Katja. "Der mittelhochdeutsche Prosa-"Lancelot" : eine entstehungs- und überlieferungsgeschichtliche Untersuchung unter besonderer Berücksichtigung der Handschrift Ms. allem. 8017 - 8020 /." Frankfurt am Main [u.a.] : Lang, 2007. http://www.gbv.de/dms/bs/toc/522240860.pdf.
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Palliso, i. Alentorn Llívia. "La matèria artúrica en la literatura catalana medieval i les seves connexions europees." Doctoral thesis, Universitat Rovira i Virgili, 2015. http://hdl.handle.net/10803/321834.
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"La matèria artúrica en la literatura catalana medieval i les seves connexions europees" vol explorar les possibilitats d’aquesta matèria més enllà de l’esfera estrictament catalana. En primer lloc, es proposa l’anàlisi de tots els treballs de Chrétien de Troyes, un autèntic mestre de la “conjointure”, que establí les bases per al posterior desenvolupament de la matèria artúrica. A més, l’últim dels seus "romans", que restà inacabat, proporcionà una excel·lent font d’inspiració per a la següent generació d’escriptors, a la vegada que el Graal va esdevenir el gran misteri capaç de fer-se amb més d’una solució. El fascinant procés de transformació del Graal ens mena cap a la literatura catalana amb una forta convicció que ha d’haver alguna cosa més que allò que realment conservem. Quatre casos (La Stòria del Sant Grasal, els fragment del Tristany, La Faula de Guillem de Torroella i La Tragèdia de Lançalot de Mossèn Gras) exemplifiquen diferents resultats de la difusió a través de tota Europa de les històries del rei Artús i els cavallers de la Taula Rodona. Les conclusions sobre això són clares: potser el material seleccionat pugui ésser ampliat, però hem de pensar que el profund coneixement del context històric de l’època, els treballs codicològics i l’estudi dels manuscrits escrits en altres llengües són les assignatures pendents en aquesta qüestió.<br>"La matèria artúrica en la literatura catalana medieval i les seves connexions europees" quiere explorar las posibilidades de esta temática más allá del ámbito estrictamente catalan. Para hacerlo, la tesis propone analizar todos los trabajos de Chrétien de Troyes, un auténtico maestro de la “conjointure”, que estableció las bases para el posterior desarrollo de la materia artúrica. Además, el último de sus "romans", que quedó inacabado, proporcionó una excelente fuente de inspiración para la siguiente generación de escritores, al mismo tiempo que el Grial se convirtió en el gran misterio capaz de dar con más de una solución. El fascinante proceso de transformación del Grial nos conduce hacia la literatura catalana con una fuerte convicción que tiene que haber alguna cosa más que lo que realmente se ha conservado. Cuatro casos (La Stòria del Sant Grasal, los fragmentos del Tristany, La Faula de Guillem de Torroella y La Tragèdia de Lançalot de Mossèn Gras) ejemplifican diferentes resultados de la difusión por toda Europa de las historias del rey Arturo y sus caballeros de la Tabla Redonda. Las conclusiones sobre esto son claras: quizás el material seleccionado pueda ser ampliado, pero tenemos que pensar que el profundo conocimiento del contexto histórico de la época, los trabajos codicológicos y el estudio de los manuscritos escritos en otras lenguas son las asignaturas pendientes sobre esta cuestión.<br>"La matèria artúrica en la literatura catalana medieval i les seves connexions europees" wants to explore the possibilities of this subject beyond the Catalan sphere. First, it is proposed the analysis of all works of Chrétien de Troyes, a truly master of “conjointure”, that established the bases of the later development of Arthurian Matter. In addition, the last of his "romans", without a proper end, provided an excellent background to the next generation of writers, and the Grail became a huge mystery with a more than one solution. The fascinating process of Grail’s transformation leads us to the Catalan literature with a strong certitude that it had to be more than what we actually preserve. Four cases (La Stòria del Sant Grasal, the Tristan fragments, La Faula of Guillem de Torroella and La Tragèdia de Lançalot of Mossèn Gras) exemplifies different results of the spread across Europe of the stories about King Arthur and the Knights of the Round Table. The conclusions on this topic are clear: maybe the selected material for this work can be enlarged, but we must keep in mind that a detailed knowledge of historical context, the codicology works and the study of other language’s manuscripts are the pending issues in this subject.
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Bekhouche, Alicia. "A la conquête du Graal ? : Réécritures et avatars du mythe du Graal dans la littérature populaire et la culture de masse contemporaines." Phd thesis, Université de Haute Alsace - Mulhouse, 2011. http://tel.archives-ouvertes.fr/tel-00704520.
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De nos jours, les avatars et les réécritures du mythe du Graal puisent leur source d'inspiration dans la Littérature puisque la première mention littéraire de ce schème apparaît à la fin du XIIeme siècle dans Perceval ou le conte du Graal de Chrétien de Troyes. De par des origines ambivalentes (païennes et chrétiennes), le Graal s'est ancré dans l'imaginaire collectif comme un mythe rédempteur ou tout du moins, étant un idéal à atteindre. Si la quête médiévale chevaleresque demande une rigueur incomparable et une pureté d'âme et de corps pour mériter la révélation des mystères du Saint Calice aujourd'hui, les héros de la littérature populaire et de la culture de masse accèdent à ses secrets par le vecteur d'en-quêtes simplifiées. La dévaluation du mythe s'effectue à mesure des transferts qui s'opèrent dans différents genres, supports et médias mais également dans la réception que la société a du mythe du Graal. De Saint Graal à Graal, de Littérature à paralittérature, de la Bible à la télévision, ce travail cherche à mettre en évidence les différents aspects de ces transferts et tente de prouver qu'il existe des résonances et des points d'articulation entre ces domaines par l'interface du Graal. Dans ce sens, le motif sert aussi de porte-à-faux à une culture et à une littérature dites " mineures " qui peuvent toutefois, sous l'effet du Graal, devenir scientifiques et apporter de nouvelles pistes de réflexion sur le mythe, la société et la Littérature.
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Torres, Josà William Craveiro. "AlÃm da cruz e da espada : acerca dos resÃduos clÃssicos d'a demanda do Santo Graal." Universidade Federal do CearÃ, 2010. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=11702.
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CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior<br>O presente trabalho tem como principais objetivos apontar os trechos de teor clÃssico presentes n' A Demanda do Santo Graal (ediÃÃo portuguesa), novela de cavalaria da primeira metade do sÃculo XIII, e explicar o porquà de excertos dessa natureza no Ãmbito da obra literÃria em questÃo. Procura, ainda, mostrar de que modo a Idade MÃdia realiza uma retomada de valores da AntigÃidade clÃssica; sobretudo no que concerne à postura do cavaleiro medieval: chegou-se à conclusÃo de que este tinha o herÃi que se movimenta nas epopÃias e nos mitos greco-romanos como ideal de bravura, de virtude e de lealdade, bem como à de que o imaginÃrio deste (ou âcriado em torno desteâ) era praticamente o mesmo daquele, por conta da semelhanÃa existente entre os contextos histÃrico-literÃrios em que surgiram ambos. A teoria que serve de base para a realizaÃÃo deste trabalho à a da Residualidade, elaborada por Roberto Pontes, crÃtico, ensaÃsta e professor da graduaÃÃo e do programa de pÃs-graduaÃÃo em Letras da Universidade Federal do Cearà â UFC. Durante a pesquisa, os conceitos de imaginÃrio e residual, propostos, respectivamente, pela Ãcole des Annales e por Raymond Williams, crÃtico literÃrio de orientaÃÃo marxista, fazem-se tambÃm presentes. No que concerne à metodologia, deve-se dizer que a pesquisa foi realizada, basicamente, por meio da leitura de clÃssicos da Literatura das antigas GrÃcia e Roma (IlÃada e OdissÃia, de Homero; Eneida, de VirgÃlio; e Metamorfoses, de OvÃdio) e de novelas de cavalaria portuguesas (Amadis de Gaula e, principalmente, A Demanda do Santo Graal), bem como por meio da Literatura Comparada, visto que houve um trabalho de confronto entre esses textos. Por fim, esta investigaÃÃo mostra-se relevante à comunidade acadÃmica porque aborda, numa novela tipicamente medieval e cristà (estamos falando d‟A Demanda do Santo Graal), um importante aspecto das novelas de cavalaria: o clÃssico, tÃo negligenciado pela maioria dos estudiosos que se debruÃam sobre as novelas do ciclo bretÃo.<br>The present work has as main objective to point the passages of classic content presented in the medieval novel A Demanda do Santo Graal (portuguese edition of The Quest for the Holy Grail), a novel about chivalry of the first half of the thirteenth century, in order to explain the reason why exist these passages in the novel in question. Another objective is to show how the Middle Ages realize a retaking of values of classical Antiquity. especially with regard to the attitude of the medieval knight: this was the greek hero (or roman hero) as the ideal of bravery, virtue and loyalty; the imaginary of medieval cavalier (or "the imaginary created around of the medieval knight") was practically the same imaginary of greek hero (or roman hero), because of the similarity between the historical and literary context in which they both arose. The theory that underpins this work is the Teoria da Residualidade, created by Robe1to Pontes, critic, essayist and professor of Literature of the Universidade Federal doo Cearà - UFC. During the research, the concepts of imaginary and residual, proposed respectively by the Ãcole des Annales and Raymond Williams, a marxist literary critic, are also present. With regard to the methodology, it must be said that the research was conducted, at first, through readings of classics of the ancient Literature (Homer's Iliand and Odyssey, Vergil's Aeneid and Ovid's Metamorphoses) and portuguese novels about chivalry (Amadis de Gaula and, especially, A Demanda do Santo Graal) and through comparative literature, since there was a work of comparison between these texts. Finally, this research is relevant to the academic community because in mentions, in a medieval and christian novel (A Demanda do Santo Graal), an important aspect of the novels about chivalry: the classic, so much neglected by most scholars which deal with the novels of the breton cycle.
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Butts, IV Leverett Belton. "Heroes with a Hundred Names: Mythology and Folklore in Robert Penn Warren's Early Fiction." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/english_theses/71.
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This dissertation examines Robert Penn Warren‘s use of Arthurian legend, Judeo-Christian folklore, Norse mythology, and ancient vegetation rituals in his first four novels. It also illustrates how the use of these myths helps define Warren‘s Agrarian ideals while underscoring his subtle references to these ideals in his early fiction.
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Amiri, Imen. "Le mythe du Graal à la lumière de Babel : la parole dans la Queste del Saint Graal et l'Estoire del Saint Graal." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2011. http://tel.archives-ouvertes.fr/tel-01065738.
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Le mythe du Graal, mythe littéraire, créé par Chrétien de Troyes, rencontre des ramifications avec le mythe de Babel, mythe cosmogonique de la pluralité des langues. Peut-on considérer le mythe du Graal comme un mythe de la parole, perdue, recherchée, retrouvée ? L'aventure de l'évangélisation dans l'Estoire del Saint Graal, inspirée des croisades et des missions franciscaines, et la quête du Graal dans la Queste convergent dans leur dynamique vers une unité que symbolise le Graal mais qui empêche la parole. Elles tendent vers le rassemblement et la réunification des matériaux d'un chaos primordial créé sous l'égide de Babel. À un certain chaos, à une certaine fragmentation de la parole se substitue une parole unificatrice relative au Un originel qui ordonne le monde en lui donnant un sens.Cette unification de la parole : une seule parole, celle de Dieu, pour une seule bouche, celle du peuple chrétien, suit le schéma inverse de Babel. En effet l'Estoire ne retrace pas l'éparpillement d'un peuple maudit mais représente l'archétype d'un exode bien encadré d'un peuple choisi et dont la finalité n'est pas de défier Dieu mais de le servir ; c'est pourquoi Dieu lui octroie le privilège et la force des mots. Dans la Queste, le commencement des aventures des chevaliers de la table ronde le jour de la Pentecôte inscrit d'ores et déjà les événements dans la réconciliation post-babélique offerte aux apôtres pour répandre la bonne parole. La Pentecôte qui inaugure le début de la quête du Graal dans la Queste, inaugure de même l'introduction de la nouvelle parole des envoyés de Dieu, qui dès le début du récit en signe l'orientation mystique annihilant ainsi tout héritage courtois.
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Paz, Demétrio Alves. "Galaaz : a cristianização do herói do Graal." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2004. http://hdl.handle.net/10183/3895.
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O objetivo deste trabalho é analisar e identificar a cristianização da novela de cavalaria portuguesa A Demanda do Santo Graal, na figura de sua personagem principal, Galaaz, em relação a dois outros romances: Perceval, de Chrétien de Troyes e Parsifal, de Wolfran von Eschenbach. Em nossa análise utilizamos os estudos de Mikhail Bakhtin, Walter Benjamin, Tzevetan Todorov, Arnold Hauser, Eric Auerbach e Joseph Campbell. É nosso propósito mostrar de que forma se deu a cristianização da figura do herói do Graal e de que maneira a Igreja estava ligada a esse projeto.
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Seman, Taylor J. "Dickens against the Grain: Gendered Spheres and Their Transgressors in Bleak House, Hard Times, and Great Expectations." Ohio University Honors Tutorial College / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1307384151.
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Stout, Julien. "«Ne sai comment ot non mon père»: rapports lignagers et écriture romanesque dans le Conte du graal et ses continuations." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=106434.
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The Conte du graal (1190), Chrétien de Troyes' last romance, was left unfinished by its author. Its four Continuations (1190 to 1235) form a narrative cycle of over 60 000 lines – far beyond the 10 000 lines of the original text. Remarkably, the authors of the Continuations show little regard for the rule of unobtrusiveness, which Gérard Genette considers a corollary of the art of continuation (Genette, 1982). In betraying Chrétien's narrative legacy, his unfaithful successors paradoxically ensure its continued relevance. The theme of lineage suggests the idea of a heritage shared by a community of individuals and, as such, serves as a metatextual tool, allowing the authors of the Continuations to reconcile – in sometimes playful manner – two conflicting aims: the urge to form a family (a synchronic narrative whole) with the Conte du Graal, and the need to question the legacy and diachrony of its composition – each step of which mirrors a specific moment in the history of literature throughout the 12th and 13th centuries. This paper combines jaussian reception theories with the theories of paratextuality and « New Philology », in order to define the poetic distinctness of the entire body of work, from conception to reception. We shall see that the various authors of the Continuations seek to defy their readers' expectations regarding the codes of continuation and, more generally, of the romance genre, but that the copyists may adapt the narrative cycle to the particular fashion of their time. Since both authors and transcribers use the metaphor of filiation profusely as a form of mise en abyme of their own act of rewriting or codicological manipulation, the dynamics of lineage constitute the main thread of this paper, which aims to capture the imagination of a XIIth century French writer (Gallais, 1988) and of his future audience for centuries to come.<br>Le Conte du Graal (1190), dernier roman de Chrétien de Troyes, est demeuré inachevé par son auteur. Les quatre Continuations (1190 à 1235) qui le prolongent forment avec lui un cycle narratif d'environ 70 000 vers, soit 60 000 de plus que le texte original. Force est de constater que les continuateurs ne respectent pas l'impératif de discrétion que Gérard Genette voyait comme étant corollaire à la continuation (Genette, 1982). En successeurs infidèles, ils trahissent le patrimoine narratif légué par Chrétien afin d'en garantir, paradoxalement, l'actualité. Parce qu'il suggère l'idée d'un héritage partagé par une communauté d'individus, le thème du lignage sert d'outil métatextuel aux auteurs des Continuations pour réconcilier – parfois avec ludisme – les deux principes divergents qui régissent leur écriture, à savoir la nécessité de former une famille (un ensemble narratif synchronique) avec le Conte du Graal et celle de s'interroger sur l'héritage et la diachronie de la composition de ce même ensemble, dont les étapes correspondent à différents moments de l'histoire littéraire des XIIe et XIIIe siècles. En jumelant les théories jaussiennes de la réception avec celles de la paratextualité et de la « nouvelle philologie », le présent mémoire aura pour dessein de cerner la spécificité poétique des œuvres du corpus, tant du point de vue de leur conception que de celui de leur réception. Si l'on verra que les continuateurs ont cherché à déjouer les attentes du lectorat concernant les codes de la continuation et, plus généralement, du genre romanesque, on s'attardera également sur les moyens mis en œuvre par les copistes pour rendre les Continuations plus conformes aux goûts de l'époque. Du fait que les auteurs et les scribes usent souvent de la métaphore filiale pour mettre en abyme leur propre démarche de réécriture ou de refonte codicologique, les rapports lignagers serviront de fil conducteur à cette analyse qui cherche à esquisser un portrait de « l'imaginaire d'un romancier français du XIIe siècle » (Gallais, 1988) et de son public des siècles suivants.
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Silva, Rafaela Câmara Simões da. "Da Bíblia à Estória do Santo Graal : a linguagem Divina e os Sonhos dos Eleitos." Dissertação, Porto : [Edição de Autor], 2009. http://aleph.letras.up.pt/F?func=find-b&find_code=SYS&request=000191765.
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"A Bíblia é senão a fonte de tudo, uma referência para tudo", disse um dia Le Goff. A Histoire del Saint Graal, romance francês do século XIII, exemplifica esta ideia. Estabelece-se, assim, um diálogo entre o romance e as Escrituras Sagradas, equacionando-se desta forma um jogo de influências, de analogias e sentidos que se escondem nas entrelinhas da Estoire.Nos sonhos e visões da Estoire surge a diversidade das ressonâncias bíblicas. O romance inicial do ciclo do Graal funda assim os seus alicerces na fonte sagrada.
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Silva, Rafaela Câmara Simões da. "Da Bíblia à Estória do Santo Graal : a linguagem Divina e os Sonhos dos Eleitos." Master's thesis, Porto : [Edição de Autor], 2009. http://hdl.handle.net/10216/10729.
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"A Bíblia é senão a fonte de tudo, uma referência para tudo", disse um dia Le Goff. A Histoire del Saint Graal, romance francês do século XIII, exemplifica esta ideia. Estabelece-se, assim, um diálogo entre o romance e as Escrituras Sagradas, equacionando-se desta forma um jogo de influências, de analogias e sentidos que se escondem nas entrelinhas da Estoire.Nos sonhos e visões da Estoire surge a diversidade das ressonâncias bíblicas. O romance inicial do ciclo do Graal funda assim os seus alicerces na fonte sagrada.
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Laranjinha, Ana Sofia. "Artur, Tristão e o Graal : a escrita romanesca no ciclo do Pseudo-Boron." Tese, Porto : [Edição do Autor], 2005. http://aleph.letras.up.pt/F?func=find-b&find_code=SYS&request=000163284.
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Artur, Tristão e o Graal. A escrita romanesca no ciclo do Pseudo Boron é uma tentativa de reconstituição dos processos de escrita que terão estado na origem deste conjunto textual e que o individualizam face ao primeiro ciclo arturiano em prosa, geralmente designado «Lancelot-Graal». O estudo do motivo da fonte (cap. I), da figura da Besta Ladrador (cap. II), da personagem régia (cap. III) e do tema do ódio entre linhagens (cap. IV) permitiu a detecção de muitosaspectos que unem os textos do ciclo mas levou também à constatação da heterogeneidade de alguns dos romances que o constituem, nomeadamente ao longo Tristan en Prose, onde foi possível identificar pelo menos quatro redactores com técnicas de escritra e objectivos bem diferenciados. A Suite du Merlin e a primeira fase de redacção de TP, que partilham inúmeros traços ideológicos e processos de escrita, terão sido os primeiros textos propositadamente redigidos para integrar o novo ciclo, associando-se aos romances do primeiro ciclo arturiano em prosa (Estoire del Saint Graal, Merlin, Lancelot en Prose, Queste del Saint Graal e Mort Artu primitivas). A segunda fase de redacção do Tristan en Prose é uma tentaiva de autonomização deste romance, tendência que os terceiro e quarto redactores contrariam fortalecendo os laços com a Suite e a Queste. A demanda do Santo Graal (refundição da Queste primitiva paralela à Queste da Vulgata), por fim, une habilmente fios temáticos e narrativos (por vezes divergentes) oriundos da Suite du Merlin e de várias fases de redacção do Tristan en Prose, mas apresenta também algumas especificidades no tratamento de personagens e temas herdados destes textos.
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Laranjinha, Ana Sofia. "Artur, Tristão e o Graal : a escrita romanesca no ciclo do Pseudo-Boron." Doctoral thesis, Porto : [Edição do Autor], 2005. http://hdl.handle.net/10216/14296.
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Artur, Tristão e o Graal. A escrita romanesca no ciclo do Pseudo Boron é uma tentativa de reconstituição dos processos de escrita que terão estado na origem deste conjunto textual e que o individualizam face ao primeiro ciclo arturiano em prosa, geralmente designado «Lancelot-Graal». O estudo do motivo da fonte (cap. I), da figura da Besta Ladrador (cap. II), da personagem régia (cap. III) e do tema do ódio entre linhagens (cap. IV) permitiu a detecção de muitosaspectos que unem os textos do ciclo mas levou também à constatação da heterogeneidade de alguns dos romances que o constituem, nomeadamente ao longo Tristan en Prose, onde foi possível identificar pelo menos quatro redactores com técnicas de escritra e objectivos bem diferenciados. A Suite du Merlin e a primeira fase de redacção de TP, que partilham inúmeros traços ideológicos e processos de escrita, terão sido os primeiros textos propositadamente redigidos para integrar o novo ciclo, associando-se aos romances do primeiro ciclo arturiano em prosa (Estoire del Saint Graal, Merlin, Lancelot en Prose, Queste del Saint Graal e Mort Artu primitivas). A segunda fase de redacção do Tristan en Prose é uma tentaiva de autonomização deste romance, tendência que os terceiro e quarto redactores contrariam fortalecendo os laços com a Suite e a Queste. A demanda do Santo Graal (refundição da Queste primitiva paralela à Queste da Vulgata), por fim, une habilmente fios temáticos e narrativos (por vezes divergentes) oriundos da Suite du Merlin e de várias fases de redacção do Tristan en Prose, mas apresenta também algumas especificidades no tratamento de personagens e temas herdados destes textos.
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Schenkel, Luciana de Moraes. "A Demanda do Santo Graal e seus entrecruzamentos." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/16229.
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Este trabalho é um estudo comparativo entre dois romances de Chrétien de Troyes, Lancelot ou o cavaleiro da Charrete e Perceval ou o Romance do Graal e A Demanda do Santo Graal. Através desse estudo, pretende-se mostrar que a leitura de cada romance, separadamente, pode levar a enganos interpretativos, uma vez que não se considera o contexto geral em que as obras foram produzidas. Dessa forma, neste trabalho busca-se uma leitura mais completa dessas obras que se daria em três etapas: a leitura que cada autor fez do mito do Rei Artur, que foi sendo aos poucos construído, a leitura do contexto medieval feita por cada autor e as diferentes leituras que um autor leva a enxergar no outro, o que não seria possível sem o cruzamento dos textos. Para tanto, serão perseguidos nas obras o tratamento dado às mulheres e a construção da figura do herói nos três romances. Através dessas linhas investigativas pretende-se demonstrar não só aquilo que as três obras possuem de traços em comum, mas principalmente, o que possuem de diferente. Primeiramente, será revisada a fortuna crítica a respeito da matéria da Bretanha, buscando mostrar o que foi afirmado de mais relevante sobre esses dois aspectos perseguidos, pelos principais autores que se debruçaram especificamente sobre as obras estudadas e sobre esse conjunto de histórias que envolvem o rei Artur e sua corte. Num segundo momento, será explicitada a teoria da intertextualidade enfatizando a contribuição indispensável do olhar intertextual para a análise das obras. A partir disso, será feito o cruzamento dos três textos para que se comprove a mudança que a teoria da intertextualidade proporciona à leitura das três obras. Ao fazer uso das teorias da literatura comparada, particularmente a intertextualidade, pretende-se demonstrar que A Demanda do Santo Graal é uma continuação de Lancelot ou o cavaleiro da charrete e de Perceval ou o romance do Graal, em que a presença dos elementos cristãos vai aumentando gradativamente, e não seu oposto como afirma a maioria dos especialistas na matéria da Bretanha.<br>This work is a comparative study of two novels of Chrétien de Troyes, Lancelot or the Knight of the chariots and Perceval or the Romance of the Grail and The demand of the Holy Grail. Through this study it intends to show that the reading of each novel, separately, can lead to misleading interpretations, since it is not considered the general context in which the works were produced. Thus, in this paper it aims a more complete reading of these works that would be in three stages: the reading that each author has made from the myth of King Arthur, which was built in phases, the reading of medieval context made by each author and the different readings that one author leads to see the other, which would not be possible without the crossing of the texts. Thus, it will be pursued in the works the treatment directed to women and the construction of the figure of the hero in three novels. Through these investigative lines it intendeds to demonstrate not only what the three works have in common features, but mainly, which are different. Firstly, it will review the critical fortune on the matter of Britain, seeking to show that the most relevant was said about these two important aspects pursued by the major authors that focused specifically on the works studied and on the stories involving the king Arthur and his court. Secondly, will be outlined the theory of intertextuality emphasizing the indispensable contribution of the gaze to the intertextual analysis of the works. From this, it will be the intersection of the three texts to prove the change that the theory of intertextuality provides the reading of three works. By making use of the theories of comparative literature, particularly the intertextuality, it intends to demonstrate that The demand of the Holy Grail is a continuation of Lancelot or the Knight of the chariots and of Perceval or the Romance of the Grail, in which the presence of Christian elements increasing gradually, and not its opposite, as affirm the majority of experts in the matter of Brittany.
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Rabaçal, Eduarda Maria. "Louvor e condenação da rainha Genevra : no romance arturiano em prosa." Dissertação, Porto : [Edição do Autor], 2013. http://aleph.letras.up.pt/F?func=find-b&find_code=SYS&request=000228811.
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A figura da rainha Genevra é uma das mais relevantes e ao mesmo tempo mais complexas personagens do romance arturiano. Para melhor perceber o seu papel no mundo governado pelo rei Artur, partir-se-á do texto que se encontra no ms. 752BNF, referente ao Lancelot (versão cíclica) e no ms. 2594 da Biblioteca Nacional de Viena, referente à Demanda do Santo Graal, demonstrando, através da reflexãoacerca do louvor e das condenações da rainha, como esta se assume como um elemento fundamental para a prossecução do projeto ideológico do romance.
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Rabaçal, Eduarda Maria. "Louvor e condenação da rainha Genevra : no romance arturiano em prosa." Master's thesis, Porto : [Edição do Autor], 2013. http://hdl.handle.net/10216/72472.
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A figura da rainha Genevra é uma das mais relevantes e ao mesmo tempo mais complexas personagens do romance arturiano. Para melhor perceber o seu papel no mundo governado pelo rei Artur, partir-se-á do texto que se encontra no ms. 752BNF, referente ao Lancelot (versão cíclica) e no ms. 2594 da Biblioteca Nacional de Viena, referente à Demanda do Santo Graal, demonstrando, através da reflexãoacerca do louvor e das condenações da rainha, como esta se assume como um elemento fundamental para a prossecução do projeto ideológico do romance.
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Pritchard, Jacqueline Susan Ann. "A study of the the structure of the first two continuations to the Conte del Graal of Chretien de Troyes." Thesis, University of Oxford, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.305042.
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Torres, José William Craveiro. "Além da cruz e da espada: acerca dos resíduos clássicos d'a demanda do Santo Graal." www.teses.ufc.br, 2010. http://www.repositorio.ufc.br/handle/riufc/8077.
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TORRES, José William Craveiro. Além da cruz e da espada: acerca dos resíduos clássicos d'a demanda do Santo Graal. 2010. 363f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2010.<br>Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-05-16T17:15:23Z
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Previous issue date: 2010<br>The present work has as main objective to point the passages of classic content presented in the medieval novel A Demanda do Santo Graal (portuguese edition of The Quest for the Holy Grail), a novel about chivalry of the first half of the thirteenth century, in order to explain the reason why exist these passages in the novel in question. Another objective is to show how the Middle Ages realize a retaking of values of classical Antiquity, especially with regard to the attitude of the medieval knight: this was the greek hero (or roman hero) as the ideal of bravery, virtue and loyalty; the imaginary of medieval cavalier (or "the imaginary created around of the medieval knight") was practically the same imaginary of greek hero (or roman hero), because of the similarity between the historical and literary contexts in which they both arose. The theory that underpins this work is the Teoria da Residualidade, created by Roberto Pontes, critic, essayist and professor of Literature of the Universidade Federal do Ceará – UFC. During the research, the concepts of imaginary and residual, proposed respectively by the École des Annales and Raymond Williams, a marxist literary critic, are also present. With regard to the methodology, it must be said that the research was conducted, at first, through readings of classics of the ancient Literature (Homer’s Iliad and Odyssey, Vergil’s Aeneid and Ovid’s Metamorphoses) and portuguese novels about chivalry (Amadis de Gaula and, especially, A Demanda do Santo Graal) and through comparative literature, since there was a work of comparison between these texts. Finally, this research is relevant to the academic community because it mentions, in a medieval and christian novel (A Demanda do Santo Graal), an important aspect of the novels about chivalry: the classic, so much neglected by most scholars which deal with the novels of the breton cycle.<br>O presente trabalho tem como principais objetivos apontar os trechos de teor clássico presentes n' A Demanda do Santo Graal (edição portuguesa), novela de cavalaria da primeira metade do século XIII, e explicar o porquê de excertos dessa natureza no âmbito da obra literária em questão. Procura, ainda, mostrar de que modo a Idade Média realiza uma retomada de valores da Antigüidade clássica; sobretudo no que concerne à postura do cavaleiro medieval: chegou-se à conclusão de que este tinha o herói que se movimenta nas epopéias e nos mitos greco-romanos como ideal de bravura, de virtude e de lealdade, bem como à de que o imaginário deste (ou “criado em torno deste”) era praticamente o mesmo daquele, por conta da semelhança existente entre os contextos histórico-literários em que surgiram ambos. A teoria que serve de base para a realização deste trabalho é a da Residualidade, elaborada por Roberto Pontes, crítico, ensaísta e professor da graduação e do programa de pós-graduação em Letras da Universidade Federal do Ceará – UFC. Durante a pesquisa, os conceitos de imaginário e residual, propostos, respectivamente, pela École des Annales e por Raymond Williams, crítico literário de orientação marxista, fazem-se também presentes. No que concerne à metodologia, deve-se dizer que a pesquisa foi realizada, basicamente, por meio da leitura de clássicos da Literatura das antigas Grécia e Roma (Ilíada e Odisséia, de Homero; Eneida, de Virgílio; e Metamorfoses, de Ovídio) e de novelas de cavalaria portuguesas (Amadis de Gaula e, principalmente, A Demanda do Santo Graal), bem como por meio da Literatura Comparada, visto que houve um trabalho de confronto entre esses textos. Por fim, esta investigação mostra-se relevante à comunidade acadêmica porque aborda, numa novela tipicamente medieval e cristã (estamos falando d‟A Demanda do Santo Graal), um importante aspecto das novelas de cavalaria: o clássico, tão negligenciado pela maioria dos estudiosos que se debruçam sobre as novelas do ciclo bretão.
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Marques, Roberta Ramos. "Deslocamentos Armoriais: da afirmação épica do popular na Nação Castanha de Ariano Suassuna ao corpohistória do Grupo Grial." Universidade Federal de Pernambuco, 2008. https://repositorio.ufpe.br/handle/123456789/7240.
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Previous issue date: 2008<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>O Movimento Armorial tem tido, antes e a partir de sua oficialização (1970),
os mais variados resultados estéticos nos diversos campos artísticos. Porém, o
conjunto mais significativo de formulações teóricas a seu respeito esteve
sempre a cargo de seu criador e maior incentivador, Ariano Suassuna. Este
escritor construiu até hoje uma trajetória como artista, professor, teórico e
gestor cultural, coerente com os princípios armoriais e com a sua
interpretação da cultura brasileira, identificada como uma Nação Castanha .
Nosso objetivo, neste trabalho, é discutir, por um lado, a complementaridade
entre discurso e obra de Ariano Suassuna quanto à afirmação épica das
identidades populares (Canclini, 2005) subjacente à Nação Castanha . E,
por outro, de que forma essa afirmação é retomada e reforçada nas
experiências de dança armorial desde a década de 1970; mas também
reformulada pelo conjunto da trajetória do Grupo Grial (existente desde 1997
e atuante até hoje), através da noção de corpo‐história (Louppe, 2004),
implicado em todo o percurso do grupo e levado como questão para seus
últimos espetáculos. Consideramos, na nossa discussão, variados depoimentos,
artigos, entrevistas de Ariano Suassuna, mas em especial seu romance
armorial brasileiro , A Pedra do Reino (1971), e sua tese de livre docência, A
Onça Castanha e a Ilha Brasil (1976). No âmbito da dança, discutimos as várias
tentativas de realizar uma dança armorial desde a década de 1970, sobretudo
os investimentos no Balé Armorial do Nordeste e no Balé Popular do Recife;
mas focalizamos nossa atenção no trabalho do Grupo Grial, especialmente em
três espetáculos representativos das suas diferentes fases: A Demanda do
Graal Dançado (1998); As Visagens de Quaderna ao Sol do Reino Encoberto
(2000); e Ilha Brasil Vertigem (2006)
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Jönsson, Ola. "Describing Sound : Translating Metaphors in Bob Dylan by Greil Marcus: Writings 1968–2010." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-98106.
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Focusing on a source text of music journalism, this study sets out to investigate the role of metaphors in translation techniques from English to Swedish. The study turns to the conceptual metaphor, as presented by George Lakoff and Mark Johnson (1980), and considers a range of translation strategies prescribed by scholars such as Christina Schäffner (2004, 2012) and Grace Crerar-Bromelow (2007). Drawing upon these sources, the aim is to quantify, categorize, and translate the metaphors of the source text, premised on Lakoff and Johnson’s three conceptual categories of structural, orientational, and ontological metaphors. Focusing on their frequency, overlaps, and role in the source and target texts, the study traces what bearing these conceptual categories have on the translation practice. The results show that Lakoff and Johnson’s conceptual metaphors have great merit in the translation of metaphors by helping the translator capture nuances, double meanings, and idiomatic properties in both source and target texts and contexts.
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Février, Etienne. ""Le monde dans un grain de sable" : l'écriture miniaturiste de Steven Millhauser." Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20131.
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Dans un bref essai intitulé « The Ambition of the Short Story », Steven Millhauser proclame de manière volontairement provocatrice la supériorité artistique de la nouvelle sur le roman. Il s’appuie pour ce faire sur un vers du poète romantique William Blake, dont il réoriente radicalement le propos. Tandis que le poète invite à voir « un monde dans un grain de sable », Millhauser affirme qu’il est possible de voir le monde dans un grain de sable. Aux grandes fresques romanesques, Steven Millhauser préfère ainsi une écriture concise et économe, capable de transformer certains « grains de sable » (c’est-à-dire des détails infimes, en apparence ordinaires ou triviaux) en autant de points d’ancrage, permettant à la fiction de dire « le monde ». L’art fictionnel de Steven Millhauser n’est donc pas tant une écriture du minuscule qu’une écriture miniaturiste. Passant sans ambages de l’infime à l’immense et du relatif à l’absolu, la fiction millhausérienne est à la fois un art du détail et de la dé-taille. Dans son tout premier essai, « The Fascination of the Miniature », l’auteur écrit qu’il n’y a « aucune différence entre un grain de sable et une galaxie », soulignant ainsi le rôle fondateur du regard. Car tout dépend du regard et de ses échelles. Le présent travail cherche à expliquer par quels moyens Steven Millhauser met en place une écriture miniaturiste, non seulement dans ses récits brefs, mais également dans son œuvre romanesque. Pour ce faire, cette étude met en évidence la réflexion sur le détail et sur le regard que l’auteur développe à la fois dans ses écrits fictionnels et non fictionnels. Entre théorie et fiction, Millhauser explore les implications « poéthiques » du regard. Il invente un regard métamorphique, conjuguant l’attention et l’imagination, afin de déceler le tout dans le fragment et l’essentiel dans l’insignifiant. L’écriture miniaturiste de Millhauser a un territoire et une échelle privilégiés : la petite ville de Nouvelle-Angleterre, et les « vies minuscules » (l’expression est de l’écrivain Pierre Michon) de ses habitants. En effet, les récits consacrés au quotidien pavillonnaire et suburbain s’offrent le plus souvent comme des fables miniatures, interrogeant la condition humaine. Aux yeux de Millhauser, les grands maîtres réalistes ont « brillamment épuisé une méthode [et] une certaine façon de voir le monde ». Avec son écriture miniaturiste, Steven Millhauser propose justement une certaine méthode et un certain regard. Il invite son lecteur à voir le monde au prisme du « grain de sable » – à suspendre quelque peu son incrédulité, avec les mots de Coleridge, sans pour autant se laisser tromper. Steven Millhauser apporte ainsi sa pierre – ou son grain de sable – à la fiction américaine contemporaine, en proposant moins une écriture du soupçon qu’une écriture du souci, tentant d’inscrire dans le texte ce que l’auteur présente, par le détour d’une périphrase, comme « cette chose éblouissante qu’il faut bien appeler réalité »<br>In a brief essay entitled “The Ambition of the Short Story,” Steven Millhauser provocatively asserts the artistic superiority of the short story over the novel. In order to support his argument, Millhauser quotes Romantic poet William Blake, while profoundly altering the original meaning of Blake’s line. Indeed, while the poet wishes “to see a world in a grain of sand,” Millhauser deems it possible to see the world in a grain of sand. Steven Millhauser thus favors a concise, pithy style capable of turning a few grains of sand (that is to say, some tiny and apparently trifling details) into windows, enabling the writer to engage with “the world.” Moving seamlessly from the minuscule to the gigantic, and from the particular to the universal, Millhauser’s art of fiction may be considered a miniaturist writing. In his very first essay, “The Fascination of the Miniature,” the author claims that there is “no difference between a grain of sand and a galaxy,” thus drawing attention to the decisive role played by the human eye. Indeed, everything hinges on the scale one adopts. This study aims at explaining how Steven Millhauser invents a miniaturist type of writing, not only in his short fiction, but also in his novels. Combining theory and fiction, Millhauser explores the “poethical” (a neologism coined by French poet Michel Deguy) importance of attention to detail. Merging attention and imagination, the author develops a metamorphic gaze, able to reveal the whole within the fragment and the essential within the insignificant. Millhauser’s miniaturist writing has a territory and a scale of its own: the New England small town. The narratives devoted to suburban daily life are most often presented as miniature fables, exploring the human condition. According to Millhauser “the great realist masters brilliantly exhausted a method, a way of looking at the world.” Steven Millhauser’s own minute, miniaturist writing offers such a method and way of looking at the world. He invites his reader to see the world through the prism of the “grain of sand”—to somehow suspend his disbelief, as Coleridge would say, yet without being deceived. With his miniaturist eye Steven Millhauser contributes to the renewal of contemporary American fiction, going beyond suspicion while trying to describe and inscribe what he calls “the blazing thing that deserves the name of reality.”
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Santos, Luiz Felipe Pereira Mello dos. "A mulher como representação do bem e do mal n A Demanda do Santo Graal e n A Divina Comédia." Universidade do Estado do Rio de Janeiro, 2007. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=8333.
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Questo lavoro ha come oggettivo lavorare com la forte significazione che ha il femminile nelle narrative medioevali: A Demanda do Santo Graal e La Divina Commedia, due dei più importanti testi medioevali. Possiamo osservare qualcosa di comune nella caratterizzazione di queste donne, poiché sono modelli del Bene o del Male. Possiamo percepire questo in ambedue opere. Nella Demanda do Santo Graal, possiamo incontrare delle donne che sviano il cammino delluomo fino al Graal che rappresenta il massimo della crescita spirituale. Sono le donne peccattrice, figlie di Eva, che ha portato la morte al mondo. Anche, nella Demanda, incontriamo delle donne sante e pieni di virtù che si uguagliano alla madre di tutte le sante della letterattura medioevale: Beatrice. Beatrice è una guida spirituale e non un ostacolo ad essere oltrepassato. Possiamo percepire um fatto troppo interessante nella Comedia. Il nome Beatrice apparisce due volte nellInferno, diciotto volte al Purgatorio e quarantaquattro volte al Paradiso. Qui, le donne sante delle due opere si uguagliano. Sono tutte esse simboli di crescita nella vita dei personaggi maschili. Tuttavia, tenteremo dimostrare che Beatrice è la maggior di tutte. Arriviamo, allora, al principale oggettivo di questo lavoro che è osservare, nella letterattura medioevale, i vari tipi di donne esistenti, e le somiglianze e differenze fra loro, in speciale nella Commedia e nella Demanda do Santo Graal. Si tenta con questo fare un leggame tra ueste due importanti letterature (portoghese e italiana) attraverso di due testi che presentano il misterioso ruolo delle<br>Esta dissertação tem como objetivo trabalhar com a forte significação que o feminino apresenta nas narrativas medievais, em especial nA Demanda do Santo Graal e nA Divina Comédia, dois dos mais importantes textos medievais. Pode-se observar um padrão na caracterização dessas mulheres, pois elas são modelos do Bem ou do Mal. Pode-se perceber esse modelo em ambas as obras citadas. NA Demanda do Santo Graal, encontram-se mulheres que desviam o caminho do homem rumo ao Graal que representa o máximo da ascese espiritual. São as mulheres pecadoras, filhas de Eva, que trouxe a morte ao mundo. Também, na Demanda, encontram-se mulheres santas e plenas de virtude que se equiparam à mãe de todas as santas da literatura medieval: Beatriz, dA Divina Comédia. Beatriz é um guia espiritual e não um obstáculo a ser ultrapassado. Daí vai a comparação com as mulheres plenas de virtude da Demanda. Aqui as mulheres santas das duas obras se equiparam. São todas elas símbolos de crescimento na vida dos personagens masculinos. No entanto, tentaremos comprovar que Beatriz é a maior de todas e será utilizada neste trabalho porque na Demanda não podemos encontrar o modelo de mulher perfeita. Chega-se então ao principal objetivo desse trabalho que é observar, na literatura medieval, os vários tipos de mulheres existentes, e as semelhanças e diferenças entre elas, especialmente nA Divina Comédia e nA Demanda do Santo Graal. Tenta-se com isso traçar um elo entre essas duas importantes literaturas (portuguesa e italiana) através de dois textos que apresentam o misterioso papel das mulheres na literatura
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Graßl, Franziska [Verfasser], and Helge [Akademischer Betreuer] Nowak. ""Gewoon een Land Zijn" : psycho-postcolonial perspectives on national identity and belonging in Guyana and Suriname: a comparative reading of Anglophone and Dutch Caribbean literature / Franziska Graßl ; Betreuer: Helge Nowak." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2016. http://d-nb.info/1131040465/34.
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Graßl, Franziska Verfasser], and Helge [Akademischer Betreuer] [Nowak. ""Gewoon een Land Zijn" : psycho-postcolonial perspectives on national identity and belonging in Guyana and Suriname: a comparative reading of Anglophone and Dutch Caribbean literature / Franziska Graßl ; Betreuer: Helge Nowak." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2016. http://nbn-resolving.de/urn:nbn:de:bvb:19-206845.
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Konuma, Yoshio. "La vengeance et la résurrection : étude sur la structure et le sens dans Le Conte du Graal de Chrétien de Troyes." Phd thesis, Université Rennes 2, 2010. http://tel.archives-ouvertes.fr/tel-00551639.
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Cette étude a pour but d'éclaircir le sens et la structure du Conte du Graal de Chrétien de Troyes en les axant sur deux sujets : vengeance et résurrection. La partie Gauvain est souvent négligée, bien que les médiévistes reconnaissent qu'elle est une œuvre authentique de Chrétien. Les aventures de Gauvain échappent à notre compréhension à la lumière de notre conception générale du roman. Les épisodes de Gauvain se caractérisent par une suite de vengeances que les personnages secondaires éprouvent contre le second héros. Entre autres, l'épisode du roi d'Escavalon porte sur la quête de la Lance-qui-saigne. Mais, Chrétien évite de préciser le sens de cette quête. Pour le savoir, il est indispensable d'éclaircir le sens caché de cet épisode. Certes, la proposition du vavasseur sur la lance est énigmatique. Mais, lorsque nous superposons l'épisode du roi d'Escavalon et celui de l'ermite, nous pouvons, pour la première fois, deviner le sens du diptyque : la fonction de la Lance-qui-saigne est inverse à celle du Graal. Ce dernier soutient la vie de l'oncle de Perceval, tandis que la première sous-entend la mort de l'oncle de Gauvain et la destruction de Logres. Pour venger son seigneur tué par Gauvain, le but du vavasseur est de faire mourir le seigneur de son ennemi : Arthur. Par ailleurs, d'Erec à Yvain, l'importance de la résurrection est indubitable chez Chrétien. Dans l'épisode du Vendredi Saint, Perceval comprend le sens du crucifiement du Christ. Deux jours après, jour de Pâques, il fait sa communion en état de péché mortel. Dans le contexte du récit, il est clair qu'il s'agit de la résurrection spirituelle de Perceval. Cette résurrection illumine paradoxalement la partie Gauvain. A mesure qu'elle se déroule, Gauvain monte sur le trône du château des morts. Chrétien envisage de construire la partie Gauvain dans le style de la parodie
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Silva, Alessandra Fabrícia Conde da. "Figuras da tradição judaico-cristã n’a demanda do Santo Graal: os rastros míticos da mulher de Salomão e da irmã de Persival." Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/8353.
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Previous issue date: 2018-03-19<br>Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG<br>I perceive the Judaeo-Christian tradition as more comprehensive than it is treated in the biblical
canon. This work aims to unfold paths undertaken by some Judaeo-Christian myths, that is,
mythical structures, which corroborated the construction of new myths, such as those of Percival’s
sister and Solomon’s wife – characters of A demanda do Santo Graal (1995), Portuguese translation
from the 15th century, copy of a French sample from the 18th century. In this trajectory, it is
essential to consider, besides the biblical scripture, some apocryphal manuscripts which lend
literary elements of feminine prominence and humility to the matter of Britain. This character, for
example, was scarcely referred in the Portuguese Demand; therefore it is essential that La queste
del Saint Graal (1923), present in Vulgata, be consulted for the purpose of studying the narrative
of Solomon’s wife. Thus, according to the Judaeo-Christian tradition one can attest that the
elements borrowed from it, still echo in discourses, which sometimes vilify and sometimes defend
women, making them exemplary and heroic feminine figures, despite carrying the heavy burden of
anti feminine tradition. Such misogynous burden is noticed in the narratives that aim at legitimating
the Grail’s hero lineage, taking the Hebrew kings from the biblical tradition as ancestors. It is from
this androcentric nucleus that heroic feminine narratives will emerge, softening the bitterness
against women, in the moment heroes find themselves in abulia in face of the unknown. For this
purpose, the dissertation carries out an analytical study of the referred literary pieces, following the
methodological procedures of bibliographic, qualitative research, identifying the literary,
sociological, historical and cultural perspectives. It tried to unveil the paths taken by the characters
Percival’s sister and Solomon’s wife, along their mythical trajectory, compatible to the Judaeo-
Christian tradition.<br>Compreendendo que a tradição judaico-cristã é mais extensa do que está grafado no cânone bíblico,
este trabalho propõe-se a desvelar os caminhos percorridos por alguns mitos judaico-cristãos, isto
é, estruturas míticas que amparam a construção de novos mitos, como os da irmã de Persival e da
mulher de Salomão, personagens presentes n’A demanda do Santo Graal (1995), tradução
portuguesa do século XV, cópia de um exemplar francês do século XIII. Neste percurso, é
necessário que se considere, além do texto bíblico, alguns textos apócrifos que emprestaram
motivos literários da proeminência e da humildade femininas à matéria da Bretanha, como os que
estruturaram os mitos da irmã de Persival e da mulher de Salomão. Esta personagem, por exemplo,
recebe apenas poucas citações na Demanda portuguesa, sendo indispensável o manuseio de La
queste del Saint Graal (1923), presente na Vulgata, para se conhecer a narrativa da mulher de
Salomão. De tal modo, seguindo a tradição judaico-cristã, vê-se que os motivos, dela tomados de
empréstimo, continuam por ecoar discursos que ora difamam, ora defendem a mulher, tornando as
personagens figuras exemplares e heroicas, ainda que carreguem o fardo da tradição antifeminina.
Tal fardo misógino será percebido nas narrativas que visam a legitimar a linhagem do herói do
Graal, tomando como ancestrais os reis hebreus da tradição bíblica. É neste núcleo androcêntrico
que irromperão as narrativas heroicas femininas, suavizando o ranço contra as mulheres, quando
os heróis mostrarem-se em abulia frente ao desconhecido. Para tanto, a tese, realizando um estudo
analítico das mencionadas obras, pautando-se na pesquisa de cunho bibliográfico e qualitativa,
reconhecendo o viés literário, sociológico, histórico e cultural, procurou deslindar os caminhos
percorridos pelas personagens, a irmã de Persival e a mulher de Salomão, em sua trajetória mítica,
segundo a tradição judaico-cristã.
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Pokulat, Luciane Figueiredo. "A "história a contrapelo" no painel romanesco de Inferno provisório : da fábula da migração à fábula do (des)enraizamento." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/139372.
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O objetivo desta tese é apresentar uma leitura do projeto literário de Luiz Ruffato, intitulado Inferno provisório, considerando o conjunto dos cinco romances como uma “história a contrapelo” conforme o conceito proposto por Walter Benjamin. Nossa pesquisa se preocupa em realizar uma reflexão sobre o contexto histórico e social representado na obra do autor mineiro, investigando o que Ruffato seleciona para figurar em sua pentalogia e como ele a organiza formalmente. Pretendemos, além de situar o trabalho de Ruffato na literatura brasileira contemporânea, apontar Inferno provisório como um romance peculiar na ficção nacional produzida no século XXI em virtude da história narrada e da forma empregada. Nesse sentido, nossa pauta é investigar como o autor utiliza a estética do fragmento na montagem de um painel romanesco e a que ele alude em sua versão a contrapelo da história da modernização nacional na qual valoriza a perspectiva dos trabalhadores brasileiros representados em geral como sujeitos migrantes que se deslocam em busca de empregos. Nessa leitura crítica, é posta em evidência a versão da história olhada sob a perspectiva do fracasso do projeto modernizador percebido por meio da problemática resultante dos deslocamentos geográficos que provocam a dissolução dos laços com a origem e promovem alterações identitárias sentidas na forma do não pertencimento e do desenraizamento. Temas como migração, identidade, modernização e seus desdobramentos perpassam as análises dos romances da pentalogia.<br>This dissertation aims at presenting a reading proposal departing from Luiz Ruffato’s literary project entitled Inferno provisório, considering all the five novels as a “history against the grain” according to Walter Benjamin’s concept of history. The research is concerned to conduct a reflection on the historical and social context depicted in the author’s works, investigating what Ruffato selects to figure in his pentalogy and how he organizes it formally. Besides situating Ruffato’s work inside the contemporary Brazilian literature, we intend to point out Inferno provisório as a specific novel in the national fiction produced in the XXIst century due to both the way the story is narrated and the form being adopted by the author. In this sense, our goal is to investigate how the author uses the aesthetics of fragments in the montage of a romanesque panel and to what he alludes in his version against the grain of history of national modernization in which he values the perspective of Brazilian workers represented generally as migrants who move in search of jobs. In this critical reading, it is emphasized the version of history considering the failure perspective of the modernization project realized through the resulting problem of geographical displacement which causes the dissolution of ties with the origin and promotes identity changes experienced in the form of not belonging and the uprooting. Issues such as migration, identity, modernization, and its consequences permeate the analysis of Ruffato’s pentalogy.<br>El objetivo de esta tesis es presentar una lectura del proyecto literario de Luiz Ruffato, titulado Inferno provisório, teniendo en cuenta el conjunto de las cinco novelas como una “historia a contrapelo” como el concepto propuesto por Walter Benjamin. Nuestra investigación se centra em levar a cabo una reflexión sobre el contexto histórico y social representado en la obra del autor minero, investigando lo que Ruffato selecciona para representar en su pentalogia y como él la organiza formalmente. Tenemos la intención, además de situar el trabalho de Ruffato en la literatura brasileña contemporánea, apuntar Inferno provisório como una novela peculiar en la ficción nacional producida en el siglo XXI en virtud de la historia narrada y de la forma empleada. En este sentido, nuestra pauta es investigar cómo el autor utiliza la estética del fragmento en la montaje de un panel romanesco y la que él alude en su versión a contrapelo de la historia de la modernización nacional en la cual valoriza la perspectiva de los trabajadores brasileños representados en general como sujetos migrantes que se movimientan en la búsqueda de empleos. En esta lectura crítica, se pone en evidencia la versión de la historia mirada bajo a la perspectiva del fracaso del proyecto modernizador percibido a través de la problemática resultante de los desplazamientos geográficos que provocan la disolución de los vínculos con el origen y promoven cambios de identidad experimentado en forma de no pertenecimiento y del desarraigo. Temas como la migración, identidad, modernización y sus desarrollos trascienden el análisis de las novelas de la pentalogia.
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Bouget, Hélène. "Enquerre et deviner : poétique de l'énigme dans les romans arthuriens français (fin du XIIe-premier tiers du XIIIe siècle." Phd thesis, Université Rennes 2, 2007. http://tel.archives-ouvertes.fr/tel-00204437.
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La notion d'énigme, fréquemment invoquée pour désigner les objets, les êtres ou les passages les plus étranges des romans arthuriens, est une notion complexe et protéiforme qui se définit comme une figure de discours, une forme fixe et un mode d'investigation herméneutique. Dans cet univers, les héros se distinguent des traditionnelles figures oedipiennes : celles-ci sont en effet soumises à la parole contrainte et à la découverte révélée de la devinaille, tandis que les quêteurs arthuriens manifestent les signes d'une subjectivité naissante qui les pousse à interroger l'autre et le monde. Pourtant, le désir de savoir et l'entreprise herméneutique s'avèrent parfois décevants et l'énigme en tant que telle, illusoire. D'interrogations comblées en questions oubliées ou en attentes déceptives, les textes développent en réalité un effet d'énigme qui entretient la tension romanesque et apparaît comme un facteur poétique essentiel. Fondé sur le jeu des failles et des réécritures, l'effet d'énigme repose sur une esthétique de la béance et du voile qui contredit l'apparente clôture de l'espace textuel. Malgré la prégnance du modèle scripturaire, le roman arthurien se découvre et s'affirme alors comme un monde des possibles, une oeuvre de fiction consciente de sa nature. Le Graal et l'identité, principaux facteurs d'interrogation, constituent ainsi deux grands paradigmes énigmatiques intra- et intertextuels qui garantissent, par le jeu des énigmes et des effets d'énigme, la pérennité et la vigueur de l'entreprise romanesque. L'étude de l'énigme permet donc de proposer une poétique d'ensemble du roman arthurien entre la fin du XIIe et un large premier tiers du XIIIe siècle, et d'en saisir, en même temps, les nuances et les évolutions.
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Pérez, Abellán María Encarnación. "Romance vs novela : recuperación y renovación de la materia caballeresca en la novela española del siglo XX: de "Morsamor" (1899) a "Olvidado Rey Gudú" (1996)." Doctoral thesis, Universidad de Murcia, 2012. http://hdl.handle.net/10803/97286.
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El trabajo de investigación presente ha pretendido establecer conexiones temáticas y formales, pero también divergencias argumentales y estructurales entre el planteamiento de la materia caballeresca medieval y áurea en la Literatura española, y su recuperación renovada a lo largo del pasado siglo XX. La inmanencia de motivos y tópicos permitirá adaptarla formalmente a los géneros históricos, desplegando un recorrido desde el primitivo roman hasta la actual novela, sin olvidar la sólida presencia del romance caballeresco o el influjo que las contemporáneas novela lírica, histórica o bildungsroman han ejercido hasta conferirles plena singularidad. Éste es el objetivo perseguido en el análisis de obras significativas de Juan Valera (Morsamor, 1899), Benjamín Jarnés (Viviana y Merlín, 1930), Álvaro Cunqueiro (Merlín y familia, 1955), Manuel Mujica Láinez (El unicornio, 1965), Paloma Díaz-Mas (La búsqueda del Santo Grial, 1983), Soledad Puértolas (La rosa de plata, 1999) y Ana María Matute (Olvidado Rey Gudú, 1996)<br>he main proposal of this research has been connecting the ancient chivalry plots with a group of modern Spanish novels, which present interesting and similar points of view, however important differences. It is pretended searching how the materials have been treated in similar ways, as well as how it has been looked for the narrative strategies that have allowed creating singular novels. Historical and lyrical novels, bildungsroman, even tales, will have influenced in these last ones along the past twentieth century.
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Payant, Caroline. "Le découpage narratif dans les romans en prose du XIIIe siècle : l'exemple du Perlesvaus." Thèse, 2007. http://hdl.handle.net/1866/7256.
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Campbell, Benjamin. "Du Roman au théâtre : le motif du Graal réactualisé dans les textes de théâtre de Jean Cocteau, Julien Gracq et Jacques Roubaud/Florence Delay." Thèse, 2012. http://hdl.handle.net/1866/9212.
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Ce travail analyse les transformations du Graal en comparant sa représentation dans les romans médiévaux et dans trois textes de théâtre modernes. Le Graal, apparu dans la littérature au Moyen Âge, reste une source d'inspiration pour les écrivains modernes au point de gagner, avec le temps, un statut légendaire. L'objet de prédilection de la littérature arthurienne a évolué de façon significative dès le Moyen Âge, où il reste cependant confiné aux formes narratives. Après le « festival scénique sacré » (Bühnenweihfestspiel), Parsifal, de Wagner présenté en 1882 à Bayreuth, des œuvres plus récentes réactualisent le mythe en cherchant à l'adapter au théâtre. Jean Cocteau, en 1937, dans Les Chevaliers de la Table Ronde, présente un Graal inaccessible, immatériel. En 1948, Julien Gracq, dans Le Roi Pêcheur, inscrit le Graal dans l'opposition entre le profane et le sacré. Jacques Roubaud et Florence Delay, dans les éditions de 1977 et 2005 de Graal Théâtre, optent pour une récriture où les représentations du mythe se côtoient et se confrontent. Ces textes de théâtre modernes, où la représentation du Graal se situe au cœur du projet d'écriture, entrent ainsi en relation directe avec les œuvres médiévales. Ils s'inscrivent dans une redéfinition de l'objet qui se renouvelle sans cesse depuis Le Conte du Graal de Chrétien de Troyes.
Dans les trois cas, la représentation du Graal entretient des relations contradictoires de filiation et de rupture avec la littérature arthurienne de l'époque médiévale. L'hypothèse principale de cette recherche se situe dans la problématique de la récriture comme transformation d'un héritage. Plus précisément, il sera question de comprendre comment la représentation du Graal dans les textes de théâtre pose problème et comment cette question est modulée, travaillée par les auteurs en termes rhétoriques, stylistiques et dramaturgiques. L'utilisation de la parodie, d'anachronismes et de voix dramatiques nouvelles, par exemple, permet aux auteurs modernes de revisiter et de changer le rapport à l'objet. Le Graal se redéfinit dans des contextes historiques et dans un genre distincts de leur source du Moyen Âge.<br>This work examines the transformations of the Holy Grail from medieval romances to modern plays. The Holy Grail, which first appeared in the Middle Ages, remains a source of inspiration for modern writers and gained, over time, a legendary status. This important feature of Arthurian literature has evolved significantly since the Middle Ages, where it remained however confined to narrative forms. After the festival (Bühnenweihfestspiel) where Wagner’s Parsifal was first presented in 1882 in Bayreuth, more recent works have renewed the myth by adapting it to the theatre. Jean Cocteau, in 1937, in Les Chevaliers de la Table Ronde, presented an inaccessible and intangible Grail. In 1948, Julien Gracq, in Le Roi Pêcheur, placed the Grail at the core of the opposition between profane and sacred. Jacques Roubaud and Florence Delay, in editions of 1977 and 2005 of Graal Théatre, opted for a rewriting where contradictory representations of the myth coexist. These modern dramas, where the representation of the Grail is at the center of the writing experience, are thus in direct connection with medieval works. They are part of a redefinition of the object that has constantly renewed itself since Chrétien de Troyes’ Conte du Graal.
In all three cases, the representation of the Grail shows conflicting relationships with the medieval Arthurian literary heritage. The main hypothesis of this research lies in the idea that rewriting has to do with the transformation of a legacy. More specifically, it comes to understand how the representation of the Holy Grail is dealt with in modern dramas, how it is modulated by the authors in rhetorical, stylistic and dramaturgical terms. The use of parody, anachronisms and new dramatic voices, for example, allows modern authors to revisit and change their relation to this object. The Grail is thus redefined in different historical contexts and in a genre quite distinct from medieval romances.
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Dagesse, Elyse. "Réécriture des récits bibliques dans les proses du Graal au XIIIe siècle." Thèse, 2009. http://hdl.handle.net/1866/3570.
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Ce mémoire présente les résultats et la réflexion d’une recherche qui avait pour but d’analyser les liens entre la Bible médiévale et les romans du Graal écrits au XIIIe siècle. À cet effet, nous avons eu recours aux paraphrases et aux traductions bibliques en prose écrites en ancien français afin de montrer comment les romans à l’étude réécrivaient l’héritage biblique qu’ils comportaient.
Le mémoire s’articule en trois chapitres. Le premier chapitre présente les corpus principal et secondaire et en les mettant en contexte. Ce chapitre traite également de la Bible au Moyen Âge, c’est-à-dire de son statut et de sa diffusion dans la société. Le deuxième chapitre s’attache à l’analyse des réécritures bibliques présentes dans le corpus principal en traitant les questions de l’allégorie et de l’exégèse et en analysant la Légende de l’Arbre de Vie. Enfin, le troisième chapitre étudie la mise en récit du rêve comme processus d’écriture commun à la Bible et aux romans du Graal.
Cette recherche montre comment les auteurs médiévaux reprennent non seulement les récits de la Bible, mais aussi ses procédés d’écriture. Cette dynamique de reprise permet également de voir comment les textes traitent la matière biblique dans le développement spécifique du roman du Graal, en s’intéressant particulièrement au phénomène de christianisation du roman.<br>This MA thesis introduces results of a research which is analysing links between the medieval Bible and the Grail novels written during the 13th century. For that purpose, we had recourse to biblical paraphrases and translations in prose written in old French as a secondary corpus.
This dissertation is divided in three chapters. The first chapter introduces the main and secondary corpuses by putting them into context. This chapter also deals with the Bible in the Middle Ages, that is to say with its status and with its diffusion in the society. The following chapter analyses the biblical rewritings found in the corpus by dealing with the questions of allegory and exegesis, mainly in the Legend of the Tree of Life. Finally, the third chapter studies the writing of the dream as a common process of writing found in the Bible and taken back by the Grail novels.
In the end, medieval authors took back not only the tales of the Bible, but also its writing processes. The study of this dynamic of resumption also allows demonstrating how texts incorporate biblical material in the specific development of romance, a literary genre in emergence at that time.
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(9017870), Adrian James McClure. "Haunted by Heresy: The Perlesvaus, Medieval Antisemitism, and the Trauma of the Albigensian Crusade." Thesis, 2020.
Find full textAbstract:
<p>This study presents a new reading of the <i>Perlesvaus</i>, an anonymous thirteenth-century Old French Grail romance bizarrely structured around an Arthurian restaging of the battle between the Old and the New Law. I construe this hyper-violent, phantasmagorical text as a profoundly significant work of “trauma fiction” encoding a hitherto-unrecognized crisis of religious ethics and identity in Western Europe in the first half of the thirteenth century. Combining literary and historical analysis and drawing on current trends in trauma studies, I tie what I term the “deranged discourse” of the <i>Perlesvaus</i> to the brutal onset of internal crusading in southern France (the papal-sponsored Albigensian Crusade, 1209-29), making the case that the collective trauma staged in its narrative perturbations was a contributing factor in the well-documented worsening of Western European antisemitism during this period. One key analytical construct I develop is the “doppelganger Jew”—personified in the <i>Perlesvaus</i> by its schizoid authority figure, Josephus, a conflation of first Christian priest and first-century Romano-Jewish historian—who functions as an uncanny embodiment of powerful, unacknowledged fears that Christians were losing their spiritual moorings and reverting into reviled, scapegoated Jews. Traces of this collective trauma are explored in other contemporary texts, and one chapter examines how the fourteenth-century <i>Book of John Mandeville</i> revives similar fears of collapsing Judeo-Christian identity and unfolds under the sign of the doppelganger Jew.</p>
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Quevillon, Geneviève. "Le roi et l’ermite : discours et idéologies chevaleresques dans les premières proses du Graal (Perlesvaus, le Haut livre du Graal et la Queste del Saint Graal)." Thèse, 2009. http://hdl.handle.net/1866/3483.
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Dès le tournant du XIIIe siècle, les écrivains reprennent l’idée d’une quête du Graal, déjà développée par Chrétien de Troyes avec le Conte du Graal, pour y faire entrer plus amplement les traits d’une idéologie ecclésiastique. Les premières proses du Graal présentent alors une nouvelle façon d’exposer certains idéaux de la chevalerie à travers des convictions religieuses. Dans une approche socio-historique, nous nous sommes d’abord
penché sur la figure incontournable du roi Arthur, personnage dont le comportement est la cause de la quête du Graal. Plus particulièrement, dans cette recherche, il est question de découvrir comment la position sociale du chevalier tend à s’élever au-dessus de celle du roi. Partant des différentes fonctions royales pour aller vers la nature et le but des aventures
vécues par les chevaliers, nous observons pourquoi et comment les auteurs des premières
proses du Graal ont tenté d’adapter l’idéologie chevaleresque à l’idéologie ecclésiastique. Il appert que l’influence des discours politiques de cette période médiévale aura joué un rôle important dans cette nouvelle approche de la chevalerie.<br>Since the turn of the XIIIth century, writers take up the idea of a quest for the Holy Grail, already developed by Chrétien de Troyes in the Conte du Graal. The authors saw in the Holy Grail a great chance to elucidate an ecclesiastical ideology. The first proses of the Holy Grail then present a new way of exposing certain ideals of knighthood through religious convictions. From a socio-historical approach, we initially looked at the figure of
King Arthur, who is impossible to circumvent. King Arthur’s behavior is the cause of the search for the Holy Grail. More particularly, this research ponders the question of why the knight’s social position tends to rise above that of the King’s. From the various royal functions to the nature and the goal of the chivalric adventures, we observe why and how the authors of the first proses of the Holy Grail tried to adapt the chivalric ideology to the ecclesiastical one. It appears that the influence of the political discourses from this medieval period will have played a major part in this new approach to knighthood.
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Wood, William D. "Writing With the Grain: A Multitextual Analysis of Kaidan Botandoro." 2011. https://scholarworks.umass.edu/theses/740.
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As a text Botandōrō demonstrates bibliographic codes that straddle the border between modern and pre-modern literature. Wakabayashi would present his work as the fruit of his technique of ‘photographing language’ that, by extension, would provide closer and more direct access to the interiority of “author.” In his prologue he presented his shorthand method as a technique that would come to represent the new standard of modern writing. As they created a new system for transcribing language, stenographers were wrestling with the philosophical nature and limitations of language in spoken and written form, and their discoveries and accomplishments would provide a framework for future authors during a highly transformative period in the history of Japanese literature, whether intentional or not. By focusing on these paratextual elements in Botandōrō in the context of the tale’s intertextual construction we find that it is best viewed as a text that exhibits aspects of modern and pre-modern literature in its presentation as a material object, the claims it makes for sokki as a modern writing technique, and its negotiations with the idea of authorship.
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Dyer, Jennifer. "The role of Archaeology in the Jesus industry." Diss., 2015. http://hdl.handle.net/10500/21003.
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The question leading to this study is whether the facts and theories pertaining to the
Bible and Jesus Story as presented by The Authors (H Schonfield, D Joyce, B Thiering, M
Baigent, R Leigh, H Lincoln; M Starbird, and D Brown) could be verified by the
Archaeology evidence. I have adopted a multidiscipline and holistic approach
considering information gathered from all media sources to ascertain what theories, if
any could replace the traditional Jesus Story of the New Testament. I considered
whether the alternative theories or traditional theories were believable due to the
evidence presented by Biblical Archaeology or by the techniques used by The Authors
in presenting their facts. By using Thouless’ system of Straight and Crooked thinking I
was able to ascertain that the theories used in the novels written by The Authors may
have been persuasive, but lacked substance.<br>Biblical and Ancient Studies<br>M. Th. (Biblical Archaeology)
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Robidas, Justine. "Enjeux poétiques et énonciatifs de la narration à la première personne dans les trois premières Continuations du Conte du Graal." Thesis, 2020. http://hdl.handle.net/1866/24213.
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Les Continuations du Conte du Graal de Chrétien de Troyes sont un ensemble de textes qui a longtemps dérouté les critiques de la littérature médiévale. La conception de la cohésion et de la cohérence narrative qui émerge de ces textes est en effet très différente de celle que l’on reconnaît aux textes du maître champenois. Cependant, ces textes sont intéressants, car la complexité de leurs relations textuelles permet de mieux comprendre les enjeux de la création littéraire médiévale, en particulier en ce qui a trait à la généricité médiévale et l’importance de l’énonciation dans la construction du sens des textes. Ni tout à fait un texte cyclique ni un genre littéraire à part entière, la continuation, en particulier dans les Continuations du Conte du Graal, est marquée par des traces de son statut comme pratique expérimentale. Les Continuations du Conte du Graal occupent donc un moment de transition dans l’évolution des formes romanesques au Moyen Âge central. Chaque continuateur module, à l’aide de la première personne, la forme propre qu’il veut donner à son récit et oriente la réception de son lecteur. La pratique de la continuation devient pour ces auteurs un outil d’expérimentation des modalités de la forme romanesque, ce qui explique la forte hétérogénéité, parfois déconcertante, du corpus. Ce mémoire propose une exploration de la situation générique des Continuations du Conte du Graal, suivie d’une analyse statistique détaillée de l’utilisation de la première personne dans l’énonciation de ces textes et d’un essai d’interprétation générale des textes mettant en valeur les conclusions tirées de ces deux étapes préliminaires.<br>The Continuations of Chrétien de Troyes' Conte du Graal are a group of texts that has for long obfuscated critics of medieval French literature. The type of narrative coherence emerging from these texts is quite different from the type we associate with the texts of the master from Champagne. However, these texts are interesting because the complexity of their textual relationships can allow us to better understand issues pertaining to literary creation in the medieval era. Not exactly a cyclical type of text nor a literary genre in itself, continuation, in particular for the Continuations of the Conte du Graal, contains traces of its status as an experimental practice. The Continuations of the Conte du Graal thus occupy a moment of transition in the evolution of romance forms in the high medieval period. Each continuator shapes, with the help of the first person, the specific form he intends to give to his tale and steers the reception of his reader in a specific direction. The practice of continuation allows these authors to find a tool for experimenting with the multiple modalities of romance as a genre, which explains the strong heterogeneity, at times disconcerting, found within this group of texts. This master's thesis starts with an exploration of the genre situation of the Continuations of the Conte du Graal. It is followed by a detailed statistical analysis of the use of the first person in the narration of these texts. The final chapter proposes a general interpretative essay of the texts that makes use of the conclusions drawn from the two preliminary steps of this study.
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Hoyle, Rafael Dent. "Writing against the grain : Ignacio Solares' novels of the Mexican Revolution /." Thesis, 2003. http://repositories.lib.utexas.edu/bitstream/handle/2152/650/hoylerd039.pdf.
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Marques, Maria do Carmo Barreto Gomes de Sousa. "No reino aventuroso de Artur: um olhar sobre a mulher a partir da leitura da versão portuguesa de "A demanda do Santo Graal"." Master's thesis, 2013. http://hdl.handle.net/10400.13/1220.
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Em A Demanda do Santo Graal, novela de cavalaria representativa da literatura Arturiana no Portugal da Idade Média, analisamos o modo como é feita a abordagem da presença feminina num universo essencialmente masculino. Aceitando como premissa que a literatura é reflexo da realidade de uma época e, simultaneamente, nela se reflete e deixa a sua influência, iniciámos o estudo, cujo resultado constitui o texto desta dissertação. Após uma referência às circunstâncias prováveis da chegada do primeiro manuscrito a Portugal, e de algumas considerações sobre o propósito pedagógico e legado cultural da obra na sociedade Portuguesa, perspetivamos a posição da mulher na época medieval, analisando e refletindo sobre cada uma das representações do feminino que emanam do texto e que mencionamos através do relato dos vários episódios em que ocorre a presença feminina.
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Martines, Vicent. "La versió catalana de la Queste del Saint Graal: estudi i edició." Doctoral thesis, 1993. http://hdl.handle.net/10045/16337.
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