Activités du Jury Goncourt – le choix roumain. "2084" mis à l’épreuve des débats bucarestois
Proceedings of the Goncourt Jury – the Romanian choice, 2015
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Proceedings of the Goncourt Jury – the Romanian choice, 2015
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Sophocle’s tragedy, Oedipus the King, may be considered the first detective novel whose plot is built around the defining question of this literary genre: “Who is the murderer (x)?”. The existence of a murderer is thus presupposed since the beginning, which leads us to the first interpretation of the play, namely the referential investigation, aiming at the identification of the murderer to whom we assign the variable x. However, the real subject of the play is not the identity of the alleged murderer, but that of the eponymous character. The accent shifts from the referential investigation to Oedipus’s beliefs about his own origin (“Who am IŒdipe?”). Therefore, we propose a second reading level that leads us to the analysis of the play as the story of the quest for identity. We will sustain our hypothesis with the help of the notions of reference – seen from a double perspective: (i) logical vs (ii) pragmatic – and the universe of belief.
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An aesthesic immersion in the sensible universe of Jean-Philippe Toussaint, this essay aims to analyse the senses as a weaving linking the humans’ flesh and the sensitive, touchable world. In the steps of Marie, since the sight, the hearing, the taste, the smell and the touch fuse and melt away the body into the elementary world’s paste, the author uncovers through the senses an ethereal alterity and the need to feel the other as well as the sensitive world.
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Treacherous, frivolous and yet hallowed organ, the tongue held, in the Middle Ages, an ambiguous position like midway element between the sinful body and the soul. This paper aims to focus on the sins of the tongue, listed by Carla Casagrande and Silvana Vecchio in their pioneering study "Péchés de la langue. Discipline et éthique de la parole dans la culture médiévale" and pictured in the thirteenth century occitan novel "Flamenca" as a tighten relationship between body, outlet for sins, and language.
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The Saracen has been an object of Western fascination long before the Crusades made him the archetypal enemy of the Christianity. The "Prose Tristan" tells a different story, that of a paradoxical Saracen, knight of the prestigious Round Table and divided between the identity he was given and the one he desires to forge for himself.
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Proceedings of the Goncourt Jury – the Romanian choice, 2014
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The Verse Romance of "Tristan" presents a discrete figure of hermit with an important narrative and theological function that can be analyzed through the two meetings with Tristan and Yseut. This article aims to focus on the steps to contrition of the two protagonists, in relation with their spiritual guide, the hermit.
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In the Tristan Verse-Romances the disguise is not only a physical mask, but also a verbal one. The lie as discursive mask and the manipulation of the “true lie” during the ordalie or other episodes is one of the subtle and original writing points of the “Tristan” Romances.
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Apocryphal literature was of great interest in the Middle Ages, especially the story of Adam and Eve’s life after having been banned from Paradise. The aim of this article is to present only the beginning of one of these manuscripts, the Andrius version. The article presents a folio of the manuscript itself, then a transcription of the beginning of the text in ancient French, followed by its translation into modern French, a short commentary of the text and it’s illumination.
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The character of the confident has a very important function in the structure of Racine’s tragedies. We have tried to highlight all the processes that are hidden behind the image of the confident who, at first glance, may seem a character without complexity. The most important function of the confident is perhaps the one of defining the tragic hero. He is a prestige social factor for the noble character of the play, and he also represents a dramaturgy utility throughout all his roles of informer, psychological revealer and adviser. He opposes the Reason to the hero’s passion and finally, as a non tragic element, he stimulates, paradoxically, the tragic nature of the play. In the case of “special” confidents, their actions sometimes influence the course of the piece.
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In the romance of Chrétien de Troyes, the importance of the Grail is given by the quest of Perceval. Indeed, the holy chalice has not the power to heal the Fisher King and without the quest it would be only a very special object in a castle. The Perceval figure is similar to that of Saint Peter, because both of them are committing errors that they have to undo later through a lot of suffering.
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The Image of the Saracens in the epic poetry of the Middle Ages is generally a dark one. The "Chanson de Roland" is a very good example for this depreciation, who’s origins are in the religious and pre-national propaganda of the medieval French State.
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