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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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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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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