C'est li chevaliers au poisson: Richars li biaus as a Model of Speculative Chivalry [Access article in PDF] Subject Headings:
Richars li Biaus.
Richars li biaus is a late medieval romance that exemplifies the verisimilitude, even
realism, that had crept into the genre by the thirteenth century. Concentrating on
the dialectic of wealth and poverty, this article analyses the suggestive lexical
choice treating the theme of economy in the text and, more widely, feudal, urban
culture and economics, and how the hero must overcome issues of class, rank,
and cash-flow as he speculates in order to accumulate, as he speculates in order to
accumulate. The text's attitude to money mirrors social changes of the thirteenth
century, and a parallel can be drawn with the content of contemporary medieval
sermons critical of the misuse of money. Attention is paid to philology: the
names of major and minor characters are dissected in order to suggest a programmatic
intention on the part of the mysterious author, Mestre Requis. Richars taps into
the matrix of words connected to the idea of richness, and the verb querre, central to
the action, also conceals the pseudonym of the author. This curious secondary
romance deserves more attention, and illustrates how much such texts have to
reveal about the cultural context of the Middle Ages.
Chauveau, François, 1613-1676 -- Criticism and interpretation.
French drama -- 17th century -- Illustrations.
This article examines the original illustrations for Racine's plays, mostly drawn by
François Chauveau, and attacks several perennial received ideas about them: that
they mostly depict off-stage violent action; that they are aesthetically at odds with
the plays themselves; that the illustrations owe more to the artist's fantasy than to
Racine's text. The article demonstrates that most of the illustrations depict
on-stage events, and, with particularly detailed analyses of the illustrations for La
Thébaïde and Mithridate, argues that, whether the event depicted is on-stage or
off-stage, the artist engages scrupulously with the text of the play, producing an
illustration that is faithful to Racine's work and inviting the reader to engage in
fruitful parallel readings of text and image. The illustrations respond to, and capitalize
on, Racine's dramatic poetry.
In the majority of the critical assessments of Balzac's La Vieille Fille, the inconsistencies
and contradictions found within the portrayal of its picturesque characters
have either been considered flaws or have been the subject of attempts at rationalization.
The present article, which shares a starting point with the perspective
adopted by Fredric Jameson, argues that these inconsistencies are linked, through
an acceptance of the inevitability of aporia, to the way both fiction and writing
acknowledge their ultimate impossibility. It goes on to show that the radical
ambiguity of Balzac's text with regard to truth and falsehood, and the generic
instability it displays, point to a representation, at the level of political allegory, in
which difference is deprived of all pertinence, while arguing, more generally, that
it is the activity of representation itself that is Balzac's central concern.
This article analyses attempts to write the 'herstory' of feminism, and the tendency
to use the vocabulary of 'generation' (in particular Julia Kristeva, Toril Moi, Kelly
Oliver and Lisa Walsh). It concludes that the issues raised by 'earlier generations'
are still alive, and that important questions that now seem to be given greater
prominence such as 'intersex' or cultural difference do not necessarily involve any
methodological shift. Examples (including recent publications) are drawn mostly
from the work of Kristeva and Luce Irigaray, with some reference to Michèle
Although the Channel Islands have formed part of the Romance-speaking world for
some two millennia, they are unlikely to do so for much longer. In 2001, Census
figures revealed that, in Guernsey, only some 2% of the population (or 1327 individuals)
could still speak Guernsey Norman French (Guernesiais). The
hitherto-unstudied Martin manuscript is the largest corpus of prose from a single
pen in Channel Island French. Dating from the turn of the twentieth century, it
consists of 295 exercise-books which contain a complete translation into Guernesiais
of the Bible and of 100 plays from the work of Shakespeare, Longfellow, Pierre and
Thomas Corneille, Molière and Voltaire. The manuscript's extensive nature means
that, after the death of the last native speaker, it will represent one of the most
important sources of data available on the dialect. This paper examines Martin's
translation of the Gospel according to St Mark. It investigates possible sources of
the translation, the orthographic system used, lexical features such as regionalisms,
the use of register and borrowings, and ends by considering the way in which the
translations can offer an unprecedented insight into late nineteenth/early
twentieth century Guernesiais and provide new morphosyntactic and lexical data
on the dialect.
Medieval Boundaries: Rethinking Difference in Old French Literature (review) [Access article in PDF] Subject Headings:
Kinoshita, Sharon. Medieval boundaries: rethinking difference in Old French literature.
French literature -- To 1500 -- History and criticism.
Le Thiec, G. (Guy), ed. Charles Quint face aux réformes: colloque international organisé par le Centre d'histoire des réformes et du protestantisme, 11e colloque Jean Boisset, Montpellier, 8-9 juin 2001, Université Paul Valéry-Montpellier III.
Tallon, Alain, ed.
Charles V, Holy Roman Emperor, 1500-1558 -- Congresses.
L’Épithète et la connivence: écriture concertée chez les Évangéliques français (1523–1534) (review) [Access article in PDF] Subject Headings:
Garnier-Mathez, Isabelle. Épithète et la connivence: écriture concertée chez les évangéliques français (1523-1534).