DOCSLIB.ORG

The EARLIER RENAISSANCE

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The EARLIER RENAISSANCE 3/s CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 1891 BY HENRY WILLIAMS SAGE Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924082459706 ^cxiotig of lEuropean literature EDITED BY PROFESSOR SAINTSBURY THE EAELIEE EENAISSANCE PERIODS OF EUROPEAN LITERATURE. Edited by Professor SAINTSBURY. A COMPLETE AND CONTINUOUS HISTORY OF TUB SUBJECT. In 12 Crown 8vo Volumes. "The criticism which alone can much help us for the future is a criticism which regards Europe as being, for inteUectital and spiritual purposes, one great confederation, bound to a joint action and working to a common result.'* —Matthew Arnold. I. The DARK AGES Professor W. P. Ker. II. The FLOURISHING OF ROMANCE AND THE RISE OP ALLEGORY . The Editor. [Heady. III. The FOURTEENTH CENTURY F. J. Snell. [Beady. IV. The TRANSITION PERIOD G. Gregory Smith. [Ready. V. The EARLIER RENAISSANCE . The Editor. [Beady. VI. The LATER RENAISSANCE David Hannay. [Ready. VII. The FIRST HALF OF 17th CENTURY . Professor H. J. C. Grierson. VIII. The AUGUSTAN AGES Oliver Elton. [Ready. IX. The MID-BIGHTBENTH CENTURY J. H. Millar. [Shortly. X. The ROMANTIC REVOLT Professor C. E. Vauqhan. XI. The ROMANTIC TRIUMPH T. S. Omokd. [Ready. XII. The LATER NINETEENTH CENTURY The Editor. CHARLES SORIBNER'S SONS, New York. THE EARLIER RENAISSANCE BY GEOEGE SAINTSBURY, M.A. PROFESSOR OF RHETORIC AND ENGLISH LITERATURE IN THE UNIVERSITY OF EDINBURGH NEW YORK CHAELES SCEIBNEE'S SONS 153-157 FIFTH AVENUE V ' •'/ 1901 ^s,*^ ,^ ^^(ttlo\ 731 ^AS:'- ^^\ PEE FACE. Of the difficulties, as regards delimitation of frontiers, in the designing and editing of a History of Euro- pean Literature by periods, none are more obvious beforehand, or more substantial in experience, than those connected with the all-important and interesting time of the Eenaissance. To that word in general, and to the signification commonly and generally at- tached to it, no serious objection need be taken, when the possible error of supposing any death, or even suspended animation, in the rich and vigorous litera- ture of the Middle Ages is once guarded against. The effect produced on literature by the revived study of the classics, direct from the originals, is a fact of which it is equally impossible to deny the reality or to contest the importance. But it is no less a fact, though a much more complicated one, that this in- fluence was exerted at different times in different 'countries, and in different manners at different times " VI PREFACE. in the same country. Thus, for instance, some, not without plausibility, have carried the Kenaissance in Italy as far back as Petrarch, if not even as far back as Dante—authors dealt with, and necessarily dealt with, not even in the volume preceding this, but in the volume preceding that.^ Still, one of those exercises of the communis soisus, which are generally right, has regarded the Renais- sance of Literature in Europe as not practically be- ginning till the fifteenth century was far advanced, nay, till the various but converging influences of the capture of Constantinople, the invention of printing, the discovery of America, and the final uprising against the ecclesiastical tyranny of Rome had been successively brought to bear. And without further argument on the point of right, we may say that for the purposes of this book " The Earlier Renaissance means the closing years of the fifteenth century and the first half of the sixteenth—the time when, the study of Greek having previously come to support and correct that of Latin in Italy, the full classical culture was transmitted from Italy herself to France and England, and so helped to install, in forms which cannot even to this day be said to have been wholly antiquated, the two greatest literatures of Europe. It is this process—the " Italianation," as the Eliza- bethans called it, of France and of England—which forms for History the central interest of the period, ^ See The Fourteenth Century. PREFACE. Vll and therefore of the volume. As regards Italy herself the interest is somewhat less—great as are some of the names that have to be mentioned as Italian. Such minority is almost necessarily implied in the mere fact of such influence itself, which is, in ac- cordance with a general law, never fully exerted abroad till the forces producing it have passed their first period of energy at home. Ariosto is great—his greatness has been, I think, of late years rather in- sufficiently acknowledged by critics. But it is only necessary to compare him, I do not say with Dante (for the First Three are not in comparison save as standards), but with such a far lower kind of genius as Boccaccio's, to see that the stationary state, if not exactly the age of decadence, has been reached. The poet of the Orlando is, indeed, as much greater in individual gift than Boccaccio as he is lesser than " Dante ; but he wants the wild freshness of morning," the relish of the quest, the closeness to nature and life. His luxuriant imagination turns at times and in parts to the lower, the secondary kinds of literature, to burlesque and grotesque. Compare him again with Spenser, his debtor certainly, though hardly his imi- tator, and the difierence of a falling and a rising tide of poetry will be easily seen. Of the other literatures German presents a problem engagingly interesting in character and most conveni- ently limited in extent—the problem of discovering why the triple influence of Greek and Latin and viii PKEFAOK. did for English Italian failed to do for her what it but different and for French; while the companion dealt with in problem of Spanish has been already Mr Hannay's volume.^ The rest require only very slight treatment. On the other hand, we have in this period, more than in most, the interest of certain general divisions, departments, or kinds of literature which are peculiar to none of the languages, but appear in all. The first of these is the New Drama ; the second, the Eevival of Criticism ; the third, that of Latin writing, which is really literature. This last we have here almost for the last time, and in a more considerable degree than in any volume of our history save that dealing with the Dark Ages, when most of the vernaculars were unborn. It may be questioned whether any man of our time, except Ariosto and Eabelais, has the literary value—intrinsic as distinguished from influential and symptomatic—of Erasmus, and Erasmus is nothing if not a Latinist. The allotment of the first and the longest chapter in the volume to this phenomenon may therefore not seem excessive. The bibliography of the subject is enormous—to give it in any detail would quite overload the notes. Almost every recent German writer seems addictus jurare in verba of L. Geiger, Senaissance und Humanismus in Italien und Deutschland. For Italy, the names of Gregorovius, Burckhardt. Villari, and ' See The Zater Senaissance. PEEFACE. IX many others need no mentioning, save to those who are not likely to take an interest in them. Por France, MM. Darmesteter and Hatzfeldt's Seizihme SUcle en France (Paris, 1878), though it takes the unpretentious form of a collection of extracts for students, with introductions and notes, is one of the very best pieces of literary-historical work that have been produced for many a year and decade. It so happens, however, that as regards great part of the subject we need not go beyond English for text-books of quite, exceptional excellence both in information and original power. To Eoscoe, who led the way some century ago with his still famous Zeo the Tenth and Lorenzo de' Medici, thete is doubtless due the credit not merely of having produced these capital works, but of having stimulated his country- men to follow in his steps. A little later the name of Hallam is to be mentioned with the usual and thoroughly deserved praise for width and co-ordina- tion of knowledge, and for the constant endeavour to maintain a judicial attitude; but also with the usual caution as to the defects of his qualities, shown in his absence of enthusiasm, his distrust of anything ab- normal or extravagant, and as to his necessary ignor- ance of much that is now easily accessible. Mr Symonds' well-known Renaissance in Italy, nearly half of which is devoted to our subject, is both peccant and virtuous in exactly opposite kinds: his fluency and exuberance of language contrasting with X PREFACE. Hallam's measured dignity as his cngowcmcnt and excess contrast with Hallam's rigid justice. But I am bound to say that the more I know of the subject, the better, with some important allowances, do I think of The Renaissance in Italy, With regard to France, Mr Arthur Tilley's most promising intro- ductory volume,^ now sixteen years old, has unfortu- nately never been followed up ; but as an Introduction it is excellent. As for German, Professor Herford's Literary Relations of England and Germany (Cam- bridge, 1886) is one of the most thorough of English literary monographs, and has a far wider bearing on the general subject tlian its title would necessarily indicate. Mr Fronde's Urasmm, with the usual de- fects which infuriate pedants against its author, has, in measure hardly afl'ected at all by age, that author's qualities of artistic-historic grasp, of vivid presentment, and of admirable style ; while Mr Seebohui's earlier 0,iford Reformers has stood the test of examination by more than a generation of specialists with almost unsurpassed success.
Load more

Recommended publications
  • Vassy Jalenques Sarl / Banque Nuger Rib : 13489 02791 14294900200 42 / Iban : Fr76 1348 9027 9114 2949 0020 042 / Bic : Bnugfr21
    VASSY ■ JALENQUES Commissaires-Priseurs habilités Bibliothèque de Barante 2e vente CLERMONT-FERRAND Mardi 23, Mercredi 24 et Jeudi 25 Mars 2021 VASSY ■ JALENQUES Commissaires-Priseurs habilités Mardi 23, Mercredi 24 et Jeudi 25 MARS 2021 Hôtel des ventes de Clermont-Ferrand - 19 rue des Salins BIBLIOTHÈQUE DE BARANTE Experts spécialisés Gérard OBERLÉ & Tristan PIMPANEAU Manoir de Pron - 58340 Montigny-sur-Canne +33 (0)3 86 50 05 22 - [email protected] membres de la Compagnie Nationale des Experts VACATIONS Mardi 23 mars à 14h00 : lots 1 à 516 Mercredi 24 mars à 14h00 : lots 517 à 959 Jeudi 25 mars à 14h00 : lots 960 à 1313 EXPOSITIONS PUBLIQUES à l’Hôtel des Ventes de Clermont-Fd Vendredi 19 mars de 9h à 12h et 14h à 17h (commune aux 3 ventes) Lundi 22 mars de 9h à 12h et de 14h à 18h (commune aux 3 ventes) Mardi 23 mars de 9h à 12h (uniquement pour la vente du mardi) Mercredi 24 mars de 9h à 12h (uniquement pour la vente du mercredi) Jeudi 25 mars de 9h à 12h (uniquement pour la vente du jeudi) ORDRES D’ACHAT ET ENCHÈRES TÉLÉPHONIQUES Absentee bids and telephone bids Nous sommes à votre disposition pour organiser des enchères téléphoniques pour les œuvres de cette vente. We will be delighted to organise telephone bidding Tél. +33 (0)4 73 93 24 24 - Fax +33 (0)4 73 35 54 34 - Email : [email protected] Frais de vente : 26,40 % TTC Consultez nos catalogues et laissez des ordres d’achat sur www.interencheres.com/63002 IMPORTANT La vente est soumise aux conditions imprimées en fin de catalogue.
    [Show full text]
  • Le Rire Et La Violence Chez Rabelais
    RICE UNIVERSITY LE RIRE ET LA VIOLENCE CHEZ RABELAIS by MICHAEL DAVID ATTALLA A THESIS SUBMITTED IN PARTIAL PULPULLMENT OP THE REQUIREMNTS FOR THE DEGREE OP MASTER OP ARTS HOUSTON, TEXAB MAY, 1976 ABSTRACT LE RIRE ET LA VIOLENCE CHEZ RABELAIS MICHAEL DAVID ATTALLA Rabelais achieved his goal of making people laugh, because his equivocal humor provided them with a refuge against all forms of violence. An analysis of Rabelais* works shows that only ambivalent lau^ter, simultaneously destroying and rebuilding its object or victim, is able to break the vicious cycle of communal violence in Maître François* literary creation. One could say that violence incited by villains (maraulx) such as Picrochole, the Limousin, and the Chiquanous, is the negative phenomenon to which humor owes its revitalizing powers among hiiman beings. Presented theoretically and according to prin¬ ciples laid down by modem formalist critics (Cerard Genette, Tzvetan Todorov), lau^ter is revealed through¬ out this study as a sacrificial instrument which symbol¬ ically kills a victim and frees a society from the destructive contagion of innate violence. Lau^ter in this context consequently takes on cosmic or universal dimensions which evoke a fundamental symbolism in man. The archetype of humor studied in this thesis may ex¬ plain in part why Rabelais* work survives today. Yet certain literary commentators from the seven¬ teenth century up to the present day greatly misunderstood "humanistic” lau^ter due to their insistence on applying strictly rational norms to a work
    [Show full text]
  • Less Rightly Said
    Less Rightly Said Less Rightly Said scandals and readers in sixteenth-century france Antónia Szabari stanford university press stanford, california Stanford University Press Stanford, California © 2010 by the Board of Trustees of the Leland Stanford Junior University. All rights reserved. Th is book has been published with the assistance of the College of Letters, Arts & Sciences at the University of Southern California. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or in any information storage or retrieval system without the prior written permission of Stanford University Press. Printed in the United States of America on acid-free, archival-quality paper Library of Congress Cataloging-in-Publication Data Szabari, Antónia. Less rightly said : scandals and readers in sixteenth-century France / Antónia Szabari. p. cm. Includes bibliographical references and index. isbn 978-0-8047-6292-2 (cloth : alk. paper) 1. French literature—16th century—History and criticism. 2. Political satire, French—History and criticism. 3. Religious satire, French—History and criticism. 4. Books and reading—France—History—16th century. 5. Scandals in literature. 6. Invective in literature. I. Title. pq239.s95 2010 840.9′35844028—dc22 2009010154 Typeset by Motto Publishing Services in 11/14 Adobe Garamond Contents List of Figures vii Acknowledgments ix Introduction . Th e Heretic and the Book 23 . Clean and Dirty Words 44 . Scandalous Evidence 65 . Th e Kitchen and the Digest 96 . Priests, Poets, and Print 126 . Fabricated Worlds and the Menippean Satire 158 . Public Scandals, Withdrawn Readers 185 Conclusion Notes 221 Bibliography 267 Index 275 Figures .
    [Show full text]
  • A History of French Literature from Chanson De Geste to Cinema
    A History of French Literature From Chanson de geste to Cinema DAVID COWARD HH A History of French Literature For Olive A History of French Literature From Chanson de geste to Cinema DAVID COWARD © 2002, 2004 by David Coward 350 Main Street, Malden, MA 02148-5020, USA 108 Cowley Road, Oxford OX4 1JF, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of David Coward to be identified as the Author of this Work has been asserted in accordance with the UK Copyright, Designs and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, and Patents Act 1988, without the prior permission of the publisher. First published 2002 First published in paperback 2004 by Blackwell Publishing Ltd Library of Congress Cataloging-in-Publication Data Coward, David. A history of French literature / David Coward. p. cm. Includes bibliographical references and index. ISBN 0–631–16758–7 (hardback); ISBN 1–4051–1736–2 (paperback) 1. French literature—History and criticism. I. Title. PQ103.C67 2002 840.9—dc21 2001004353 A catalogue record for this title is available from the British Library. 1 Set in 10/13 /2pt Meridian by Graphicraft Ltd, Hong Kong Printed and bound in the United Kingdom by TJ International Ltd, Padstow, Cornwall For further information on Blackwell Publishing, visit our website: http://www.blackwellpublishing.com Contents
    [Show full text]
  • A Music Book for Mary Tudor, Queen of France
    A MUSIC BOOK FOR MARY TUDOR, QUEEN OF FRANCE Item Type Article Authors Brobeck, John T. Citation A MUSIC BOOK FOR MARY TUDOR, QUEEN OF FRANCE 2016, 35:1 Early Music History DOI 10.1017/S0261127916000024 Publisher Cambridge University Press Journal Early Music History Rights © Cambridge University Press 2016. Download date 24/09/2021 21:57:16 Item License http://rightsstatements.org/vocab/InC/1.0/ Version Final accepted manuscript Link to Item http://hdl.handle.net/10150/621897 Brobeck - 1 <special sorts: {#} (space); flat sign ({fl} in file); sharp sign ({sh} in file); natural sign ({na} in file); double flat sign ({2fl} in file [these flats are close together, not spaced]); mensuration sign cut-C ({C/} in file; see pdf> <running heads: John T. Brobeck | A Music Book for Mary Tudor, Queen of France> Early Music History (2016) Volume 35. © Cambridge University Press doi: 10.1017/S0261127916000024 JOHN T. BROBECK Email: [email protected] _________________________________________________________________________________________ A MUSIC BOOK FOR MARY TUDOR, QUEEN OF FRANCE Frank Dobbins in memoriam In 1976 Louise Litterick proposed that Cambridge, Magdalene College, Pepys Library MS 1760 was originally prepared for Louis XII and Anne of Brittany of France but was gifted to Henry VIII of England in 1509. That the manuscript actually was prepared as a wedding gift from Louis to his third wife Mary Tudor in 1514, however, is indicated by its decorative and textual imagery, which mirrors the decoration of a book of hours given by Louis to Mary and the textual imagery used in her four royal entries. Analysis of the manuscript’s tabula and texts suggests that MS 1760 was planned by Louis’s chapelmaster Hilaire Bernonneau (d.
    [Show full text]
  • La Poésie Dislipée Ciana Notre-Diunc De Puis 1462 Andr
    La poésie dislipée cIana Notre-DIunc de Puis 1462 par Andr~ Trotticr Mémoire présenté à la Faeult6 des Études np6ricurcs ct de la R.echerche pour l'obtention du diplôme de maltrisc CM.A.) Département de Lanauc ct Littérature Crançaisca UJÜYcni~ MçGill, MODtRal septembre 1990 () And~ Trottier, 1990 t Je tiens à remercier deux de mes professeurs : monsieur Pierre Nepveu, de l'Université de Montréal, pour m'avoir bien aimablement autorisé à utiliser un extrait inédit en français d'un de ses textes critiques, et monsieur Jean-Claude Morisot, de McGill, pour sa lecture des plus attentives des différentes étapes de ce mémoire. , Netre-Dame de Paris 1482, de Victor Hugo, est une oeuvre qui réunit plusieurs genres le roman à travers l 'essa~ histurique, le théâtre, la poésle. Cette poésle essent~elle­ ment populaire donne pourtant tous les signes de la maladresse (pensons à la pièce de Gringolre ou aux «vers» de Quaslmodo), de la triv~alité (les grlvoiserles des coquins, les chansons à boire de Jehan Frollo), de l'analphabétlsme (condition d'Esmeralda et de Quasimodo, du «peuple»), du profane, voire de la profanation (l'hérésie, l'anticlérlcal1sme du roman). On peut donc noter que la poésip, dans Notre-Dame de Paris, se trouve ainsi disséminée ou dispersée (dissipée) en une série de sous-textes qui viendront perturber les normes de la «bonne» littérature. Cette désorganisation du poétique est le sujet de la présente étude. Une première partie de ce mémoire sera consacrée à l'examen de quelques caractéristiques de l'écriture de Hugo sa tendance à échapper aux classifications, de même que certains de ses traits ou motifs esthétiques tels que le grotesque et la démesure.
    [Show full text]
  • Illinois Masonic Academic Bowl 2020 Sectional Tournament Round 1 1St Section Toss-Up Questions Question #1: Mathematics Question
    Illinois Masonic Academic Bowl Round 1 2020 Sectional Tournament 1st Section Toss-up Questions Question #1: Mathematics 10 points An integral along a path or curve is commonly lines named for this shape even when the path is not this shape. In polar coordinates, this shape is generated by graphing r equals the secant of theta. Playfair’s axiom, which begins with one of these shapes and a point not on it, is equivalent to Euclid’s [YOO-klid’z] parallel postulate, which describes where two of these shapes meet. A transversal is one of these shapes that crosses two others of these shapes. Name these entities that are infinitely long and straight. Question #2: Literature 10 points In this novel, a light truck swerves to hit a turtle, The Grapes of Wrath making the turtle flip. A character in this novel who has not been home for four years wraps the turtle in his coat to take it home to his little brother, and on the way home he shows it to a former preacher, who goes home with him. Later in this novel, that little brother—Al—falls in love with Agnes Wainwright. By the end of this novel, their family is abandoned by Connie Rivers, even though Rose of Sharon is pregnant. Much of this novel is set on Route 66 on the way to California. Name this novel about the Joad family from Oklahoma, written by John Steinbeck. 1 Illinois Masonic Academic Bowl Round 1 2020 Sectional Tournament 1st Section Toss-up Questions Question #3: Miscellaneous 10 points This person helped write and sing Adam Lambert’s Lady Gaga or [Stefani song “Fever”.
    [Show full text]
  • French Civil-War Tragedy (1550–1643) by Brian
    Breaking Dramatic Illusion and Extending the Dramatic World: French Civil-War Tragedy (1550–1643) By Brian Moots Submitted to the graduate degree program in French and Italian and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Bruce Hayes ________________________________ Paul Scott ________________________________ Caroline Jewers ________________________________ Diane Fourny ________________________________ Geraldo de Sousa Date Defended: May 7, 2014 ii The Dissertation Committee for Brian Moots certifies that this is the approved version of the following dissertation: Breaking Dramatic Illusion and Extending the Dramatic World: French Civil-War Tragedy (1550–1643) ________________________________ Chairperson Bruce Hayes Date approved: June 9, 2014 iii Abstract This research project combines history, cultural studies, and performance theories to explore the threats posed by tragedy during the civil and religious crisis in France. French plays challenge civil and religious authority and justify revolt by the literal and figurative reenactment of sedition. In the sub-genre of civil-war tragedy, David rebels against the anointed king Saul, Caesar contends against Pompey, Roman senators slay the victorious Caesar, and Antigone disobeys her uncle and king, Creon. Adopting these famous examples of revolt enables playwrights to break the dramatic illusion of the play, creating crucial parallels with contemporary France.
    [Show full text]
  • Women and Power at the French Court, 1483-1563
    GENDERING THE LATE MEDIEVAL AND EARLY MODERN WORLD Broomhall (ed.) Women and Power at the French Court, 1483-1563 Court, French the at Power and Women Edited by Susan Broomhall Women and Power at the French Court, 1483-1563 Women and Power at the French Court, 1483–1563 Gendering the Late Medieval and Early Modern World Series editors: James Daybell (Chair), Victoria E. Burke, Svante Norrhem, and Merry Wiesner-Hanks This series provides a forum for studies that investigate women, gender, and/ or sexuality in the late medieval and early modern world. The editors invite proposals for book-length studies of an interdisciplinary nature, including, but not exclusively, from the fields of history, literature, art and architectural history, and visual and material culture. Consideration will be given to both monographs and collections of essays. Chronologically, we welcome studies that look at the period between 1400 and 1700, with a focus on any part of the world, as well as comparative and global works. We invite proposals including, but not limited to, the following broad themes: methodologies, theories and meanings of gender; gender, power and political culture; monarchs, courts and power; constructions of femininity and masculinity; gift-giving, diplomacy and the politics of exchange; gender and the politics of early modern archives; gender and architectural spaces (courts, salons, household); consumption and material culture; objects and gendered power; women’s writing; gendered patronage and power; gendered activities, behaviours, rituals and fashions. Women and Power at the French Court, 1483–1563 Edited by Susan Broomhall Amsterdam University Press Cover image: Ms-5116 réserve, fol.
    [Show full text]
  • Oeuvres Complètes
    U d'/of OTTAWA 39003001000610 <* ŒUVRES COMPLÈTES DE GRINGORE Paris. — Imprimé par E. Thunot et Cie, rue Racine, : -, avec les caractères elzeviriens de P. Jannbt. ŒUVRES COMPLÈTES DE G RI NGO RE Réunies pour la première fois PAR MM. Ch. d'HÉRICAULT et A. de MONTAIGLON Tome I ŒUVRES POLITIQUES A PARIS Chez P. Jannet, Libraire MDCCCLVIU M 17 «?.) M. LE COMTE EDOUARD DE CHABROL BIBLIOPHILE NORMAND v^ CETTE PREMIÈRE ÉDITION DES ŒUVRES COMPLÈTES DU VIEUX POETE NORMAND EST DÉDI ÉE Par les Éditeurs Ch. d'HÉRICAULT, A. de MONTAIGLON GRINGORE ET LA POLITIQUE BOURGEOISE AU XVI* SIÈCLE es documens que la Littérature pro- cure à l'Histoire doivent être ac- cueillis avec précaution, presque défiance, nous le I avec reconnois- sons. Nous n'ignorons pas d'ailleurs que les œuvres littéraires contiennent rare- ment des faits nouveaux, et quand, par hasard, il en est ainsi , nous savons que ces faits n'ont presque jamais une importance primordiale. De telles œuvres sont donc inutiles à l'historien pour établir les grandes lignes, pour donner des fon- demens sûrs à un système large et nouveau. Elles n'ont pas la puissance d'attaquer de haute lutte les opinions reçues, et de triompher à la manière des faits, c'est-à-dire par leur apparition. On peut dire à la rigueur qu'elles n'offrent rien de gé- néral, presque rien de positif, et, à première vue, elles ne montrent que des lueurs indécises. Mais si elles ne sont point une svnthèse, du viij Gringore moins mettent-elles la philosophie historique sur la voie des plus fins et des plus minutieux ensei- gnemens ; si elles n'existent pas par elles-mêmes — sur la scène de l'histoire , cela s'entend , — du moins parfois indiquent-elles quelque point minime et important tout à la fois , telle petite circonstance inaperçue jusque-là et qui remplit cependant le rôle de cette pierre mince , de ce morceau de ciment sans lesquels le monument ne sauroit être en équilibre.
    [Show full text]
  • Le Spectacle Et Le Spectaculaire Chez Les Frères Goncourt : Représentation De La Société Et Création De Soi
    Université Paris Ouest Nanterre La Défense ED 138 : École doctorale Lettres, Langues, Spectacles Le spectacle et le spectaculaire chez les frères Goncourt : Représentation de la société et création de soi. Thèse en vue de l’obtention du diplôme de doctorat en littérature française soutenue publiquement par Justine Jotham le mardi 8 décembre 2015 Sous la direction de Monsieur Pierre-Jean Dufief, professeur de littérature française à l’Université Paris Ouest Membres du jury : - Pierre-Jean Dufief, professeur émérite, Université Paris Ouest - François Berquin, maître de conférences, HDR, Université du Littoral (rapporteur) - Dominique Pety, professeur, Université de Savoie (rapporteur) - Jean-Louis Cabanès, professeur émérite, Université Paris Ouest - Jean-Marc Hovasse, directeur de recherche au CNRS - Patrick Wald-Lasowski, professeur, Université Paris VIII 1 2 3 4 REMERCIEMENTS Avant d’entamer cette étude, je tiens à remercier tout spécialement mon directeur de thèse, le professeur Pierre-Jean Dufief, qui, depuis cinq années, a toujours témoigné d’une attention bienveillante à l’égard de mes travaux et qui m’a prodigué de précieuses recommandations. Je remercie également les membres de mon jury, qui ont accepté d’y siéger et dont les conseils enrichiront mon travail. Je tiens ensuite à exprimer ma gratitude à l’égard de ceux qui m’ont soutenue dans mes recherches. Je pense notamment à Mme Dolorès Lyotard, qui a éveillé mon goût pour la littérature du XIXe siècle et qui, depuis dix ans, me suit, pas à pas, en me manifestant une affectueuse autorité. J’aimerais aussi remercier les personnes qui m’ont donné de leur temps pour relire les versions finales de ce manuscrit : Jean-Sébastien Macke, mon amie Anita Lavernhe-Grosset, qui l’a fait avec beaucoup de minutie et une implication personnelle, et qui m’a accordé de longues heures de discussion.
    [Show full text]
  • Fasc. III – Settembre-Dicembre 2006
    Studi Francesi Rivista quadrimestrale fondata da Franco Simone 150 (L | III) | 2006 Varia – fasc. III – settembre-dicembre 2006 Édition électronique URL : http://journals.openedition.org/studifrancesi/27012 DOI : 10.4000/studifrancesi.27012 ISSN : 2421-5856 Éditeur Rosenberg & Sellier Édition imprimée Date de publication : 31 décembre 2006 ISSN : 0039-2944 Référence électronique Studi Francesi, 150 (L | III) | 2006, « Varia – fasc. III – settembre-dicembre 2006 » [En ligne], mis en ligne le 16 juin 2020, consulté le 08 novembre 2020. URL : http://journals.openedition.org/ studifrancesi/27012 ; DOI : https://doi.org/10.4000/studifrancesi.27012 Studi Francesi è distribuita con Licenza Creative Commons Attribuzione - Non commerciale - Non opere derivate 4.0 Internazionale. SOMMARIO Anno L - fasc. III - settembre-dicembre 2006 ARTICOLI A. CH. FIORATO, Il motivo del ‘carpe rosam’. Ronsard tra l’Ariosto e il Tasso: imitazione e creatività, p. 453. R. WILKIN, Renaissance Historiography and Novel Anthropology in Pierre-Daniel Huet’s «De l’Origine des romans» (1660), p. 466. R. ZAFFARAMI BERLENGHINI, Stendhal picaresque? Tours et détours d’écriture, p. 478. S. SAUVAGE, Lectures d’enfance et destinée chez Alain-Fournier, p. 496. DISCUSSIONI E COMUNICAZIONI T. LEUKER, Sul valore simbolico del Toson d’oro. Giasone, Gedeone e il Vello d’oro in un’enciclopedia medievale, p. 519. S. MUNARI, Teatro gesuita e tradizione pagana: due scenari di argomento polacco nella Francia di Mazarino, p. 524. M. NASCIMBENE, ‘Semplicità’ e ‘ignoranza’ nell’opera di Philippe Jaccottet, p. 534. L. MALINGRET, A propos de la littérature francophone/des littératures francophones: quelques aspects de la question, p. 542. TESTI INEDITI E DOCUMENTI RARI P.
    [Show full text]