DOCSLIB.ORG

Formules N°12

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Formules N°12 /(6211(7 26(/ 7(112 &217(0325$,1712& 5230(7 1,$5 UHWRXUVDXVRQQHWXRWHU UVDX VR WHQQR MDFTXHVGDUUDVMDFTXHVUpGDMDFTXHVURXEDXGFDM DUUDGVHXTF V UR GXDEX 6(//( 6RXVODGLUHFWLRQ QRLWFHULGDOVXR6 Q (052)61 G¶DODLQFKHYULHUHLUYHKFQLDOD¶G HLUYHKFQLDODG U HWGRPLQLTXH HXTLQLPRGWH H PRQFRQG¶KX\\XK¶GQRFQRP \ (89( (5 12, 12, 5(98( 6(/80 7 $ $7 (5& &6(' &6(' 052) )2508/(6 '(6&5($7,216)250(//(6 12(6,6(21 6,6 Retours au sonnet Poitiers, 1er-2 septembre 2007 Colloque organisé à l’université de Poitiers les 1er et 2 septembre 2007 par les revues Formules et Formes poétiques contemporaines avec la collaboration de la revue La Licorne et avec le soutien de l’équipe FORELL (E.A. 3816, Université de Poitiers / M.S.H.S.) 1 formules12.indb 1 28/04/2008 19:13:28 Revue publiée avec le concours du Centre National du Livre (France), et de la Communauté Française de Belgique. Formules est une publication de l’Association Reflet de Lettres, avec la collaboration de la Fondation Noésis Internationale et de l’Association Noésis-France. Formules est une revue traitant d’un domaine particulier, celui des créations formelles. Les envois spontanés sont encouragés, pourvu qu’ils soient en rapport avec ce domaine ; toutefois, Formules ne maintiendra pas de correspondance avec les auteurs des textes refusés, qui ne seront pas retournés. Les auteurs publiant dans Formules développent librement une opinion qui n’engage pas la revue. Cependant, Formules se donne pour règle de ne jamais publier des textes antidémocratiques, ou contraires à la dignité de la personne humaine. Directeurs : Bernardo Schiavetta et Jan Baetens. Rédacteur : Alain Chevrier. Secrétariat de rédaction, maquette : Élisabeth Chamontin. Comité de lecture : Jany Berretti, Michel Clavel, Astrid Poier-Bernhard, Alain Zalmanski. Conseillers à la rédaction : Daniel Bilous, Éric Clemens, Didier Coste, Cécile De Bary, Pascal Durand, Jean Lahougue, Guy Lelong, Christelle Reggiani, Mireille Ribière, Stéphane Susana, Michel Voiturier. Adresse de la rédaction en France : 79, rue Manin, 75019 PARIS. Adresse de la rédaction en Belgique : Parkstraat 171 - 3000 LEUVEN Adresse e-mail : revue. [email protected] Site internet : http://www.formules.net Les actes du Colloque « RETOURS DU SONNET » sont publiés avec le concours des revues FPC Formes Poétiques Contemporaines, et La Licorne Nous remercions tout particulièrement l’équipe FORELL (E.A. 3816, Université de Poitiers / M.S.H.S.) pour son soutien Illustration de couverture : Pictogram Sonnet, Eduardo Kac, 1982. © Collection Formules : Association Noésis-France © Revue Formules : Association Reflet de Lettres © Pour les textes : Les auteurs ISBN : 978-2-35326-026-3 ISSN : 1275-77 13 Dépôt légal en France : mai 2008 2 formules12.indb 2 28/04/2008 19:13:28 Sommaire ÉDITORIAL.....................................................................................................5 ACTES DU COLLOQUE « RETOURS AU SONNET » ÉTUDES Dominique Moncond’huy : d’Aragon à Roubaud et Hocquard : le sonnet comme espace. .............................................................................................11 Natacha Lafond : Le sonnet dans l’œuvre de Jean Cassou (1897-1986)...........23 Alain Chevrier : La forme du sonnet chez Raymond Queneau ...........................35 Camille Bloomfield : Le sonnet à l’Oulipo : quand une forme fixe n’est plus une contrainte...............................................51 Bertrand Tassou : Les Sonnets irrationnels de Jacques Bens : quand la forme fixe redevient contrainte...........................................................67 Dominique Chaigne : Les sonnets oulipiens : une forme mémoire ?...................81 Christian Delorenzo : Le sonnet régulier, le sonnet libre et le sonnet potentiel......................................................................................95 Gian Paolo Renello : Le sonnet dans la poésie italienne contemporaine : deux exemples...........................................................................................105 Henry Gil : Le sonnet silésien : haltes précaires et points d’appui....................117 Fumiko Endô : Le sonnet japonais du groupe « Matinée poétique »........131 Sandrine Larraburu-Bédouret : « La forme d’un sonnet change plus vite que le cœur des humains »...........................................................................143 Stéphane Bikialo : Le sonnet comme castration mentale : les Sonnets de la mort de Bernard Noël.....................................................155 Laurent Fourcaut : Autobiographie de William Cliff : le sonnet comme (in)discipline.......................................................................167 Stéphanie Thonnerieux : Formes du sonnet chez Guy Goffette : « le silence élargissant le souffle ».................................................................179 Ellen Leblond-Schrader : Le lyrisme purement visuel : . le dessin dans la poésie de Pierre Alféri........................................................191 Henri Scepi : Le sonnet mis à nu par ses... mêmes. Jean-Marie Gleize et la forme impraticable.....................................................201 POÈTES INVITÉS Jacques Réda : Prêt à porter et sur mesure...................................................215 Quinze sonnets...............................................................................................221 Jacques Darras : Pourquoi m’arrive-t-il d’écrire des sonnets ?........................229 Quinze sonnets inédits ...............................................................................233 3 formules12.indb 3 28/04/2008 19:13:29 Jacques Roubaud et Dominique Buisset : Quatorzine luberonne à quatre mains..........................................................................................241 Robert Marteau : Source et fortune du sonnet................................249 Six sonnets de saison..................................................................................251 AUTOUR DU SONNET ÉTUDES Pascal Durand : Avatars de la forme sonnet au XIXe siècle............................257 Erika Greber : La texture combinatoire du sonnet : pour une redéfinition du genre (traduit par Franz Josef Haussmann).................281 Malgorzata Sokolowicz : la place du sonnet dans l’œuvre poétique de Jarosław Iwaszkiewicz..........................................299 TRADUCTIONS François-Michel Durazzo : Traduction de sonnets de Quevedo.....................311 Franz Josef Czernin : Sur L’Art du sonnet (traduit par Jean-René Lassalle)........319 CRÉATIONS Angéla et Bernardo della Schiavetta : Les sonnets écartés de Miroir du Miroir (1937) de Selvio Zagghi..............................................329 Christian Bernard : Petite forme (extraits).................................................337 Frédéric Forte : 13 sonnets plats.................................................................343 Alain Chevrier : 4 sonnets.........................................................................347 Élisabeth Chamontin : 2 sonnets collés suivis de 5 sonnets de bureau ...........351 Michel Clavel : 3 sonnets............................................................................357 Eduardo Kac : Pictogram sonnet..................................................................360 Gilles Esposito-Farèse : Sonnets contraints.................................................361 Jany Berretti : Sonnets hétérogrammatiques................................................363 Annie Hupé : Coin-coin.............................................................................365 Jacques Perry-Salkow : Domino...................................................................367 Alain Zalmanski : Pour quelques sonnets de plus..........................................371 4 formules12.indb 4 28/04/2008 19:13:29 ÉDITORIAL Éditorial À considérer les textes des créateurs contemporains publiés par Formules, il apparaît que le sonnet a été le cadre formel ancien le plus fréquemment utilisé. Tout au long des onze numéros précédents, nous avons en effet accueilli, en plus des formes purement expérimentales, sui generis par définition, un nombre considérable de sonnets contraints, c’est- à-dire d’œuvres qui ajoutaient des règles textuelles supplémentaires aux règles canoniques du sonnet. Cela n’est qu’un signe de plus qui confirme la présence constante du sonnet et de ses variantes libres ou à contraintes dans les pratiques poétiques actuelles. Le dossier principal réunit des créations et des articles d’érudition, c’est-à-dire toutes les interventions orales présentées lors du colloque annuel que nous publions, et qui a été réalisé cette fois avec une très importante collaboration de l’Université de Poitiers et de la revue La Licorne, sans oublier l’apport de Formes Poétiques Contemporaines. Ces deux revues partagent avec Formules un bon nombre de préoccupations formelles communes. Le présent numéro réunit ainsi des sonnets textuels ou visuels de plusieurs poètes et d’artistes contemporains dont l’œuvre est très présente. Nous y avons inclus aussi quelques échantillons de l’heureuse utilisation actuelle des
Load more

Recommended publications
  • Reading Questions
    Music 331 – Burkholder (10th edition) Reading Questions Free Advice: Begin by reading each chapter without the questions at hand. Next, read each question and begin to reread the chapter, jotting down your answers as you find the information you need. Part I: The Ancient and Medieval Worlds—Chapter 1: Music in Antiquity 1. What are the four historical traces of music from past eras? 2. What two categories of musical evidence survive from the Stone Age? 3. On what occasions did the Mesopotamians perform music? (name 4) 4. What genre did the earliest known composer write, and what might be surprising about that composer? 5. When did Babylonians begin to write down aspects of music, and what did they record? 6. What is the date of earliest known (nearly) complete piece, and what genre is it? 7. Which three instruments were most important to the ancient Greeks, & what “trace” evidence survives? 8. In what two categories did the Greeks write about music? 9. For the Greeks (not Plato), what did harmonia mean, and what did it encompass? 10. What is ethos, and how does music relate to it? 11. Which harmoniai did Plato endorse, and why? 12. Why would Aristotle have been unhappy if his son wanted to appear on American Idol or The Voice? 13. What is a tetrachord, and what are its three genera? 14. What did the word “species” mean to Cleonides (and who was he)? 15. How much ancient Greek music survives, spanning what centuries? 16. What is the Proslambanomenos of the Iastian tonos? (You can figure this out by using the tonos information on p.
    [Show full text]
  • Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
    Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support.
    [Show full text]
  • Songs in Fixed Forms
    Songs in Fixed Forms by Margaret P. Hasselman 1 Introduction Fourteenth century France saw the development of several well-defined song structures. In contrast to the earlier troubadours and trouveres, the 14th-century songwriters established standardized patterns drawn from dance forms. These patterns then set up definite expectations in the listeners. The three forms which became standard, which are known today by the French term "formes fixes" (fixed forms), were the virelai, ballade and rondeau, although those terms were rarely used in that sense before the middle of the 14th century. (An older fixed form, the lai, was used in the Roman de Fauvel (c. 1316), and during the rest of the century primarily by Guillaume de Machaut.) All three forms make use of certain basic structural principles: repetition and contrast of music; correspondence of music with poetic form (syllable count and rhyme); couplets, in which two similar phrases or sections end differently, with the second ending more final or "closed" than the first; and refrains, where repetition of both words and music create an emphatic reference point. Contents • Definitions • Historical Context • Character and Provenance, with reference to specific examples • Notes and Selected Bibliography Definitions The three structures can be summarized using the conventional letters of the alphabet for repeated sections. Upper-case letters indicate that both text and music are identical. Lower-case letters indicate that a section of music is repeated with different words, which necessarily follow the same poetic form and rhyme-scheme. 1. Virelai The virelai consists of a refrain; a contrasting verse section, beginning with a couplet (two halves with open and closed endings), and continuing with a section which uses the music and the poetic form of the refrain; and finally a reiteration of the refrain.
    [Show full text]
  • How the Villanelle's Form Got Fixed. Julie Ellen Kane Louisiana State University and Agricultural & Mechanical College
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1999 How the Villanelle's Form Got Fixed. Julie Ellen Kane Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Kane, Julie Ellen, "How the Villanelle's Form Got Fixed." (1999). LSU Historical Dissertations and Theses. 6892. https://digitalcommons.lsu.edu/gradschool_disstheses/6892 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been rqxroduced from the microfilm master. UMI films the text directfy firom the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fiice, vdiile others may be from any typ e o f com pater printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e g., maps, drawings, charts) are reproduced by sectioning the original, b^innm g at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • Poetry Form Calendar
    Poetry Form Calendar 2010 ` A MESSAGE FROM GROW Grass Roots Open Writers is a very friendly and supportive community writing group. We hope you enjoy reading our poems and that you'll be inspired to write your own. FOR FURTHER INFORMATION - OR TO SHARE YOUR WRITING WITH US Please visit the GROW website: www.grass-roots-open-writers.btik.com Email: [email protected] or Phone / Text 07932 231491 INSTRUCTIONS Stanza: A stanza is a verse or group of lines. Syllables: Syllables are the individual sounds in a word 'definitive' has 4 syllables 'def-in-it-ive' 'merrily' has 3 syllables 'mer-ri-ly' 'sad' has 1 syllable 'sad' Rhyming Patterns: To describe rhyming patterns we use a combination of upper and lower case letters and numbers. Each letter (or letter and number) represents a line in a stanza. • lower case letters (a, b, c, etc.) mean lines that end with the same sound. • upper case letters (A, B, C, etc.) mean that the lines are repeated AND rhyme with lines represented by same lower case letter. 'A' is the same as 'A' AND rhymes with 'a' 'B' is the same as 'B' AND rhymes with 'b' etc. • upper case letters with a number (A1, A2 etc.) mean that lines with the same letter (lower and upper case) rhyme with each other AND are repeated (either together or individually.) 'A1' is the same as 'A1' AND rhymes with 'A2' and 'a' 'B1' is the same as 'B1' AND rhymes with 'B2' and 'b' etc. Example: A1 Words of wisdom and the thoughts of sages (10 syllables) a Shine out brightly through the dusty pages (10 syllables) a Shout across the
    [Show full text]
  • CIM/CWRU Joint Music Program Wednesday, Octoberdecember 5, 7,2016 2016
    CIM/CWRU Joint Music Program Wednesday, OctoberDecember 5, 7,2016 2016 La Fonteinne amoureuse CarlosCWRU Salzedo Medieval (1885–1961) Ensemble Tango Ross W. Duffin, director Grace Cross & Grace Roepke, harp with CWRU Early Music Singers, ElenaPaul Hindemith Mullins, (1895–1963) director from Sonate für Harfe Sehr langsam Grace Cross ProgramCarlos Salzedo Chanson dans la nuit Grace Cross & Grace Roepke Kyrie from La Messe de Nostre Dame Guillaume de Machaut (ca.1300–77) Caroline Lizotte (b. 1969) from Suite Galactique, op. 39 Early Music Singers Exosphère Gracedirected Roepke by Elena Mullins Pierre Beauchant (1885–1961) Triptic Dance Douce dame Machaut Grace Cross & Grace Roepke Nathan Dougherty, voice withSylvius Medieval Leopold WeissEnsemble (1687–1750) from Lute Sonata no. 48 in F-sharp minor (arr. for guitar by A. Poxon) I. Allemande Lucas Saboya (b. 1980) from Suite Ernestina I. Costurera Quarte estampie royale II. DeAnonymous Algún Modo (Manuscrit du Roy) AllisonBuddy Johnson Monroe, (1915-1977) vielle • Karin Cuellar,Since rebec I Fell for You Laura(arr. for Osterlund, guitar by A. recorderPoxon) • Margaret Carpenter Haigh, harp Andy Poxon, guitar Agustín Barrios (1885–1944) Vals, op. 8, no. 4 Comment qu’a moy lonteinne Machaut J. S. Bach (1685–1750) from Sonata no. 3 in C major, BWV 1005 Margaret Carpenter Haigh, voice IV. Allegro assai Heitorwith ensemble Villa-Lobos (1887–1959) Etude no. 7 Year Yoon, guitar Portrait of Helen Sears, 1895. John Singer Sargent (American, 1856–1925). Oil on canvas; 167.3 x 91.4 cm. Museum of Fine(continued Arts, Boston Gift of Mrs. onJ. D. Cameron reverse) Bradley 55.1116.
    [Show full text]
  • Troubadours NEW GROVE
    Troubadours, trouvères. Lyric poets or poet-musicians of France in the 12th and 13th centuries. It is customary to describe as troubadours those poets who worked in the south of France and wrote in Provençal, the langue d’oc , whereas the trouvères worked in the north of France and wrote in French, the langue d’oil . I. Troubadour poetry 1. Introduction. The troubadours were the earliest and most significant exponents of the arts of music and poetry in medieval Western vernacular culture. Their influence spread throughout the Middle Ages and beyond into French (the trouvères, see §II below), German, Italian, Spanish, English and other European languages. The first centre of troubadour song seems to have been Poitiers, but the main area extended from the Atlantic coast south of Bordeaux in the west, to the Alps bordering on Italy in the east. There were also ‘schools’ of troubadours in northern Italy itself and in Catalonia. Their influence, of course, spread much more widely. Pillet and Carstens (1933) named 460 troubadours; about 2600 of their poems survive, with melodies for roughly one in ten. The principal troubadours include AIMERIC DE PEGUILHAN ( c1190–c1221), ARNAUT DANIEL ( fl c1180–95), ARNAUT DE MAREUIL ( fl c1195), BERNART DE VENTADORN ( fl c1147–70), BERTRAN DE BORN ( fl c1159–95; d 1215), Cerveri de Girona ( fl c1259–85), FOLQUET DE MARSEILLE ( fl c1178–95; d 1231), GAUCELM FAIDIT ( fl c1172–1203), GUILLAUME IX , Duke of Aquitaine (1071–1126), GIRAUT DE BORNELH ( fl c1162–99), GUIRAUT RIQUIER ( fl c1254–92), JAUFRE RUDEL ( fl c1125–48), MARCABRU ( fl c1130–49), PEIRE D ’ALVERNHE ( fl c1149–68; d 1215), PEIRE CARDENAL ( fl c1205–72), PEIRE VIDAL ( fl c1183–c1204), PEIROL ( c1188–c1222), RAIMBAUT D ’AURENGA ( c1147–73), RAIMBAUT DE VAQEIRAS ( fl c1180–1205), RAIMON DE MIRAVAL ( fl c1191–c1229) and Sordello ( fl c1220–69; d 1269).
    [Show full text]
  • Durham E-Theses
    Durham E-Theses The blasom poétique and allied poetry of the French renaissance Saunders, Alison M. How to cite: Saunders, Alison M. (1972) The blasom poétique and allied poetry of the French renaissance, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/7944/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk ABSTRACT This thesis is a study of the development of the "blason poetique in the sixteenth century. We have focussed our attention on the blason anatomique - a subsection of this main genre - and have tried to demonstrate that the blason anatomique does fit in with the blason -poetique, which itself forms part of a French literary tradition with roots stretching back to the.fourteenth century, and which continues into the seventeenth century and beyond. The key to the genre lies in its descriptive, interpretative character, inherited from its heraldic ancestry.
    [Show full text]
  • UNIVERSITY of CALIFORNIA, SAN DIEGO How Music Travels: the Opera Blood Hunger Child a Dissertation Submitted in Partial Satisfac
    UNIVERSITY OF CALIFORNIA, SAN DIEGO How Music Travels: the Opera Blood Hunger Child A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Jon Forshee Committee in charge: Professor Anthony Davis, Chair Professor Katharina Rosenberger, Co-Chair Professor Norman Bryson Professor Amy Cimini Professor Aleck Karis Professor Lei Liang 2017 Copyright Jon Forshee, 2017. All rights reserved. The Dissertation of Jon Forshee is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Co-Chair Chair University of California, San Diego 2017 iii TABLE OF CONTENTS Signature Page…………………………………………….……………………………iii Table of Contents……………………………………………………………………….iv List of Supplemental Files……………….…………..…………………………….…...v List of Figures…………………………………………………………………………...vi Vita……………………………………………………………………………….…..….vii Abstract of the Dissertation……………………………………………………...…...viii How Music Travels - The Opera Blood, Hunger, Child: Introduction…….…………1 Chapter 1: Sources and Background……….………………………………………...7 Chapter 2: The Story….……………………………………………………...………..15 Chapter 3: The Libretto in Verse…..………………………………………………… 19 Chapter 4: Vocal Types and Orchestration….……………………………………….31 Chapter 5: Transcription as Creative Practice...…………………………………….34 Chapter 6: Esu-Legba and the Orisha…...………………………………………….36 Chapter 7: The Story within the Story……………………………………………….54 References…………………………………………………………………………..…58 iv LIST OF SUPPLEMENTAL FILES Blood | Hunger | Child, Chamber Opera
    [Show full text]
  • INTRODUCTION LE BUT. — LES MOYENS. — L'intérêt Je Nie
    INTRODUCTION LE BUT. — LES MOYENS. — L’INTÉRÊT Je nie propose de rechercher quelles sont les formes les plus anciennes de notre versification et comment elles se sont déve- loppées en France et hors de France. Les premiers attestés de nos mètres poétiques, l octosyllabe, le décasyllabe, l’alexandrin et quelques autres, se présentent dès 1 abord sous une forme nettement arrêtée, qui témoigne d un long emploi antérieur. Sans doute, elle a encore évolué quelque peu à partir de l’instant où elle apparaît dans nos vieux manus- crits. A plus forte raison lui a-t-il fallu un temps assez consi- dérable pour s’ébaucher et se dégager des premiers essais, avant que les clercs aient jugé la « langue rustique », ou « vulgaire », (ligne de figurer sur leurs parchemins à côté de la langue savante, le latin. Il a existé en France pendant cette première période, il y a même lleuri vers la fin 1 une poésie orale, primitive, — chantée, naturellement, — qui s’est en partie conservée ou continuée sur les lèvres du « peuple », tandis qu’elle s’épanouissait dans la poésie « littéraire » en formes plus différenciées, plus riches2. C’est ainsi que se maintiennent également dans le peuple, en s’altérant plus ou moins, des façons de parler abandonnées par les « classes supérieures ». Il arrive aussi que des modèles français de vers, de style, de langage, de manières 011 de vêtement, une fois disparus ou trans- formés chez nous, se perpétuent et se développent dans nos colonies, comme chez les Normands d’Angleterre, ou même en pays complètement étranger.
    [Show full text]
  • Proquest Dissertations
    THE ORIGINS AND DEVELOPMENT OF THE VILLANELLE IN ENGLISH LITERATURE by Jean S. Moreau Thesis presented to the Faculty of Arts of the University of Ottawa in partial fulfillment of the requirements for the degree of Master of Arts. LIBRARIES * ''K S*^ 6l~Sity <rf Ottawa, Canada, 1975 M Jean S. Moreau, Ottawa, Canada, 1975, UMI Number: EC56066 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI® UMI Microform EC56066 Copyright 2011 by ProQuest LLC All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 ACKNOWLEDGEMENT This thesis is prepared under the guidance of Professor Frank M. Tierney, Ph.D., of the Department of English of the University of Ottawa. The writer is greatly beholden to Dr. Tierney for his direction, scholarship, courtesy and unfailing patience. TABLE OF CONTENTS Chapter Page INTRODUCTION 1 I. - THE ORIGINS, DEFINITION AND DEVELOPMENT OF THE VILLANELLE IN FRANCE 3 1. Origins and Development of the Villanelle 3 2. Revival and Definition of the Villanelle in France .... 22 II. - THE VILLANELLE IN ENGLISH LITERATURE: THE INTRODUCTORY PERIOD 41 III.
    [Show full text]
  • An Analysis of Guillaume De Machaut's "Le Lay De La Fonteinne" in Cultural Context Patricia A
    The University of Maine DigitalCommons@UMaine Electronic Theses and Dissertations Fogler Library 12-2001 Words and music in communion: an analysis of Guillaume de Machaut's "Le Lay de la Fonteinne" in cultural context Patricia A. Turcic Follow this and additional works at: http://digitalcommons.library.umaine.edu/etd Part of the French and Francophone Language and Literature Commons Recommended Citation Turcic, Patricia A., "Words and music in communion: an analysis of Guillaume de Machaut's "Le Lay de la Fonteinne" in cultural context" (2001). Electronic Theses and Dissertations. 486. http://digitalcommons.library.umaine.edu/etd/486 This Open-Access Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of DigitalCommons@UMaine. WORDS AND MUSIC IN COMMUNION: AN ANALYSIS OF GUILLAUME DE MACHAUT’S “LE LAY DE LA FONTEINNE” IN CULTURAL CONTEXT By Patricia A. Turcic B.A. Colby College, 1977 M.A. Bowling Green State University, 1988 B.M. University of Maine, 1996 A THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts (in Liberal Studies) The Graduate School The University of Maine December, 200 1 Advisory Committee: Cathleen Bauschatz, Professor of French, Advisor Kristina Passman, Associate Professor of Classical Language and Literature Beth Wiemann, Assistant Professor of Music Copyright 200 1 Patricia A. Turcic All Rights Reserved .. 11 WORDS AND MUSIC IN COMMUNION: AN ANALYSIS OF GUILLAUME DE MACHAUT’S “LE LAY DE LA FONTEINNE” IN CULTURAL CONTEXT By Patricia Turcic Thesis Advisor: Dr.
    [Show full text]