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Dictionnaire Culturel En Langue Française DICTIONNAIRE CULTUREL EN LANGUE FRANCqAISE sous la direction de ALAIN REY direction éditoriale DANIÈLE MORVAN DICTIONNAIRE CULTUREL EN LANGUE FRANC¸ AISE présentant plus de 70 000 mots du français classique, moderne et très contemporain, avec leur origine, leurs sens et leurs emplois clairement définis, illustrés de nombreuses citations littéraires, en exemple de bon usage, de beau style, de pensée et de poésie ainsi que plus de 1 300 articles développant l’histoire et l’état présent des idées, des savoirs, des symboles en maints domaines : arts, littératures, religions, économie, politique, sciences, techniques, histoire et anthropologie, vie quotidienne, passions et pulsions, articles écrits par près de 100 auteurs, spécialistes renommés ou jeunes chercheurs qui le deviendront, articles coordonnés entre eux et avec le vocabulaire français, dans l’ouverture aux cultures européennes et mondiales, pour ce faire, illustrés de nombreuses citations en traduction, en autant de fenêtres ouvertes sur les littératures et les penseurs du monde et d’abord de l’Europe, en tous temps DICTIONNAIRES LE ROBERT - PARIS Tous droits de reproduction, de traduction et d’adaptation réservés pour tous pays. © 2005 DICTIONNAIRES LE ROBERT - SEJER 25, avenue Pierre-de-Coubertin 75013 Paris ISBN 978 2 85036 302 - 3 (édition complète) 978 2 84902 176 - 7 (tome I) Couverture : Lagalerie Iconographie couverture © Le Robert - Sejer Direction de l’ouvrage Alain Rey Direction éditoriale Danièle Morvan TEXTE DU DICTIONNAIRE Rédaction Marie-José Brochard Sophie Chantreau-Razumiev Tristan Hordé Nathalie Livingstone Chantal Tanet Révision Françoise Gérardin Danièle Morvan Alain Rey ARTICLES CULTURELS voir ci-après la liste des auteurs Révision Gilles Firmin Danièle Morvan Alain Rey Révision et édition Nathalie Livingstone AUTEURS DES ARTICLES CULTURELS signalés par les initiales de leurs noms Philippe Abastado (Ph. A.) Vincent Debaene (V. D.) Nils Ahl (N. A.) Régis Debray (R. D.) Christelle Andrieu (C. A.) Yves Delahaye (Y. D.) Elizabeth Antébi (E. A.) Ghislain Deleplace (G. D.) Ingrid Astier (I. A.) Simone Delesalle (S. D.) Jean-Pierre Aubin (J.-P. A.) Jean-Philippe Derenne (J.-Ph. D.) Henri Bacry (H. B.) Philippe Dewimille (Ph. D.) Philippe Barthelet (Ph. Ba.) Marie-Hélène Durand (M.-H. Du.) Adrien Barton (A. B.) Christine Ehm (C. E.) Feisal Ben Hassel (F. B. H.) Dimitri El Murr (D. E. M.) Nicolas Biais (N. Bi.) Gilles Firmin (G. F.) Laure Blanc-Benon (L. B.-B.) Michel Frizot (M. F.) Noël Bonneuil (N. Bo.) Julie Giovacchini (J. G.) Marie-Françoise Bouchon (M.-F. B.) Charles Girard (C. G.) Dominique Bouissou(D.B.) Stéphane Girardon (S. G.) Philippe Breton( Ph. Br.) Florence Gravas (Fl. G.) Marie-José Brochard (M.-J. B.) Anne-Solweig Gremillet (A.-S. G.) Marie Cervoni (M. C.) Marianne Groulez (M. G.) Guillaume Chochon (G. Ch.) Georges Haddad (G. H.) Paul Clavier (P. C.) Brice Halimi (B. H.) Guillaume Coqui (G. C.) François-Xavier Hervouët (F.-X. H.) Alexis Dalem (A. D.) Tristan Hordé (T. H.) Martine de Gaudemar (M. de G.) Jean-Marie Husser (J.-M. H.) Pauline Jolivet (P. J.) Arnaud Milanese (Ar. M.) Tanguy Josse (T. J.) Delphine Moreau (Del. M.) Marta Krol (M. K.) Danièle Morvan (D. M.) Lucie Labreuille (L. La.) Fabrice Moulin (F. M.) Yves Lacoste (Y. L.) Cécile Nail (C. N.) Henri Landré (H. L.) Ewa Paluch (E. P.) Soazig Le Bihan (S. L. B.) Catherine Petillon (C. P.) Denise Le Dantec (D.L.D.) Philippe Quesne (Ph. Q.) Jacques Le Goff (J. L. G.) Michel Random (M. R.) Alain Le Gouguec (A. L. Go.) Alain Rey (A. R.) Annick Le Guérer (A. L. Gu.) Josette Rey-Debove (J. R.-D.) Claude Lécaille (C. L.) Matthieu Reynaud (M. Re.) Nathalie Lecomte (N. L.) Pascal Richet (P. R.) Léon Loiseau (L. L.) Jérôme Sackur (J. S.) Christian Maisonneuve (C. M.) Jean-Michel Salanskis (J.-M. S.) Bernard Maris (B. M.) Caroline Sidi (C. S.) Élise Marrou (E. M.) Gérard Soulier (G. S.) Jean-Baptiste Maudet (J.-B. M.) Vincent Sullerot (V. S.) Sarah Mazouz (S. M.) Chantal Tanet (C. T.) Henri Meschonnic (H. M.) Michel Tissier (M. T.) Mathieu Meyrignac (M. M.) Christine van Geen (C. v. G.) Catherine Michaud-Pradeilles (C. M.-P.) Laurent Vaultier (L. V.) Dominique Michel (D.Mi.) Marcelo Weisfreid (M. W.) Réalisation informatique et visuelle Karol Goskrzynski Monique Hébrard, Claude Sellin, Sébastien Pettoello avec Dominique Klutz, Xavier Le Vourch Documentation Laurent Catach Annick Dehais Émilie Barao-Neto, Laurent Nicolas Correction Annick Valade Michel Heron, Christine Jost, Nathalie Kristy, Anne-Marie Lentaigne, Nadine Noël-Lefort, Brigitte Orcel, Sylvie Porté, Méryem Puill-Châtillon, Muriel Zarka-Richard Suivi technique Gonzague Raynaud Ce livre, au long de sa réalisation, a bénéficié des contributions de Laurence Laporte pour la rédaction, Aliette Lucot pour la phonétique, Maya Lavault pour le secrétariat d’édition, Marylène Lacaze et Geneviève Falques pour la préparation, Chantal Combes, Sylvette Robson et Lydia Vigné pour la saisie, Élisabeth Huault et Françoise Maréchal pour la correction, Pascal Mégret pour la fabrication. Cet ouvrage est une œuvre collective au sens de l’article L113-2 du code de la propriété intellectuelle. Publié par la société Dictionnaires Le Robert, représentée par Catherine Lucet, présidente, et Marianne Durand, directrice déléguée. bibliographie des encadrés culturels BIBLIOGRAPHIE DES ENCADRÉS CULTURELS établie par GILLES FIRMIN La « Bibliographie générale » regroupe les références concernant les auteurs et les œuvres anonymes cités dans les encadrés culturels, à l’exception des textes e français postérieurs au XVI siècle, qui sont renvoyés à la bibliographie « Textes d’auteurs » du dictionnaire. Certaines œuvres ont été regroupées thématique- ment par affinité : recueils de textes concernant une même langue – antholo- gies de textes arabes, chinois, persans… – ou œuvres mises sous un même patronage – écrits attribués à Moïse ou cycle du roman d’Alexandre, par exemple. Ces regroupements avaient parfois été opérés par les éditeurs de ces textes (cycles du Roman de Renart ou de Tristan et Yseut dans la Bibliothèque de la Pléiade). Les auteurs et les œuvres anonymes sont brièvement localisés dans le temps et dans l’espace culturel : ce dernier repère est constitué par la langue au sens le plus général du terme. On ne s’étonnera donc pas de voir les Africains Tertul- lien et saint Augustin, l’Espagnol Isidore de Séville et l’Allemande Hrotswitha, le Français Guillaume Budé rattachés au latin, le Juif Philon au grec, l’Améri- cain Thoreau et l’Irlandais Joyce à l’anglais ; nous précisons quand il y a lieu que le Français Guillaume Postel écrivait en latin et en français, et qu’Oscar Wilde a composé en français une de ses œuvres les plus célèbres, Salomé. Le titre des œuvres est donné, dans la mesure du possible, dans la langue d’origine, accompagné de la date de publication ou de composition et, s’il y a lieu, de la traduction littérale. Ces indications sont suivies des versions françai- ses qui ont été effectivement utilisées ; ces dernières peuvent être nombreuses : des questions de commodité (parfois simplement d’accès) aussi bien que la diversité des choix intellectuels ou la variété des propos expliquent que l’on e peut voir citer, à propos de tel grand auteur (Virgile), une traduction du XVIII e siècle (Guyot-Desfontaines), la reprise par un poète du XX siècle (Paul Valéry) e de la traduction « classique » du XIX siècle (Jacques Delille), et voisiner une traduction académique avec une tentative de restitution littérale (Pierre Klos- sowski). Il en a été de même pour les grandes œuvres maintes fois traduites que sont la Bible ou le Coran, et dans tous les cas il aurait été fâcheux d’imposer une normalisation éditoriale. Le nombre et la précision des références ne doivent pourtant pas faire illusion : cette bibliographie ne vise pas à l’exhaustivité, et ce ne sont pas forcément les éditions les plus récentes, ni même toujours les « meilleures », qui s’y trouvent répertoriées. En revanche, nous avons tenté de relever les principales déclinaisons d’une même édition, réimpressions ou collections de poche qui rendent un texte plus accessible au public. La même logique nous a incités à faire droit aux sources consultables sur le réseau Internet : les qualités et les défauts des différents sites diffèrent peu de ceux des entreprises d’édition, et la variété que l’on y trouve a fait de cet outil, dans le temps même où s’élaborait ce « Dictionnaire culturel », une vaste bibliothèque de plus en plus accessible. Nous y avons particulièrement eu recours, dans le nécessaire travail de finalisation qui incombe à l’éditeur, pour les textes originaux non français. Un même souci d’information nous a conduits, non seulement à détailler certains sommaires (œuvres de saint Augustin ou de Plutarque aussi bien que les différents canons bibliques), mais à répartir dans la bibliographie des références qui n’ont pas forcément été utilisées séparément : tous les textes de Qumrân, tous les apocryphes, toutes les œuvres que l’on trouve dans un recueil du type « Pléiade » n’ont pas été effectivement cités dans les encadrés culturels. Simplement, il a paru commode de les distinguer pour faciliter le renvoi à ces recueils. Enfin, les références plus techniques qui ne relèvent pas de la documentation générale ont été réservées pour la « Bibliographie complémentaire » : on y trouvera des anthologies particulières et des études, classiques ou plus spécia- lisées, citées dans les encadrés. Certaines références auraient pu être intégrées à la bibliographie précédente, qu’elles concernent ou non des auteurs qui y figurent déjà ; sans prétendre avoir toujours évité l’arbitraire, nous n’avons pas voulu y incorporer des textes dont l’utilisation est demeurée marginale. En revanche, nous avons signalé dans ce complément quelques textes particuliers que l’on retrouvera parmi les « textes d’auteurs ». Les titres et dates de première publication sont plus sommairement rappelés ; les œuvres collectives ou ano- nymes sont classées suivant l’ordre alphabétique du titre.
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