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1 Alain Chartier and the Rhétoriqueurs Chartier's Influence
1 Alain Chartier and the Rhétoriqueurs Chartier’s influence on rhétoriqueur writing has been widely acknowledged from two very different perspectives. At a global level, scholars have noted that the political and didactic authors of the late 15th and early 16th centuries broadly derive their conception of the poet’s mission from Chartier, whom they consider as part of a canon of illustrious vernacular precursors. Simultaneously, at the level of textual minutiae, editors and philologists have identified the debts owed by various rhétoriqueur compositions to one or other of Chartier’s works. In what follows I develop and synthesize these approaches, not to provide a complete map of Chartier’s legacy to the rhétoriqueurs but to show how the later poets tackled that legacy in assertively interventionist ways. In reshaping the techniques and preoccupations that they have inherited, individual rhétoriqueurs do not necessarily adopt a richer or more sophisticated practice. Invariably, however, they subject Chartier’s production to their own aesthetic and ideological concerns, and thereby differentiate themselves both from their ostensible model and from each other. Chartier pioneers the notion of the poet as a public servant, whose work not only bears witness to events and situations but helps to shape opinions and behaviour. While the Quadrilogue invectif encapsulates the principle most obviously, it is also apparent in much of his courtly poetry.1 It is precisely this view of public eloquence that underpins much of the rhétoriqueurs’ work, and indeed 1 See Joël Blanchard and Jean-Claude Mühlethaler, Écriture et pouvoir à l’aube des temps modernes (Paris, 2002), pp. -
Introduction the Other Voice
Introduction The Other Voice Et audiatur altera pars And let the other side be heard Traditional oral proverb in Roman law No other late medieval woman writer has received the attention that Christine de Pizan has garnered over the last thirty years or so. When we were in graduate school in the late 1970s, no modern English translations of her works existed, and many of her works did not yet exist in critical editions.1 All this has changed today with numerous new editions and translations of her texts. It would perhaps not be quite accurate today to call Christine de Pizan’s voice “The Other Voice,” since she has become the subject of countless studies, is taught in a variety of college courses, and, as one of Judy Chicago’s dinner party plates, even resides at the Brooklyn Museum of Art. But how “other” was her voice in the Middle Ages? Christine, in fact, had many voices that she brilliantly varied from genre to genre. In her early lyric poetry she spoke as a woman in love but also as a man in love; and she spoke as a bereaved woman who tragically lost her husband and missed him profoundly. It is that voice that many modern readers take to be her most “authentic” one. “Je, Christine,” is a formula that appears again and again in her works, but that name, and the persona “Christine,” are not always staged in the same way. Christine inhabits and deploys the name “Christine” in many different ways, creating different kinds of authority for herself. -
Geoffrey Chaucer and Oton De Granson
THE FRENCH CONNECTION: GEOFFREY CHAUCER AND OTON DE GRANSON by R. D. PERRY (Under the Direction of Andrew Cole) ABSTRACT Geoffrey Chaucer’s relationship with Oton de Granson is one that collapses any real distinction between influence and reception. By focusing on Chaucer’s early works, including his possible French poems, known as the “Ch” poems, this thesis uncovers the role that Granson played in introducing Chaucer to a French poetic tradition and in shaping how Chaucer responded to that tradition. Chaucer, in turn, by translating and satirizing some of Granson’s work in The Complaint of Venus , influenced the way in which Granson and his contemporaries understood their own poetic projects. By focusing on manuscript transmission and personal interactions, I argue for a kind of reception history that emphasizes local and material conditions in order to understand literary influence, suggesting that kind of historical understanding discloses Chaucer’s dual role in both being influenced by and influencing the French poetic tradition. INDEX WORDS: Geoffrey Chaucer, Oton de Granson, “Ch” poems, The Complaint of Venus, Medieval English Literature, Medieval French Literature, Reception History, influences, translation, ballad form THE FRENCH CONNECTION: GEOFFREY CHAUCER AND OTON DE GRANSON by R. D. PERRY BA, University of Georgia, 2003 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2009 © 2009 Ryan Perry All Rights Reserved THE FRENCH CONNECTION: GEOFFREY CHAUCER AND OTON DE GRANSON by RYAN PERRY Major Professor: Andrew Cole Committee: Catherine M. Jones Cynthia T. -
Alain Chartier and the Rhétoriqueurs ARMSTRONG, A
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Queen Mary Research Online Alain Chartier and the Rhétoriqueurs ARMSTRONG, A For additional information about this publication click this link. http://qmro.qmul.ac.uk/jspui/handle/123456789/8122 Information about this research object was correct at the time of download; we occasionally make corrections to records, please therefore check the published record when citing. For more information contact [email protected] 1 Alain Chartier and the Rhétoriqueurs Chartier’s influence on rhétoriqueur writing has been widely acknowledged from two very different perspectives. At a global level, scholars have noted that the political and didactic authors of the late 15th and early 16th centuries broadly derive their conception of the poet’s mission from Chartier, whom they consider as part of a canon of illustrious vernacular precursors. Simultaneously, at the level of textual minutiae, editors and philologists have identified the debts owed by various rhétoriqueur compositions to one or other of Chartier’s works. In what follows I develop and synthesize these approaches, not to provide a complete map of Chartier’s legacy to the rhétoriqueurs but to show how the later poets tackled that legacy in assertively interventionist ways. In reshaping the techniques and preoccupations that they have inherited, individual rhétoriqueurs do not necessarily adopt a richer or more sophisticated practice. Invariably, however, they subject Chartier’s production to their own aesthetic and ideological concerns, and thereby differentiate themselves both from their ostensible model and from each other. Chartier pioneers the notion of the poet as a public servant, whose work not only bears witness to events and situations but helps to shape opinions and behaviour. -
Poets, Patrons, and Printers Crisis of Authority in Late
Poets, Patrons, and Printers Also by Cynthia J. Brown: Critical edition of Andre de la Vigne's La Ressource de la Chrestiente ( 1494) The Shaping of History and Poetry in Late Medieval France: Propaganda and Artistic Expression in the Works of the Rhetoriqueurs POETS, PATRONS, AND PRINTERS CRISIS OF AUTHORITY IN LATE MEDIEVAL FRANCE CYNTHIA J. BROWN CORNELL UNIVERSITY PRESS Ithaca and London Open access edition funded by the National Endowment for the Humanities/Andrew W. Mellon Foundation Humanities Open Book Program. Cornell University Press gratefully acknowledges a subvention from the University of California, Santa Barbara, that aided in bringing this book to publication. Copyright © 1995 by Cornell University First paperback printing 2019 The text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License: https://creativecommons.org/licenses/by-nc-nd/4.0/. To use this book, or parts of this book, in any way not covered by the license, please contact Cornell University Press, Sage House, 512 East State Street, Ithaca, New York 14850. Visit our website at cornellpress.cornell.edu. Printed in the United States of America ISBN 978-0-8014-3071-8 (cloth: alk. paper) ISBN 978-1-5017-4252-1 (pbk.: alk. paper) ISBN 978-1-5017-4253-8 (pdf) ISBN 978-1-5017-4254-5 (epub/mobi) Librarians: A CIP catalog record for this book is available from the Library of Congress Cover illustration: Dedication miniature, from L’art de rhétorique, 1st ed., B.L., IB.41139, fol. 2. By permission of the British Library. To the memory of my father W. -
Literary Reception in Late Medieval France. the Case of the Songe De
1 Between manuscript and print: Literary Reception in Late Medieval France. The Case of the Songe de la Pucelle 1 Emma Cayley, University of Exeter Abstract Based on original archival and codicological research, this paper investigates the transformations and negotiations between manuscript and printed versions of fifteenth-century poetry through the specific example of one surprisingly complex debate poem, Le Songe de la Pucelle (The Dream of the Virgin). Our debate relates the choice that a female narrator must make between the respective appeals of two personifications, Love and Shame, who appear to her in a dream vision. The manuscript tradition invariably collects the poem with other fifteenth-century debates and moral texts while the early printed copies tended to have experienced a prior separate circulation and often remain as monotextual pamphlets. Manuscript and printed copies of the same poem seem, then, to target different audiences. My paper investigates this curious divergence in the transmission pattern of the manuscript and printed versions of the Songe, and seeks possible answers in the very different sets of images accompanying the text in manuscript and printed versions. Keywords Medieval; fifteenth-century; manuscript; early printed book; debate poetry; dream vision 1 Introduction 1 ‘The Dream of the Virgin.’ 1 2 In fifteenth-century French debate poetry,2 there is an intertextual reservoir of vocabulary and expressions which relate to night, sleeplessness and visions, and sleep and dreaming. This is frequently played out both in text and image, and across manuscripts and printed editions. Dream and sleep motifs can be observed throughout the oeuvre of the court poet and diplomat Alain Chartier (c. -
Poetic Anthologies of Fifteenth-Century France and Their Relationship to Collections of the French Secular Polyphonic Chanson
POETIC ANTHOLOGIES OF FIFTEENTH-CENTURY FRANCE AND THEIR RELATIONSHIP TO COLLECTIONS OF THE FRENCH SECULAR POLYPHONIC CHANSON Kathleen Frances Sewright A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2008 Approved by John L. Nádas Tim Carter Jon W. Finson James Haar Hana Vlhová-Wörner ABSTRACT Kathleen Frances Sewright Poetic Anthologies of the Fifteenth Century and their Relationship to the French Secular Polyphonic Chanson (under the direction of John L. Nádas) This dissertation is a study of four poetry sources—three manuscripts and one early print—and their relationship to the fifteenth-century French secular polyphonic chanson. Three of the poetic sources are true anthologies, and all were compiled from smaller, internally consistent collections of poems, many of which poems survive with musical settings in notated sources of the period. This suggests that at least some of the exemplars from which this poetry was copied were themselves notated. The first chapter examines Berlin, Staatliche Museen Preußischer Kulturbesitz, Kupferstichkabinett MS 78.B.17 (the “Rohan Chansonnier”), and identifies collections from Paris and central France, as well as collections featuring poetry by Alain Chartier and members of the French royal court. Chapter 2 investigates Paris, Bibliothèque Nationale, MS fonds français 1719, and determines that at least two, and possibly three of its constituent collections were copied from musical exemplars, including one from the French royal court of the 1470s and 80s. Chapter 3 studies Antoine Vérard’s ground-breaking print Le Jardin de plaisance et fleur de rethoricque, an extremely important repository of many fifteenth- century chanson texts.