Narrative Transformations from L'Astrée to Le Berger ExtravagantPurdue University Press, 2002 - 203 páginas In this comparative study of Honore' d'Urfe's L'Astree' and Charles Sorel's Le Berger extravagant, the author examines the historical transition from the idealist, pastoral romance to the more realist anti-romance. By analyzing the literary conventions shared by both works, Hinds traces the transformation of poetic forms, courtly language, polemics, emblematic representation, and character depiction in Sorel's parody of pastoral. Basing his enquiry on Mikhail Bakhtin's and Julia Kristeva's theories of discourse, he focuses on the linguistic transformation of source texts in d'Urfe's pastoral and the altering of d'Urfe's language in the hands of Sorel. Narrative themes, such as the echo myth, verbal disguise, discursive travesty, and cross-dressing are studied to demonstrate their adaption in the pastoral romance and its parody. Hinds considers the figure of the tomb and the motif of death as means to figure a Baroque notion of authorship and to express pre-Classical literary criticism. Finally at issue is the influence of this romance and anti-romance on the development of criticism of the novel and the formation of seventeenth-century French fiction |
Contenido
| 14 | |
| 16 | |
| 19 | |
| 22 | |
| 27 | |
| 35 | |
| 36 | |
| 42 | |
Emblems in LAstrée | 84 |
Sorels and Crispin de Passes Emblematic Portrait | 92 |
Transvestism and Specularity Transformations and Travesties of the Self | 100 |
Specularity and Physical Disguise in LAstrée | 103 |
Narcissistic CrossDressing as Parody in Le berger extravagant | 115 |
DUrfés and Sorels Tombs The Question of the Death and Birth of Literature | 126 |
DUrfés Tombs | 131 |
Sorels Tombeau des romans | 138 |
| 46 | |
| 47 | |
Debates of Convention and Debates on Convention | 58 |
Debates of Convention in dUrfés LAstrée | 59 |
Debates of Convention and on Convention in Le berger extravagant | 64 |
Experiments with Multiple Agency and Intention through Emblematics | 80 |
DUrfe Sorel and the Emblematic Tradition | 81 |
Narrative Transformations and Critical Appraisal | 148 |
Appendix of Images | 161 |
Notes | 165 |
Bibliography | 181 |
Index | 195 |
Otras ediciones - Ver todas
Narrative Transformations from L'Astrée to Le Berger Extravagant Leonard Hinds Vista de fragmentos - 2002 |
Términos y frases comunes
Alexis allegory Amarylle ambiguity amorous Andreae Alciati Anselme antiromance Antoine Furetière Astrée authorial figure autre avoit Baroque beloved berger extravagant bien c'est Calidon Carmelin Céladon Célidée characters Charite Charles Sorel Clarimond comic comique commentary courtly critical critique cross-dressing d'amour d'Urfé and Sorel d'Urfé's L'Astrée death debate decoding depiction desire dialogue Diane discourse Don Quixote echo emblem emblematic encoding esté esthetic estoit fait fictions Fleurial Forez gender Histoire Honoré d'Urfé Hylas identity illusion imaginary imitation implied author intention interpretation L'anti-roman l'on linguistic literary conventions literature livres Lysis Lysis's Madeleine de Scudéry means mesme metanarrative narrative narrator Neoplatonic Neoplatonist notion novel Paris parody pastoral romance Philiris philosophical poetic polemic qu'elle qu'il Remarques Renaissance representation rhetorical role scene seventeenth century shepherd Silvandre Silvandre's social Sorel's antiromance Sorel's Le berger specularity speech genres Thamire themes tion tomb tombeau des romans tout tradition transformation transvestism Urfeian utterances verbal disguise visual voice
Pasajes populares
Página 165 - C'est un contrerolle de divers et muables accidens et d'imaginations irrésolues et, quand il y eschet, contraires ; soit que je sois autre moymesme, soit que je saisisse les subjects par autres circonstances et considérations. Tant ya que je me contredits bien à l'adventure, mais la vérité, comme disoit Demades, je ne la contredy point.
Página 142 - In the ruin history has physically merged into the setting. And in this guise history does not assume the form of the process of an eternal life so much as that of irresistible decay. Allegory thereby declares itself to be beyond beauty. Allegories are, in the realm of thoughts, what ruins are in the realm of things.
Página 165 - Je ne puis asseurer mon object. Il va trouble et chancelant, d'une yvresse naturelle. Je le prens en ce point, comme il est, en l'instant que je m'amuse à luy.
Página 5 - Art, at the end of the sixteenth and the beginning of the seventeenth centuries...
Página 142 - That which lies here in ruins. the highly significant fragment. the remnant. is. in fact. the finest material in baroque creation. For it is common practice in the literature of the baroque to pile up fragments ceaselessly. without any strict idea of a goal. and. in the unremitting expectation of a miracle.
Referencias a este libro
From Savage to Citizen: The Invention of the Peasant in the French Enlightenment Amy S. Wyngaard Vista de fragmentos - 2004 |
From Savage to Citizen: The Invention of the Peasant in the French Enlightenment Amy S. Wyngaard Vista previa limitada - 2004 |