Documents found
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10191.
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10196.More information
It would take much more than one paper to encompass the representations of asses and horses in comic fiction. This paper broaches the subject through the very singular ways Cervantes (in Don Quixote, 1605-1615) and Sterne (in Tristram Shandy) explored it. By stressing very specific equine representations in two explicitly linked humorous masterpieces rather than examining recurring patterns, it proposes a methodological reflexion on the articulation between the narrative topos and singularity.
Keywords: Ane, Cheval, comique, Cervantes, Sterne
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10197.More information
Wearing a diogenic mask in the autofiction of his Adventures, Dassoucy proceeds to a falsification of social values which contaminates the musical topic. He thus reappropriates the facetious tradition of Renaissance storytellers and of Rabelais to exacerbate its satirical and blasphemous virtualities. These facetious perspectives set up a reading device based on a game of encrypted connivance to deconstruct the topic of the harmonia mundi, even to substitute the Christian symbolism of the bells for the cynical sign of recognition of a laugh with obscene and blasphemous resonances.
Keywords: Laughter, rire, burlesque, Burlesque, cynisme, Cynicism, Libertine, libertin, Connivance, connivence, Facetious, facétieux
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10198.More information
In the first verses of the Super flumina, the Hebrews are forced to remain silent. They quit their Kinnors and refuse to sing for their victors. From 1700 to 1820, the numerous poetic translations, imitations and paraphrases use an important instrumentarium in order to orchestrate this touching silence, the study of which, regardless of the skill of the poets, allows an interesting approach to the conception of lyric poetry.
Keywords: Psalm, Psaume, Bible, Bible, Instrumentarium, instrumentarium, Lyric poetry, Poésie lyrique, Song, Chant, Silence, Silence
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10199.More information
The list of musical instruments that accompanies the scenes of collective jubilation is a leitmotif of the medieval narrative. These passages raise the question of what distinguishes the narrative topos from other recurring elements in a narrative such as motives, clichés or rhetorical topos. We will see that those allow us to go beyond the simple rhetorical ornatus in order to draw the reader’s attention to the narrative instance responsible for this terminological deployment. In the texts considered in the article, the list of instruments highlights the literary and lexical competence of the narrator who then identifies as the figure of the minstrel associated with his performance and instruments.
Keywords: List, Liste, Musical instrument, Instrument de musique, Narrative topos, Topos narratif, Narrator, Narrateur, Minstrel, Ménestrel