Documents found
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10241.More information
This article focuses on the presence and the treatment of sound in the killing of the adversary in the Arthurian novel. We begin by establishing a definition of the topos, based on a large list of occurrences, which leads us to see in the sound of the death of the enemy a variation of a larger and more widespread motif. We then study the evolution of this topos from the epic texts to the latest novels. Finally, we notice the significance of these sounds in a family of romances in which authors seem to seek to perpetuate the first forms of the Arthurian story.
Keywords: Sound system, Sonorisation, Scream, Cri, Death, Mort, Topoi, Topoï, Rewriting, Réécriture
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10242.More information
The Aeolian harp, starting to be built from the 17th century, is characterized by the singularity of its sounds which determine its narrative and poetic uses. Becoming an important topos of sentimentality, memory, melancholy and death, it becomes a means of seduction in Smollett, a fundamental tone of nature for German romanticism, an image of poetic inspiration for a Coleridge.
Keywords: Harp aeolian, Harpe éolienne, Sound, Son, Memory, Souvenir, Sentimentality, Sentimentalité, Seduction, Séduction
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10243.More information
When Clément Marot tells how his father taught him to be a poet, in L’Enfer, the epistle « Au Roy » from La Suite and L’Eglogue au Roy, soubs les noms de Pan, & Robin, his account often gets fictional. Actually, this twisting of the autobiographic truth corresponds to the rewriting of topoi taken from allegorical initiation narratives. Marot draws on these topoi for a rhetorical purpose – when he defends himself or asks for goods – but also for an aesthetic one – for the poet uses them to redefine his art and the very exercise of the profession of court poet.
Keywords: Clément Marot, Jean Marot, filiation, rhétorique
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10244.More information
Keywords: Banquet, Amitié, Romans comiques, XVIIe siècle
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10246.
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