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AbstractLord Byron took a highly ambivalent attitude toward female authorship, and yet his poetry, letters, and journals exhibit many proofs of the power of women's language and perceptions. He responded to, borrowed from, and adapted parts of the works of Maria Edgeworth, Harriet Lee, Madame de Staël, Mary Shelley, Elizabeth Inchbald, Hannah Cowley, Joanna Baillie, Lady Caroline Lamb, Mary Robinson, and Charlotte Dacre. The influence of women writers on his career may also be seen in the development of the female (and male) characters in his narrative poetry and drama. This essay focuses on the influence upon Byron of Lee, Inchbald, Staël, Dacre, and Lamb, and secondarily on Byron's response to intellectual women like Lady Oxford, Lady Melbourne, as well as the works of male writers, such as Thomas Moore, Percy Shelley, and William Wordsworth, who affected his portrayal of the genders.
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AbstractThe Presence and Eclipse of Leo Africanus's Description of Africa Through its Translations — This article takes an historical perspective and attempts to describe the exceptional destiny of a canonic work written in Arabic in the first quarter of the Renaissance, and later translated into Latin and several other European languages, including French in 1956, a translation which was reedited in 1981. The evolution of these translations is studied both synchronically and diachronically, with particular emphasis on the effects of the Description's penetration into European societies. An interpretation of the paratextual materials demonstrates the epistemological configurations, the generic shifts and various forms of coding — military, academic, diplomatic, ecclesiastical and literary — the work has undergone and which have contributed to preventing the encounter the author desired between the Orient and the West.
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How can we understand, on a theoretical level, the presence of music in the French novels of the eighteenth-century? This article examines this question in the light of prevailing theories on the presence of music and prose fiction. By identifying major discrepancies between the two, the aim is to provide a different theoretical basis for our understanding of music in eighteenth-century French narrative.
Keywords: Novel, Roman, Music, Théorie musico-littéraire, literary, Intermédialité, Theory, Intermediality
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The article presents a retrospective of the Brazilian poetry along the last century. The main characteristics of the poetic movements that followed each other until 1964 (modernism, postmodernism, generation 45, and the avant-garde and popular poetry movements of the post-war period) are described and connected with the socio-politic context, and the main authors are presented. The progressive development of the poetic creation out of the big cities of the South, in particular in the Nordeste, is highlighted. The various forms of poetic expression during the military dictatorship (1964-1985) (the poema/processo movement, the marginal poetry, the catequese poética movement, and some “independent” poets) are then evoked. The various forms and styles in which poetry is expressed in the aftermath of the dictatorship are described, with emphasis on the poetry written by women and discriminated or exploited minorities (Black people, homosexuals, inhabitants of the favelas). Lastly, the repente and the cordel literature, popular poetic forms still very much alive today, are mentioned, as well as the poetry in indigenous languages, which is gradually beginning to develop and become better known. In conclusion, we analyse the major characteristics of the Brazilian contemporary poetry. The essay is completed by a selection of texts of twelve contemporary Brazilian poets, translated into French.
Keywords: modernisme, postmodernisme, génération 45, concrétisme, néo-concrétisme, tendência, praxis, violão de rua, poema/processo, poésie marginale, catequese poética, repente, modernism, postmodernism, generation 45, concretism, neo-concretism, tendência, praxis, violão de rua, poema/processo, marginal poetry, catequese poética, repente
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Nighttime serving as a shelter to forbidden liaisons is a well-known topos. However, 18th-century libertine fiction reminds us that whilst darkness can conceal bodies, it also forces those it hides to be silent. Nighttime amplifies the slightest sound which can betray clandestine lovers. That libertine topos of night disclosing (rather than dissimulating) erotic secrets bears witness to the Age of Enlightenment’s positive reconfiguration of noise as a sign of human vitality. Crucially, this topos also illustrates the difficulty of silencing desire. As a result, nighttime emerges from this topos as full of sounds rather than as silent, while pleasures appear to be painfully constrained, even for libertines.
Keywords: Libertine fiction, Fiction libertine, Nocturnes, Nocturnes / Nuit, Night, Histoire du Corps, History of the Body, Silence, Discrétion, Silence, Discretion