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AbstractJane Urquhart's The Little Flowers of Madame de Montespan is an interesting collection of poems partly because these poem paintings are a diegesis. My approach to translation here is a waltz hesitation between description and narration between the static and the dynamic.
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AbstractThe year 1717 saw the publication of the travelogue kept by the chevalier d'Arvieux in Palestine and at the Bedouins' court from 1664 to 1665. Throughout this narrative, three illustrations of the local inhabitants emerge that are primarily of documentary value (as is usually the case in such writings). Yet these depictions also tend to typecast the people in a somewhat picturesque fashion. As well, these images serve a third, more original purpose, their close relationship with the words causing the diary to evolve into a novel, a drift not uncommon to travelogues. For instance, nothing in the caption of the first image (“Arab rider”) rules out the possibility that the man is the chevalier d'Arvieux himself. Yet it intersperses the description of the “arabesque” disguise adopted by the author at the beginning of his journey to thwart upcoming dangers. This image is therefore ambiguous, supposedly depicting “another” while illustrating the author in local garb, providing objective documentary clarifications while suggesting hidden meanings of deceit and disguise, and possibly bringing to the fore the apparent morphing of the author's identity with the characters he describes.
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Although the Chapel of Saint-Esprit at Rue (Picardy) has, until now, been considered as one of the finest examples of Flamboyant architecture in its maturity, it is argued here that the building actually has a hybrid character. Moreover, its hybrid character is probably the reason why so many authors have previously experienced difficulties in classifying the vaults. The author is convinced that the Chapel of Saint-Esprit was one of the first building sites in northern France to experiment with the integration of Renaissance components in Gothic structures. The vaults, in particular, are analysed in order better to understand the process of transformation from Flamboyant to Renaissance style. Despite the use of Renaissance components in the vaults of the chapel, a resistance to Italian novelties is discernable, at the same time, in the continuation of local and vernacular practices.