The present article focuses on the formulaic tripartite description of the world present in many medieval geographical and historiographical texts. In medieval sources, the three parts of the world are often introduced in the order Asia, Europe and Africa, but this order sometimes varies. The focus of the investigation is the order of the components in this tripartite division. Two distinct traditions, both based on the medieval conceptual framework provided by the translatio studii et imperii are presented as possible sources for the twovariants of the formula. The first, Asia-Europe-Africa, appears to be dominant among encyclopaedic texts, in particular those reliant on Isidore's Etymologiae. The second, Asia-Africa-Europe, appears to be more present in texts with a historic focus, such as chronicles, and is here argued to be a product of the popularity of the Trojan origin legends in medieval Europe, but its origins appear to be traceable to Orosius. It is also argued that the reversal of this order, where the formula commences with Europe, first becomes dominant only after the end of the Middle Ages, and coincides with progressive Eurocentrism of historiographical, political, and geographical discourse in that period.
The present article focuses on the formulaic tripartite description of the world present in many medieval geographical and historiographical texts. In medieval sources, the three parts of the world are often introduced in the order Asia, Europe and Africa, but this order sometimes varies. The focus of the investigation is the order of the components in this tripartite division. Two distinct traditions, both based on the medieval conceptual framework provided by the translatio studii et imperii are presented as possible sources for the twovariants of the formula. The first, Asia-Europe-Africa, appears to be dominant among encyclopaedic texts, in particular those reliant on Isidore's Etymologiae. The second, Asia-Africa-Europe, appears to be more present in texts with a historic focus, such as chronicles, and is here argued to be a product of the popularity of the Trojan origin legends in medieval Europe, but its origins appear to be traceable to Orosius. It is also argued that the reversal of this order, where the formula commences with Europe, first becomes dominant only after the end of the Middle Ages, and coincides with progressive Eurocentrism of historiographical, political, and geographical discourse in that period.
designed as a theoretical discussion test, the article starts from the observation that the analysis of teaching and learning practices in reading literary texts is tipped between two types of competing models: one focusing on the expected activity of the teacher and/or pupils, the other focusing on observing their actual practices. A similar opposition can also be established in the way teachers themselves model their activity and that of their students. However, it appears that, whatever the analysis plan under consideration, the tension between these two models is not sufficient to reflect the complexity of teaching and learning activities and the relationship with literary texts. It is therefore argued, by way of example, in favour of a median position based on two concepts which make it necessary to think about literary texts in a dialectic way: the concept of interpretative community and the concept of literary reading. ; Conçu comme un essai de discussion théorique, l'article part du constat que l'analyse des pratiques d'enseignement-apprentissage de la lecture des textes littéraires est tiraillée entre deux types de modélisations concurrentes : l'une centrée sur l'activité attendue de l'enseignant et/ou des élèves, l'autre centrée sur l'observation de leurs pratiques effectives. Une opposition similaire peut être établie, par ailleurs, dans la manière dont les enseignants eux-mêmes modélisent leur activité et celle de leurs élèves. Il apparait cependant que, quel que soit le plan d'analyse considéré, la tension entre ces deux modèles ne suffit pas à rendre compte de la complexité des activités d'enseignement-apprentissage et du rapport aux textes littéraires. On argumente dès lors, exemples à l'appui, en faveur d'une position médiane basée sur deux notions qui obligent à penser le rapport aux textes littéraires de manière dialectique : la notion de communauté interprétative et la notion de lecture littéraire.
International audience ; Die Lesebücher für das französische Schulwesen erweisen sich als sehr wirksame Vermittler von Kenntnissen und Werten. Dieser Beitrag zeigt, dass sie eine Vorstellung des Krieges mittels der ausgewählten literarischen Texte, der beigefügten Bilder und der Schüleraufgaben erzeugen können, deren Gesamtheit Formen der Argumentation zugunsten der Übernahme einer ideologischen Konstruktion bildet. Wir wissen zwar wenig über die prägende Wirkung auf die Vorstellungskraft, die Empfindsamkeit und das Denken der Kinder und Jugendlichen, die mit diesen Büchern arbeiten, aber man kann zumindest die ihnen angebotenen Informationen analysieren.Zu diesem Zweck haben wir die Bestände des CEDRHE an der FDE Montpellier ausgewertet : 58 Lesebücher für den Cours moyen et supérieur im Gebrauch an französischen Schulen zwischen 1923 und 1939. Die Texte, ihre Plazierung in den Büchern, die Arbeitsfragen sowie die ausgewählten historischen Elemente ergeben eine Vorstellung vom Ersten Weltkrieg, die von der Verherrlichung des patriotischen Heldentums bis zu einer gewissen Werbung für den Pazifismus reicht. Im Laufe der Jahre tauchen in den Büchern Autoren und Textauszüge auf, die allmählich zu Prototypen für diesen Krieg werden und ein « verkehrtes » Bild zeichnen, das ihn aus seinem historischen Zusammenhang loslöst, um « kulturbildend » zu wirken ; The textbooks used in the French academic system are strong knowledge and values vectors. This article shows that those textbooks can build a representation of the First World War, through different ways-literary texts, iconographic medias, activities proposed to the pupils – that constitute forms of persuasion and adherence to an ideological construction. We cannot gauge the impact created by these textbooks on children's and teenagers' imaginary, sensitiveness and thoughts but we can analyse the information which is delivered to them. To this end, Thanks to the CEDRHE and FDE's collection of Montpellier, we have studied the 58 textbooks used in France in the ...
International audience ; Die Lesebücher für das französische Schulwesen erweisen sich als sehr wirksame Vermittler von Kenntnissen und Werten. Dieser Beitrag zeigt, dass sie eine Vorstellung des Krieges mittels der ausgewählten literarischen Texte, der beigefügten Bilder und der Schüleraufgaben erzeugen können, deren Gesamtheit Formen der Argumentation zugunsten der Übernahme einer ideologischen Konstruktion bildet. Wir wissen zwar wenig über die prägende Wirkung auf die Vorstellungskraft, die Empfindsamkeit und das Denken der Kinder und Jugendlichen, die mit diesen Büchern arbeiten, aber man kann zumindest die ihnen angebotenen Informationen analysieren.Zu diesem Zweck haben wir die Bestände des CEDRHE an der FDE Montpellier ausgewertet : 58 Lesebücher für den Cours moyen et supérieur im Gebrauch an französischen Schulen zwischen 1923 und 1939. Die Texte, ihre Plazierung in den Büchern, die Arbeitsfragen sowie die ausgewählten historischen Elemente ergeben eine Vorstellung vom Ersten Weltkrieg, die von der Verherrlichung des patriotischen Heldentums bis zu einer gewissen Werbung für den Pazifismus reicht. Im Laufe der Jahre tauchen in den Büchern Autoren und Textauszüge auf, die allmählich zu Prototypen für diesen Krieg werden und ein « verkehrtes » Bild zeichnen, das ihn aus seinem historischen Zusammenhang loslöst, um « kulturbildend » zu wirken ; The textbooks used in the French academic system are strong knowledge and values vectors. This article shows that those textbooks can build a representation of the First World War, through different ways-literary texts, iconographic medias, activities proposed to the pupils – that constitute forms of persuasion and adherence to an ideological construction. We cannot gauge the impact created by these textbooks on children's and teenagers' imaginary, sensitiveness and thoughts but we can analyse the information which is delivered to them. To this end, Thanks to the CEDRHE and FDE's collection of Montpellier, we have studied the 58 textbooks used in France in the intermediate and higher class between 1923 and 1939: the choice of the texts, the place where these texts were located in the textbook, the didactic questioning along with the choice of historical elements, show, when evoked, a representation of the First World War caught between the glorification of patriotic heroism and, in the same time, a promotion of pacifism. Gradually, in the course of textbooks in use, authors and abstracts emerge that will become representative of this war. They will form an implicit picture that emancipates this war from the historical context so as to " make culture " . ; Les manuels de lecture, communs à tout le système scolaire français, se révèlent être des vecteurs très puissants de transmission des connaissances et des valeurs. Cette communication montre qu'ils peuvent construire une représentation de la guerre de 14-18, par le biais des textes littéraires choisis, des éléments iconographiques adjoints, des activités proposées aux élèves, l'ensemble constituant des formes de persuasion et d'adhésion à une construction idéologique. On ne peut certes en connaître l'impact sur l'imaginaire, la sensibilité et les pensées des enfants et des adolescents exposés à ces ouvrages mais on peut analyser les informations qui leur sont délivrées. Nous avons à cet effet dépouillé, à partir du fonds du CEDRHE de la FDE de Montpellier, les livres de lecture en usage en France dans les Cours moyen et supérieur, entre 1923 et 1939, soit 58 ouvrages : les textes, les places de ces textes dans les manuels, les questionnements didactiques, tout comme le choix des éléments historiques, montrent, quand elle est évoquée, une représentation de la Première Guerre mondiale prise entre une glorification de l'héroïsme patriotique et dans le même temps une certaine promotion du pacifisme. Peu à peu, au fil des manuels en usage, émergent des auteurs, des extraits, qui vont petit à petit devenir prototypiques de cette guerre et en composer une image « en creux » qui l'émancipe du contexte historique pour « faire culture »
The plays of the Belgium writer Claire Lejeune (1926- 2008) can be read as the achievement of her literature, as a necessary step on the way to the sublimation of her particular style. Actually her beginnings as a dramatist are intimately related to her former works –such as her first collections of poems (La Gangue et le feu, 1963) or her successful essays on philosophical and ethical matters (i.e. Le livre de la soeur, 1992). They are the result of the evolution of Lejeune's thoughts on politics and poetry through the decades. Her plays sum up some of the most characteristic and important subjects or motifs: the feminine condition, the patriarchal idiosyncrasy, the differences between the sexes, the role of the desire, etc. There's a remarkable influence of feminist ideology and citizen issues. In fact, the Belgium playwright tries to promote the utopia of a social system founded on the idea of the vindication of the difference and the inclusion principle. From Ariane et Don Juan ou le désastre (1997) to Je m'appelle Marie (2005), passing by Le chant du dragon (2000) and Les mutants (2004), all her works revolve around those topics. We are faced with a dramatic recipe that creates astonishing links between some different genres and authors. Even if these plays are not really innovative in their structures and dramatic solutions, their cryptic mixture of poetry, philosophy and theatre make them an interesting case of study. Even though the critics use to focus on the essays of Claire Lejeune, it's time now to go beyond these boundaries and claim the value of her not well-known works. This PhD thesis aims to offer a global approach to her dramaturgy. Following the methodology of Pierre Bourdieu and the literary sociology, I'll suggest new readings on different texts and on its contexts and 'co-texts'. My goal is to contribute to the theoretical framework in the study of Claire Lejeune's 'fait littéraire'.
The essay investigates some stylistic and pragmatic variations across two genres and text-types pertaining to political oratory in Early Modern England. The speaker in question is the Renaissance monarch who, as many studies have shown from a cultural perspective, appropriates the forms of stage performance and, by manipulating them, acts his power and performs a relationship with his subjects. In this respect my study proposes to analyse and compare some aspects of non-literary and literary texts, Queen Elizabeth I's parliamentary speeches and Shakespeare's Henry V's monologues, as text-types which share a strong persuasive and argumentative aim and are both speech-purposed. The working hypothesis of my case study is that, by drawing attention to two specific speech-acts, directives and commissives, the evaluation of the illocutionary force of their speeches will shed light also on some typical features of the political discourse of Early Modern England.
Even if Monique Wittig was a very talented writer, she has been especially studied as an essayist. At the center of both her fictional and political universes is the human body. First of all, I intend to examine the relationship between the body of the text and the human body described in the text. The attention that Wittig pays to the body of the text is interrelated to her idea of language. According to her, language can operate a "plastic surgery" on reality. In the same way, the book as an object and the act of reading can operate on the perception of one's identity and body. In other words, the language has a material side that affects our everyday life. It can seem a banal statement, but Wittig goes further in her thought: words hurt us and cooperate in the development of social injustices and class hierarchies. On account of this, my research aims to investigate this particular kind of violence that literary texts and common language perform on our bodies. Finally, Wittig's lesbian characters will be analyzed in the last part of my work. The body of this peculiar lesbian protagonist is traditionally represented as ambiguously monstrous and scary. Wittig takes this tradition back and she manipulates it in order to show how lesbian bodies are vulnerable and strong at the same time. In short, Wittig's lesbian characters are not simply women who love other women: they are people who do not fit in the heteronormative binary system and whose bodies are made of and from words, and it is through words that they can create a different reality. ; Née en 1935, Monique Wittig est aujourd'hui célèbre surtout grâce à ses textes théoriques, mais elle est aussi l'autrice d'une œuvre littéraire éclectique, complexe et subversive. Au centre de de sa production littéraire et théorique, il y a le corps. Tout d'abord, nous nous proposons donc d'étudier la relation entre corps du texte et corps humain dans l'œuvre de l'autrice. L'attention que Wittig focalise sur le corps est strictement liée à son idée de langage. À son avis, ...
Even if Monique Wittig was a very talented writer, she has been especially studied as an essayist. At the center of both her fictional and political universes is the human body. First of all, I intend to examine the relationship between the body of the text and the human body described in the text. The attention that Wittig pays to the body of the text is interrelated to her idea of language. According to her, language can operate a "plastic surgery" on reality. In the same way, the book as an object and the act of reading can operate on the perception of one's identity and body. In other words, the language has a material side that affects our everyday life. It can seem a banal statement, but Wittig goes further in her thought: words hurt us and cooperate in the development of social injustices and class hierarchies. On account of this, my research aims to investigate this particular kind of violence that literary texts and common language perform on our bodies. Finally, Wittig's lesbian characters will be analyzed in the last part of my work. The body of this peculiar lesbian protagonist is traditionally represented as ambiguously monstrous and scary. Wittig takes this tradition back and she manipulates it in order to show how lesbian bodies are vulnerable and strong at the same time. In short, Wittig's lesbian characters are not simply women who love other women: they are people who do not fit in the heteronormative binary system and whose bodies are made of and from words, and it is through words that they can create a different reality. ; Née en 1935, Monique Wittig est aujourd'hui célèbre surtout grâce à ses textes théoriques, mais elle est aussi l'autrice d'une œuvre littéraire éclectique, complexe et subversive. Au centre de de sa production littéraire et théorique, il y a le corps. Tout d'abord, nous nous proposons donc d'étudier la relation entre corps du texte et corps humain dans l'œuvre de l'autrice. L'attention que Wittig focalise sur le corps est strictement liée à son idée de langage. À son avis, ...
Even if Monique Wittig was a very talented writer, she has been especially studied as an essayist. At the center of both her fictional and political universes is the human body. First of all, I intend to examine the relationship between the body of the text and the human body described in the text. The attention that Wittig pays to the body of the text is interrelated to her idea of language. According to her, language can operate a "plastic surgery" on reality. In the same way, the book as an object and the act of reading can operate on the perception of one's identity and body. In other words, the language has a material side that affects our everyday life. It can seem a banal statement, but Wittig goes further in her thought: words hurt us and cooperate in the development of social injustices and class hierarchies. On account of this, my research aims to investigate this particular kind of violence that literary texts and common language perform on our bodies. Finally, Wittig's lesbian characters will be analyzed in the last part of my work. The body of this peculiar lesbian protagonist is traditionally represented as ambiguously monstrous and scary. Wittig takes this tradition back and she manipulates it in order to show how lesbian bodies are vulnerable and strong at the same time. In short, Wittig's lesbian characters are not simply women who love other women: they are people who do not fit in the heteronormative binary system and whose bodies are made of and from words, and it is through words that they can create a different reality. ; Née en 1935, Monique Wittig est aujourd'hui célèbre surtout grâce à ses textes théoriques, mais elle est aussi l'autrice d'une œuvre littéraire éclectique, complexe et subversive. Au centre de de sa production littéraire et théorique, il y a le corps. Tout d'abord, nous nous proposons donc d'étudier la relation entre corps du texte et corps humain dans l'œuvre de l'autrice. L'attention que Wittig focalise sur le corps est strictement liée à son idée de langage. À son avis, ...
Even if Monique Wittig was a very talented writer, she has been especially studied as an essayist. At the center of both her fictional and political universes is the human body. First of all, I intend to examine the relationship between the body of the text and the human body described in the text. The attention that Wittig pays to the body of the text is interrelated to her idea of language. According to her, language can operate a "plastic surgery" on reality. In the same way, the book as an object and the act of reading can operate on the perception of one's identity and body. In other words, the language has a material side that affects our everyday life. It can seem a banal statement, but Wittig goes further in her thought: words hurt us and cooperate in the development of social injustices and class hierarchies. On account of this, my research aims to investigate this particular kind of violence that literary texts and common language perform on our bodies. Finally, Wittig's lesbian characters will be analyzed in the last part of my work. The body of this peculiar lesbian protagonist is traditionally represented as ambiguously monstrous and scary. Wittig takes this tradition back and she manipulates it in order to show how lesbian bodies are vulnerable and strong at the same time. In short, Wittig's lesbian characters are not simply women who love other women: they are people who do not fit in the heteronormative binary system and whose bodies are made of and from words, and it is through words that they can create a different reality. ; Née en 1935, Monique Wittig est aujourd'hui célèbre surtout grâce à ses textes théoriques, mais elle est aussi l'autrice d'une œuvre littéraire éclectique, complexe et subversive. Au centre de de sa production littéraire et théorique, il y a le corps. Tout d'abord, nous nous proposons donc d'étudier la relation entre corps du texte et corps humain dans l'œuvre de l'autrice. L'attention que Wittig focalise sur le corps est strictement liée à son idée de langage. À son avis, ...
Even if Monique Wittig was a very talented writer, she has been especially studied as an essayist. At the center of both her fictional and political universes is the human body. First of all, I intend to examine the relationship between the body of the text and the human body described in the text. The attention that Wittig pays to the body of the text is interrelated to her idea of language. According to her, language can operate a "plastic surgery" on reality. In the same way, the book as an object and the act of reading can operate on the perception of one's identity and body. In other words, the language has a material side that affects our everyday life. It can seem a banal statement, but Wittig goes further in her thought: words hurt us and cooperate in the development of social injustices and class hierarchies. On account of this, my research aims to investigate this particular kind of violence that literary texts and common language perform on our bodies. Finally, Wittig's lesbian characters will be analyzed in the last part of my work. The body of this peculiar lesbian protagonist is traditionally represented as ambiguously monstrous and scary. Wittig takes this tradition back and she manipulates it in order to show how lesbian bodies are vulnerable and strong at the same time. In short, Wittig's lesbian characters are not simply women who love other women: they are people who do not fit in the heteronormative binary system and whose bodies are made of and from words, and it is through words that they can create a different reality. ; Née en 1935, Monique Wittig est aujourd'hui célèbre surtout grâce à ses textes théoriques, mais elle est aussi l'autrice d'une œuvre littéraire éclectique, complexe et subversive. Au centre de de sa production littéraire et théorique, il y a le corps. Tout d'abord, nous nous proposons donc d'étudier la relation entre corps du texte et corps humain dans l'œuvre de l'autrice. L'attention que Wittig focalise sur le corps est strictement liée à son idée de langage. À son avis, ...
Even if Monique Wittig was a very talented writer, she has been especially studied as an essayist. At the center of both her fictional and political universes is the human body. First of all, I intend to examine the relationship between the body of the text and the human body described in the text. The attention that Wittig pays to the body of the text is interrelated to her idea of language. According to her, language can operate a "plastic surgery" on reality. In the same way, the book as an object and the act of reading can operate on the perception of one's identity and body. In other words, the language has a material side that affects our everyday life. It can seem a banal statement, but Wittig goes further in her thought: words hurt us and cooperate in the development of social injustices and class hierarchies. On account of this, my research aims to investigate this particular kind of violence that literary texts and common language perform on our bodies. Finally, Wittig's lesbian characters will be analyzed in the last part of my work. The body of this peculiar lesbian protagonist is traditionally represented as ambiguously monstrous and scary. Wittig takes this tradition back and she manipulates it in order to show how lesbian bodies are vulnerable and strong at the same time. In short, Wittig's lesbian characters are not simply women who love other women: they are people who do not fit in the heteronormative binary system and whose bodies are made of and from words, and it is through words that they can create a different reality. ; Née en 1935, Monique Wittig est aujourd'hui célèbre surtout grâce à ses textes théoriques, mais elle est aussi l'autrice d'une œuvre littéraire éclectique, complexe et subversive. Au centre de de sa production littéraire et théorique, il y a le corps. Tout d'abord, nous nous proposons donc d'étudier la relation entre corps du texte et corps humain dans l'œuvre de l'autrice. L'attention que Wittig focalise sur le corps est strictement liée à son idée de langage. À son avis, ...
Even if Monique Wittig was a very talented writer, she has been especially studied as an essayist. At the center of both her fictional and political universes is the human body. First of all, I intend to examine the relationship between the body of the text and the human body described in the text. The attention that Wittig pays to the body of the text is interrelated to her idea of language. According to her, language can operate a "plastic surgery" on reality. In the same way, the book as an object and the act of reading can operate on the perception of one's identity and body. In other words, the language has a material side that affects our everyday life. It can seem a banal statement, but Wittig goes further in her thought: words hurt us and cooperate in the development of social injustices and class hierarchies. On account of this, my research aims to investigate this particular kind of violence that literary texts and common language perform on our bodies. Finally, Wittig's lesbian characters will be analyzed in the last part of my work. The body of this peculiar lesbian protagonist is traditionally represented as ambiguously monstrous and scary. Wittig takes this tradition back and she manipulates it in order to show how lesbian bodies are vulnerable and strong at the same time. In short, Wittig's lesbian characters are not simply women who love other women: they are people who do not fit in the heteronormative binary system and whose bodies are made of and from words, and it is through words that they can create a different reality. ; Née en 1935, Monique Wittig est aujourd'hui célèbre surtout grâce à ses textes théoriques, mais elle est aussi l'autrice d'une œuvre littéraire éclectique, complexe et subversive. Au centre de de sa production littéraire et théorique, il y a le corps. Tout d'abord, nous nous proposons donc d'étudier la relation entre corps du texte et corps humain dans l'œuvre de l'autrice. L'attention que Wittig focalise sur le corps est strictement liée à son idée de langage. À son avis, ...
My paradigms in this respect were Lady Anne Clifford and Alice Anne Thornton. They produced texts that have not even been mentioned or considered for centuries, but that have recently been partially rediscovered and appreciated by critics. My intent was to show how cultural factors and ideologies of the time influenced literary production, and to analyse the reasons that led these authors and their texts, first to oblivion, and later to recovery and canonization. When attempting to give a coherent answer to these questions, I kept in mind the background of Renaissance cultural memory and ideology, with particular regard to notions of femininity. Women writers are "mothers of the text", creators of new horizons, expert connoisseurs of the ideologies of their time, but also lonely, isolated, subjected women, ready to record their memories in voices that try to rise above a thousand other voices. ; The reasons that led women to overcome the injunction against cultural expression, including autobiography are one of the most relevant topics of my thesis. We know that many female characters were marginalized, if not made virtually invisible in many cultures and ideologies. That's why I tried to unveil the "counter" itinerary of women's writing from oblivion to canonization. ; English writers then began to deal with secular autobiography in the seventeenth century. Though excluded from the political scene and from public social life, Early-modern women writers seemed to be able to add something new and significant to the memorials and autobiographies of their own contemporary authors. When a woman wanted to be considered a member of a community whose experience was worthy of memory, she was confined by her own culture and family situation in the role of daughter, wife and mother, and she was seen almost exclusively as the subject of stories of religious experience, visions, trances, ecstasies. However, in the late seventeenth century, autobiography began to depart from an exclusively religious background and from the narrative account of the lives of men, and women began not only to record events related to male lives, but also to explore their identity and their own experiences in autobiographical form. Autobiography acquired the modern meaning of personal, introspective, secular writing, and, suddenly, the texts written by daughters, mothers and wives began to be recognized as real contributions to a genre in constant evolution. ; This doctoral thesis deals with the problem of canonisation and/or exclusion of women's writings from the literary canon of the English Renaissance. More broadly, it deals with issues of memory and cultural transmission. The first part of the thesis focuses on memory in different disciplines and on studies of memory in the contemporary critical arena. I tried to give an overview of the most recent progress in this field of study. The following chapters deal with issues of oblivion and recognition (up to the canonisation) of English women's writers in the Renaissance.