Suchergebnisse

International audience ; Thomas Hoccleve (c. 1367-1426) was at the same time a scribe of the Privy Seal and a poet. He was the first one to create some "autobriographical" pieces in English. His poetry highlights a number of thematics close to those of his contemporaries, especially on the question of the legitimity of each one - king, prince or subject - in society. Its special position, both in the center and in the margins of power, between royal household and administration, in an institution which kept an informal part, summoned him to elaborate an acute vision of the tensions of the first decades of the fifteenth century, and occasionally to distil some disagreements. At the same time, even as he was an actor of the system, the expression of his anxieties via the persona of 'Thomas' - largely interconnected to the social and political tensions of the period, pushed him to elaborate a sophisticated reflection on the regimen, whose mastery was essential for the prince, but also for its subjects. ; Thomas Hoccleve (v. 1367-1426) était à la fois un scribe gouvernemental et un poète, dont la particularité est qu'il est l'un des premiers à composer des passages « autobiographiques » en anglais. Sa poésie exacerbe un certain nombre de thèmes dont se préoccupent ses contemporains, en particulier sur la question de la légitimité de chacun – roi, prince ou sujet – vis-à-vis de la société. Sa position particulière, à la fois au centre et en marge du pouvoir, entre household et administration, dans un office qui garde une part d'informel tout en étant de plus en plus structuré, l'a contraint à élaborer une vision aigue des tensions de la période, et éventuellement de distiller certains désaccords. En même temps, tout acteur du système qu'il soit, l'expression des angoisses de Thomas Hoccleve par le biais de sa persona – qui sont intimement connectées aux tensions sociales et contemporaines qu'il pointe – le poussent à élaborer une réflexion sophistiquée sur le regimen, dont la maîtrise est indispensable pour le ...

International audience ; Knyghthod and Bataile is an English adaptation in verse of Vegetius' De re militari, written in 1459-1460 by a priest from Calais, preserved today in three manuscripts. Composed in the very troubled period of the wars of Roses, the main particularity of this adaptation of Vegetius is its strong polemical dimension – for the Lancastrians and against the Yorkists. It must be replaced not only in the field of polemical production of the period (treatises, manifestos, poems…), but also in the vast literary field of the fifteenth-century, marked by an intense reflection on the common weal of the kingdom and on the poetical form of this reflection. In this context, how and why did the author decide to use a strong normative frame – the treatise of Vegetius – to express a polemic, although this polemic is shifting, insofar as two of the three manuscripts of Knyghthod and Bataile have belonged to Yorkists and do not include the critical passages ? ; Knyghthod and Bataile est une adaptation versifiée en anglais du De re militari de Végèce, composée en 1459-1460 par un prêtre de Calais (alors sous domination anglaise). Composée dans la période particulièrement troublée de la guerre civile, dite guerre des Roses, la principale particularité de cette adaptation de Végèce est sa forte dimension polémique – en faveur des Lancastriens et contre les Yorkistes – qui doit être replacée non seulement dans le champ de la production polémique de la période (traités, manifestes, poèmes…), mais aussi dans le plus large champ littéraire anglais du xve siècle, marqué par une intense réflexion à la fois sur le bon gouvernement du royaume et sur la forme poétique de cette réflexion. Mais cette dimension polémique apparaît gommée dans deux des trois manuscrits conservés, au profit d'une dimension réformatrice déjà très présente dans le texte original. Cet article s'emploie donc à comprendre l'articulation entre ces différentes facettes, dans le contexte général de la formation d'un langage politique en anglais durant cette période.

International audience ; Knyghthod and Bataile is an English adaptation in verse of Vegetius' De re militari, written in 1459-1460 by a priest from Calais, preserved today in three manuscripts. Composed in the very troubled period of the wars of Roses, the main particularity of this adaptation of Vegetius is its strong polemical dimension – for the Lancastrians and against the Yorkists. It must be replaced not only in the field of polemical production of the period (treatises, manifestos, poems…), but also in the vast literary field of the fifteenth-century, marked by an intense reflection on the common weal of the kingdom and on the poetical form of this reflection. In this context, how and why did the author decide to use a strong normative frame – the treatise of Vegetius – to express a polemic, although this polemic is shifting, insofar as two of the three manuscripts of Knyghthod and Bataile have belonged to Yorkists and do not include the critical passages ? ; Knyghthod and Bataile est une adaptation versifiée en anglais du De re militari de Végèce, composée en 1459-1460 par un prêtre de Calais (alors sous domination anglaise). Composée dans la période particulièrement troublée de la guerre civile, dite guerre des Roses, la principale particularité de cette adaptation de Végèce est sa forte dimension polémique – en faveur des Lancastriens et contre les Yorkistes – qui doit être replacée non seulement dans le champ de la production polémique de la période (traités, manifestes, poèmes…), mais aussi dans le plus large champ littéraire anglais du xve siècle, marqué par une intense réflexion à la fois sur le bon gouvernement du royaume et sur la forme poétique de cette réflexion. Mais cette dimension polémique apparaît gommée dans deux des trois manuscrits conservés, au profit d'une dimension réformatrice déjà très présente dans le texte original. Cet article s'emploie donc à comprendre l'articulation entre ces différentes facettes, dans le contexte général de la formation d'un langage politique en anglais ...

This dissertation examines a corpus of English novels which have been little studied in France as yet and never as a whole. The novels were published between 1782 and 1805 by a group of writers who, by their ideas and in some cases active political commitment, belong to the radical movement which developed in England in the second half of the eighteenth century, gained impetus and structure in the wake of the French Revolution, and collapsed at the end of the decade when faced with repression from the government of William Pitt. Radical novelists, many of whom, like William Godwin, Mary Wollstonecraft and John Thelwall, were philosophers and pamphleteers before they took to novel-writing, flew to the defence of the rights of man (and of the rights of woman) in the revolution controversy which pitted Thomas Paine against Edmund Burke – and their work bears the mark of the rise and demise of the radical movement. Combining intellectual history with classical narratology, book history, and the social and cultural history of radicalism, this dissertation seeks to highlight the way in which political ideology is built into the very forms of the novels – in the characters' speech and the characters themselves, in the novels' plot and narration type, in their style and publishing format, as well as in their meaningful silences. Such a study brings to light, rather than a coherent radical ideology, a recurring tension between two versions of radicalism, liberal and jacobin, bourgeois and plebeian, whose partly conflicting conjunction assumes different shapes from one novelist to the other and between the early 1780s and late 1790s, as radical hopes of reform sink under the conservative backlash. ; Cette thèse étudie un corpus de romans anglais, encore peu étudiés en France et jamais étudiés collectivement, publiés entre 1782 et 1805 par des écrivains et des écrivaines se rattachant par leurs idées et, pour certains, leur militantisme actif, au mouvement radical qui se développe en Angleterre dans la seconde moitié du ...

This dissertation examines a corpus of English novels which have been little studied in France as yet and never as a whole. The novels were published between 1782 and 1805 by a group of writers who, by their ideas and in some cases active political commitment, belong to the radical movement which developed in England in the second half of the eighteenth century, gained impetus and structure in the wake of the French Revolution, and collapsed at the end of the decade when faced with repression from the government of William Pitt. Radical novelists, many of whom, like William Godwin, Mary Wollstonecraft and John Thelwall, were philosophers and pamphleteers before they took to novel-writing, flew to the defence of the rights of man (and of the rights of woman) in the revolution controversy which pitted Thomas Paine against Edmund Burke – and their work bears the mark of the rise and demise of the radical movement. Combining intellectual history with classical narratology, book history, and the social and cultural history of radicalism, this dissertation seeks to highlight the way in which political ideology is built into the very forms of the novels – in the characters' speech and the characters themselves, in the novels' plot and narration type, in their style and publishing format, as well as in their meaningful silences. Such a study brings to light, rather than a coherent radical ideology, a recurring tension between two versions of radicalism, liberal and jacobin, bourgeois and plebeian, whose partly conflicting conjunction assumes different shapes from one novelist to the other and between the early 1780s and late 1790s, as radical hopes of reform sink under the conservative backlash. ; Cette thèse étudie un corpus de romans anglais, encore peu étudiés en France et jamais étudiés collectivement, publiés entre 1782 et 1805 par des écrivains et des écrivaines se rattachant par leurs idées et, pour certains, leur militantisme actif, au mouvement radical qui se développe en Angleterre dans la seconde moitié du ...

En Angleterre, le parlement s'affirme dans les derniers siècles du Moyen Âge comme une institution représentative des élites anglaises, alors relativement ouverte, importante pour le fonctionnement de l'Etat. Pour cerner ces évolutions, les sources littéraires sont précieuses, et en particulier la poésie écrite en anglais, abondante à partir de 1350. Elles permettent d'approcher la perception qu'avaient les contemporains de cette institution, ainsi que de la replacer dans le cadre plus général d'une réflexion sur l'instauration d'un dialogue entre pouvoir et société politique, au cœur de la naissance de l'État moderne.

En Angleterre, le parlement s'affirme dans les derniers siècles du Moyen Âge comme une institution représentative des élites anglaises, alors relativement ouverte, importante pour le fonctionnement de l'Etat. Pour cerner ces évolutions, les sources littéraires sont précieuses, et en particulier la poésie écrite en anglais, abondante à partir de 1350. Elles permettent d'approcher la perception qu'avaient les contemporains de cette institution, ainsi que de la replacer dans le cadre plus général d'une réflexion sur l'instauration d'un dialogue entre pouvoir et société politique, au cœur de la naissance de l'État moderne.

Extrapolation and back-projection of the number of inhabitants of England in 1871 according to the so-called homeostatic method based on fertile marriages, seem to be quite reliable in general, with the exception of the results for 1801 and 1841. According to the hitherto available literature on the subject, the variance for 1801 is seen to be due to the incompleteness of the first census. With regard to the problematical year 1841, the present article tries to prove in several ways that, contrary to prevailing opinion, the reasons for the well-known discrepancies between the official counting of births beginning in 1837 and the census of 1841, must not so much be looked for in the lacunae of the current statistics but rather in the double-countings while the census was taken. This implies that the results of the homeostatic method used for the year 1841 are in fact reliable.

Since its origins, science fiction has addressed issues in spirituality such as death, transcendence, meaning of life, human condition. Instead of defining science fiction as based upon science, we should better define it as based upon the « problematization » of our world. It construes fictional configurations which trigger readers' essential astonishment, and impose a sense of wonder. It tackles central problems, be it biological, political or spiritual. Opening to potentially infinite space and time, it can unfold quests on a cosmic scale, and revisit significant religious traditions to question them, or to delineate a space where sublime confronts mystery. The overall argument aims at defining science fiction as a problematological literary genre, which uses narratives and images. This dissertation applies these research orientations to French, American and English Science Fiction from the XIXth century onwards — it refers to a dozen novels and three movies. While it focuses upon this specific body of novels and films, it intends to set up theoretical schemes and to identify works which are landmarks in SF and exemplify this problematological perspective. ; La science-fiction a, depuis ses origines, abordé les questions spirituelles telles que la mort, la transcendance, le sens de la vie et de la condition humaine. Au lieu de se définir comme une littérature d'idées fondée sur la science, elle est bien davantage une littérature d'images qui se fonde sur une « problématisation » de notre monde. Elle construit des configurations fictionnelles qui suscitent, chez le lecteur, un étonnement fondamental, le sense of wonder. Dès lors, elle envisage des problèmes essentiels, qu'ils soient biologiques, politiques, ou spirituels. Ouvrant à un espace-temps potentiellement infini, elle peut mettre en scène des quêtes à l'échelle du cosmos, ouvrir sur l'éternité et le temps du mythe, réinterpréter les grandes traditions religieuses pour les problématiser, ou dessiner un espace du sublime dans la confrontation avec le ...

Since its origins, science fiction has addressed issues in spirituality such as death, transcendence, meaning of life, human condition. Instead of defining science fiction as based upon science, we should better define it as based upon the « problematization » of our world. It construes fictional configurations which trigger readers' essential astonishment, and impose a sense of wonder. It tackles central problems, be it biological, political or spiritual. Opening to potentially infinite space and time, it can unfold quests on a cosmic scale, and revisit significant religious traditions to question them, or to delineate a space where sublime confronts mystery. The overall argument aims at defining science fiction as a problematological literary genre, which uses narratives and images. This dissertation applies these research orientations to French, American and English Science Fiction from the XIXth century onwards — it refers to a dozen novels and three movies. While it focuses upon this specific body of novels and films, it intends to set up theoretical schemes and to identify works which are landmarks in SF and exemplify this problematological perspective. ; La science-fiction a, depuis ses origines, abordé les questions spirituelles telles que la mort, la transcendance, le sens de la vie et de la condition humaine. Au lieu de se définir comme une littérature d'idées fondée sur la science, elle est bien davantage une littérature d'images qui se fonde sur une « problématisation » de notre monde. Elle construit des configurations fictionnelles qui suscitent, chez le lecteur, un étonnement fondamental, le sense of wonder. Dès lors, elle envisage des problèmes essentiels, qu'ils soient biologiques, politiques, ou spirituels. Ouvrant à un espace-temps potentiellement infini, elle peut mettre en scène des quêtes à l'échelle du cosmos, ouvrir sur l'éternité et le temps du mythe, réinterpréter les grandes traditions religieuses pour les problématiser, ou dessiner un espace du sublime dans la confrontation avec le ...

Story : The Sultan, Itidal Othman was born in 1942. She studied English literature at the University of Cairo and at the American University in Cairo. She works as an editor at the General Egyptian Organization for the Book, and is also an editorial board member for several literary journals. She is the author of two short story collections : Yûnus wal-Bahr (Jonas and the Sea, 1987) and Wash ash-Shams (Tattoo from the Sun, 1992), as well as several essays of literary criticism, one of which is consecrated to Youssef Idriss.

This article examines the translation of the Republic of Platon into English simplified by Ivor Armstrong Richards (1893-1979), philosopher and literary criticism (1942). This 'experimental version' deserves the interest of translators, since Richards reduces the platonician text by more than half, and accompanies his translation with an 'Introduction' in which he justifies the choice of the Republic, its statement, and its method of translation, which is the command of the Republic. The choice of translating the Republic is political — a desire to rediscover platonician views on democracy in order to combat totalitarianism — and is accompanied by a desire to publicise philosophical knowledge based on an analysis of the translation act. Differentiating between the 'tone' and the 'meaning' conveyed by the language, Richards chooses to neglect the former in favour of the latter, retains the ideas and joints of the original text, omits what is part of the socio-cultural context, which he always considers to be singular and relative, in order to make the Republic understandable by any reader. The Republic in simplified English is a political word embodied by a translation policy itself supported by a particular language design. ; International audience ; This article examines the translation of the Republic of Platon into English simplified by Ivor Armstrong Richards (1893-1979), philosopher and literary criticism (1942). This 'experimental version' deserves the interest of translators, since Richards reduces the platonician text by more than half, and accompanies his translation with an 'Introduction' in which he justifies the choice of the Republic, its statement, and its method of translation, which is the command of the Republic. The choice of translating the Republic is political — a desire to rediscover platonician views on democracy in order to combat totalitarianism — and is accompanied by a desire to publicise philosophical knowledge based on an analysis of the translation act. Differentiating between the ...