Le jongleur dans l'étui : horizon chrétien et réécritures romanesques.
Identifieur interne : 000322 ( Hal/Checkpoint ); précédent : 000321; suivant : 000323Le jongleur dans l'étui : horizon chrétien et réécritures romanesques.
Auteurs : Claudio Galderisi [France]Source :
- Cahiers de Civilisation Médiévale [ 0007-9731 ] ; 2011-04.
Descripteurs français
Abstract
"O! Liberty, beloved, Carefree fay with clear golden smile!". This ode to liberty, "Carefree fay with clear golden smile" doesn't belong to a Revolutionary piece of drama played at the "Théâtre de la foire" nor to a vaudeville of the Belle Époque. The narrator, Jean--who is, like Dante's Ulysses, inebriated by his ideal of liberty and afraid of losing his royal treasure--is none other but a jongleur who traversed many centuries in a number of languages. Of course he is the "Jongleur of Notre Dame", reconsidered by Jules Massenet and Maurice Léna in an opera of the same name in 1902. Anachronisms, or at least an imperfect kowledge of medieval civilisation, accounts for the suppressions and additions that may be found in most rewritings of this medieval narrative. These derivative works, however, preserve - no doubt unconsciously - a narrative base which cannot be explained entirely by referring to the medieval model. Indeed rewritings can go beyond the original writing, so that an underlying pattern reappears, compared to which the medieval text may sometimes be nothing but an unperceived palimpsest. These various narratives reveal the vestiges of the distinctive characteristics of the medieval epistémè. For instance, in all of them the status of jongleur attributed to the servant of Our Lady remains. The present study will focus on the mythological and narrative grounds for such conformity, which reveals the persistence of the text. One can thus see that the rewriting can cause the hidden voice of poetry to reappear, and that the relation between the text and the revised literary work is not only genetic but rather biunivocal. Therefore the very singularity of the rewriting can make that of its source rise again.
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Liberty, beloved, Carefree fay with clear golden smile!". This ode to liberty, "Carefree fay with clear golden smile" doesn't belong to a Revolutionary piece of drama played at the "Théâtre de la foire" nor to a vaudeville of the Belle Époque. The narrator, Jean--who is, like Dante's Ulysses, inebriated by his ideal of liberty and afraid of losing his royal treasure--is none other but a jongleur who traversed many centuries in a number of languages. Of course he is the "Jongleur of Notre Dame", reconsidered by Jules Massenet and Maurice Léna in an opera of the same name in 1902. Anachronisms, or at least an imperfect kowledge of medieval civilisation, accounts for the suppressions and additions that may be found in most rewritings of this medieval narrative. These derivative works, however, preserve - no doubt unconsciously - a narrative base which cannot be explained entirely by referring to the medieval model. Indeed rewritings can go beyond the original writing, so that an underlying pattern reappears, compared to which the medieval text may sometimes be nothing but an unperceived palimpsest. These various narratives reveal the vestiges of the distinctive characteristics of the medieval epistémè. For instance, in all of them the status of jongleur attributed to the servant of Our Lady remains. The present study will focus on the mythological and narrative grounds for such conformity, which reveals the persistence of the text. One can thus see that the rewriting can cause the hidden voice of poetry to reappear, and that the relation between the text and the revised literary work is not only genetic but rather biunivocal. Therefore the very singularity of the rewriting can make that of its source rise again.</div></front></TEI><hal api="V3"><titleStmt><title xml:lang="fr">Le jongleur dans l'étui : horizon chrétien et réécritures romanesques.</title><author role="crp"><persName><forename type="first">Claudio</forename><surname>Galderisi</surname></persName><email>claudiogalderisi@aol.com</email><ptr type="url" target="http://cescm.labo.univ-poitiers.fr/spip.php?article489"></ptr><idno type="halauthor">951199</idno><affiliation ref="#struct-394424"></affiliation></author><editor role="depositor"><persName><forename>Vanessa</forename><surname>Ernst-Maillet</surname></persName><email>vanessa.ernst.maillet@univ-poitiers.fr</email></editor></titleStmt><editionStmt><edition n="v1" type="current"><date type="whenSubmitted">2011-04-28 11:37:56</date><date type="whenWritten">2010</date><date type="whenModified">2015-02-03 15:21:47</date><date type="whenReleased">2011-04-28 11:37:56</date><date type="whenProduced">2011-04</date></edition><respStmt><resp>contributor</resp><name key="154683"><persName><forename>Vanessa</forename><surname>Ernst-Maillet</surname></persName><email>vanessa.ernst.maillet@univ-poitiers.fr</email></name></respStmt></editionStmt><publicationStmt><distributor>CCSD</distributor><idno type="halId">halshs-00589244</idno><idno type="halUri">https://halshs.archives-ouvertes.fr/halshs-00589244</idno><idno type="halBibtex">galderisi:halshs-00589244</idno><idno type="halRefHtml">Cahiers de Civilisation Médiévale, C.E.S.C.M, 2011, 54 (213), pp.73-82</idno><idno type="halRef">Cahiers de Civilisation Médiévale, C.E.S.C.M, 2011, 54 (213), pp.73-82</idno></publicationStmt><seriesStmt><idno type="stamp" n="CNRS">CNRS - Centre national de la recherche scientifique</idno><idno type="stamp" n="UNIV-POITIERS">Université de Poitiers</idno><idno type="stamp" n="AO-HISTOIRE">Archives ouvertes de l'Histoire</idno><idno type="stamp" n="HISTOIRE">HISTOIRE</idno><idno type="stamp" n="SHS">Sciences de l'Homme et de la Société</idno><idno type="stamp" n="CESCM" p="SHS">Centre d'études supérieures de civilisation médiévale</idno></seriesStmt><notesStmt><note type="audience" n="2">International</note><note type="popular" n="0">No</note><note type="peer" n="1">Yes</note></notesStmt><sourceDesc><biblStruct><analytic><title xml:lang="fr">Le jongleur dans l'étui : horizon chrétien et réécritures romanesques.</title><author role="crp"><persName><forename type="first">Claudio</forename><surname>Galderisi</surname></persName><email>claudiogalderisi@aol.com</email><ptr type="url" target="http://cescm.labo.univ-poitiers.fr/spip.php?article489"></ptr><idno type="halAuthorId">951199</idno><affiliation ref="#struct-394424"></affiliation></author></analytic><monogr><idno type="halJournalId" status="VALID">24387</idno><idno type="issn">0007-9731</idno><idno type="eissn">2119-1026</idno><title level="j">Cahiers de Civilisation Médiévale</title><imprint><publisher>C.E.S.C.M</publisher><biblScope unit="volume">54</biblScope><biblScope unit="issue">213</biblScope><biblScope unit="pp">73-82</biblScope><date type="datePub">2011-04</date></imprint></monogr></biblStruct></sourceDesc><profileDesc><langUsage><language ident="fr">French</language></langUsage><textClass><keywords scheme="author"><term xml:lang="fr">Moyen Âge</term><term xml:lang="fr">écriture romanesque</term><term xml:lang="fr">christianisme</term><term xml:lang="fr">jongleurs</term></keywords><classCode scheme="halDomain" n="shs.hist">Humanities and Social Sciences/History</classCode><classCode scheme="halDomain" n="shs.litt">Humanities and Social Sciences/Literature</classCode><classCode scheme="halTypology" n="ART">Journal articles</classCode></textClass><abstract xml:lang="en">"O! Liberty, beloved, Carefree fay with clear golden smile!". This ode to liberty, "Carefree fay with clear golden smile" doesn't belong to a Revolutionary piece of drama played at the "Théâtre de la foire" nor to a vaudeville of the Belle Époque. The narrator, Jean--who is, like Dante's Ulysses, inebriated by his ideal of liberty and afraid of losing his royal treasure--is none other but a jongleur who traversed many centuries in a number of languages. Of course he is the "Jongleur of Notre Dame", reconsidered by Jules Massenet and Maurice Léna in an opera of the same name in 1902. Anachronisms, or at least an imperfect kowledge of medieval civilisation, accounts for the suppressions and additions that may be found in most rewritings of this medieval narrative. These derivative works, however, preserve - no doubt unconsciously - a narrative base which cannot be explained entirely by referring to the medieval model. Indeed rewritings can go beyond the original writing, so that an underlying pattern reappears, compared to which the medieval text may sometimes be nothing but an unperceived palimpsest. These various narratives reveal the vestiges of the distinctive characteristics of the medieval epistémè. For instance, in all of them the status of jongleur attributed to the servant of Our Lady remains. The present study will focus on the mythological and narrative grounds for such conformity, which reveals the persistence of the text. One can thus see that the rewriting can cause the hidden voice of poetry to reappear, and that the relation between the text and the revised literary work is not only genetic but rather biunivocal. Therefore the very singularity of the rewriting can make that of its source rise again.</abstract><abstract xml:lang="fr">" Ô Liberté, ma mie, Insoucieuse fée au clair sourire d'or ! " Ce chant à la liberté, " insoucieuse fée au clair sourire d'or ", ne se trouve pas dans une pièce révolutionnaire du Théâtre de la foire ou dans un vaudeville de la Belle Époque. Ce Jean, qui, tel l'Ulysse de Dante, est enivré par son idéal de liberté et craint de perdre son royal trésor n'est autre qu'un jongleur qui a traversé les siècles et les langues. C'est bien entendu le Jongleur de Notre Dame, revisité par Jules Massenet et Maurice Léna en 1902 dans un opéra du même nom. L'anachronisme ou du moins une connaissance partielle de la civilisation médiévale sont à l'origine des suppressions et des ajouts que l'on trouve dans la plupart des réécritures de ce récit médiéval. Ces oeuvres secondes préservent, cependant, et sans doute involontairement, une armature narrative qui n'est pas le seul fait du récit médiéval. La réécriture, en effet, peut aller au-delà de l'écriture dont elle tire son origine, faisant ressurgir un schéma sous-jacent, par rapport auquel le texte médiéval n'est parfois qu'un palimpseste qui s'ignore. Ces récits nous révèlent alors la trace des traits distinctifs de l'épistémè médiévale. Les uns et les autres gardent, par exemple, au serviteur de Notre Dame son statut de jongleur. Notre réflexion s'interroge sur les raisons mythologique et narrative de cette permanence, qui révèle une résistance du texte. On voit alors que la réécriture peut faire ressurgir la voix secrète de la poésie, que la relation du texte à la lettre revisitée n'est pas seulement génétique mais plutôt biunivoque. Elle peut ainsi faire rejaillir par sa propre singularité celle du modèle.</abstract></profileDesc></hal></record>Pour manipuler ce document sous Unix (Dilib)
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