Le jongleur dans l'étui : horizon chrétien et réécritures romanesques.
Identifieur interne : 000A26 ( Main/Merge ); précédent : 000A25; suivant : 000A27Le 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></record>Pour manipuler ce document sous Unix (Dilib)
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