Atlante - Revue d'études romanes

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	<title>Atlante - Revue d&#039;études romanes - Tag renaissance</title>
	<link>https://atlante.univ-lille.fr/tag/renaissance</link>
	<language>fr</language>
	<description></description>
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		<title>10. Catabase et esthétique des passions dans &lt;em&gt;La Mort de Rodomont et sa descente aux Enfers&lt;/em&gt; de Philippe Desportes</title> 
		<link>https://atlante.univ-lille.fr/10-catabase-et-esthetique-des-passions-dans-emla-mort-de-rodomont-et-sa-descente-aux-enfers-em-de-philippe-desportes.html</link>
		<guid>https://atlante.univ-lille.fr/10-catabase-et-esthetique-des-passions-dans-emla-mort-de-rodomont-et-sa-descente-aux-enfers-em-de-philippe-desportes.html</guid>
		<description>&lt;p&gt;Marion Bracq&lt;br /&gt;Universit&amp;eacute; de Lille&lt;br /&gt;ALITHILA, EA 1061&lt;br /&gt;p. 179-193.&lt;/p&gt;&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Marion BRACQ, &amp;laquo;&amp;nbsp;Catabase et esth&amp;eacute;tique des passions&amp;nbsp;dans&amp;nbsp;&lt;em&gt;La Mort de Rodomont et sa descente aux Enfers&lt;/em&gt; de Philippe Desportes&amp;nbsp;&amp;raquo;.&lt;/strong&gt;&amp;nbsp;&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&lt;strong&gt;R&amp;eacute;sum&amp;eacute;.&lt;/strong&gt; Rodomont est connu pour son orgueil et sa fureur au combat. Matteo Maria Boiardo (&lt;em&gt;Orlando innamorato&lt;/em&gt;) puis, &amp;agrave; sa suite, Ludovico Ariosto (&lt;em&gt;Orlando furioso&lt;/em&gt;) mettent en sc&amp;egrave;ne ce personnage dans toute sa d&amp;eacute;mesure. Cependant, c&#039;est dans un &amp;eacute;pisode catabasique de la &lt;em&gt;Marphisa&lt;/em&gt; de l&#039;Ar&amp;eacute;tin que Rodomont fait une des d&amp;eacute;monstrations les plus singuli&amp;egrave;res de la violence de ses passions. En 1572, en pleine vogue des imitations italiennes en France, Philippe Desportes va reprendre cet &amp;eacute;pisode infernal dans &lt;em&gt;La Mort de Rodomont et sa descente aux Enfers&lt;/em&gt;, publi&amp;eacute; dans le recueil collectif &lt;em&gt;Imitation de quelques chants de l&amp;rsquo;Arioste par divers po&amp;egrave;tes fran&amp;ccedil;ois&lt;/em&gt; chez Lucas Breyer. Entre inspiration &amp;eacute;pique et veine lyrique, Philippe Desportes esquisse un renouvellement de la po&amp;eacute;tique des passions. Tout en demeurant fid&amp;egrave;le aux repr&amp;eacute;sentations classiques de Rodomont, le po&amp;egrave;te fran&amp;ccedil;ais r&amp;eacute;interroge l&#039;&amp;eacute;criture des affects et construit une repr&amp;eacute;sentation plus sensible et complexe du personnage.&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&lt;strong&gt;Mots-cl&amp;eacute;. &lt;/strong&gt;Philippe Desportes, Ar&amp;eacute;tin, Arioste, Renaissance, Imitation, Litt&amp;eacute;rature &amp;eacute;pique, Catabase, Passions, Rodomont.&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&amp;nbsp;&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&lt;strong&gt;Marion BRACQ, &amp;laquo;&amp;nbsp;Catabasis and esthetic of passions in &lt;em&gt;La mort de Rodomont et sa descente aux Enfers&lt;/em&gt; by Philippe Desportes&amp;nbsp;&amp;raquo;.&lt;/strong&gt;&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&lt;strong&gt;&lt;span lang=&quot;en-US&quot;&gt;Abstract. &lt;/span&gt;&lt;/strong&gt;&lt;span lang=&quot;en-US&quot;&gt;Rodomont is known as a proud and furious warrior. Matteo Maria Boiardo (&lt;/span&gt;&lt;em&gt;&lt;span lang=&quot;en-US&quot;&gt;Orlando innamorato&lt;/span&gt;&lt;/em&gt;&lt;span lang=&quot;en-US&quot;&gt;) and, then in his wake, Ludovico Ariosto (&lt;/span&gt;&lt;em&gt;&lt;span lang=&quot;en-US&quot;&gt;Orlando furioso&lt;/span&gt;&lt;/em&gt;&lt;span lang=&quot;en-US&quot;&gt;) present this character with all his excesses. However, in Pietro Aretino&#039;s &lt;/span&gt;&lt;em&gt;&lt;span lang=&quot;en-US&quot;&gt;Marphisa&lt;/span&gt;&lt;/em&gt;&lt;span lang=&quot;en-US&quot;&gt;, Rodomont reveals his violence and passion during a catabasic episode. Given the popularity of Italian literature during the French Renaissance, Lucas Breyer published in the collective anthology: &lt;/span&gt;&lt;span lang=&quot;en-US&quot;&gt;&lt;em&gt;Imitation de quelques chants&lt;/em&gt; &lt;em&gt;de l&amp;rsquo;Arioste par divers po&amp;egrave;tes fran&amp;ccedil;ois&lt;/em&gt;&lt;/span&gt;&lt;span lang=&quot;en-US&quot;&gt; (1572) an imitation written by Philippe Desportes based on an episode underworld: &lt;/span&gt;&lt;em&gt;&lt;span lang=&quot;en-US&quot;&gt;La mort de Rodomont et sa descente aux Enfers&lt;/span&gt;&lt;/em&gt;&lt;span lang=&quot;en-US&quot;&gt;. Through epic inspiration but also in a lyrical vein, Philippe Desportes renews the poetics of passion. While he remains faithful to Rodomont&#039;s classical representations, Desportes studies closely how to write about affects and builds a more sensitive and complex representation of the character.&lt;/span&gt;&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&lt;strong&gt;Keywords.&lt;/strong&gt; Philippe Desportes, Ar&amp;eacute;tin, Arioste, French Renaissance, Imitation, Catabasis, Passions, Rodomont, Epic literature.&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&amp;nbsp;&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&lt;strong&gt;Marion BRACQ, &amp;laquo;&amp;nbsp;La catabasi e l&#039;estetica delle passioni in &lt;em&gt;La mort de Rodomont et sa descente aux Enfers&lt;/em&gt; di Philippe Desportes&amp;nbsp;&amp;raquo;.&lt;/strong&gt;&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&lt;strong&gt;Sintesi. &lt;/strong&gt;Rodomonte &amp;egrave; conosciuto per il suo orgoglio e il suo furore nella lotta. E se Matteo Maria Boiardo (&lt;em&gt;Orlando innamorato&lt;/em&gt;) e in seguito Ludovico Ariosto (&lt;em&gt;Orlando furioso&lt;/em&gt;) mettono in scena il comportamento eccessivo del personaggio, sar&amp;agrave; Pietro Aretino nell&amp;rsquo;episodio catabasico della Marphisa a dipingere la violenza estrema delle sue passioni. Durante il Rinascimento francese, con il successo delle imitazioni italiane, Philipe Desportes si ispira a questo episodio infernale nel suo &lt;em&gt;La mort de Rodomont et sa descente aux Enfers&lt;/em&gt; publicato da Lucas Breyer nella raccolta collettiva &lt;em&gt;Imitation de quelques chants de l&amp;rsquo;Arioste par divers po&amp;egrave;tes fran&amp;ccedil;ois&lt;/em&gt; (1572). Tra ispirazione epica e vena lirica, Philippe Desportes rinnova la poetica delle passioni. Rimanendo fedele alla figura classica di Rodomonte, il poeta francese interroga di nuovo la scrittura degli affetti e costruisce una rappresentazione pi&amp;ugrave; complessa e pi&amp;ugrave; sensibile delle passioni.&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&lt;strong&gt;Parole chiavi.&lt;/strong&gt;&amp;nbsp;Philipe Desportes, Pietro Aretino, Ludovico Ariosto, Rinascimento, Imitazioni, Catabasi, Passioni, Rodomonte, Letteratura epica.&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&amp;nbsp;&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&lt;strong&gt;&lt;a href=&quot;https://atlante.univ-lille.fr/data/images/_articles/ATLANTE_9_11.pdf&quot;&gt;T&amp;eacute;l&amp;eacute;charger l&#039;article complet (pdf, 185 Kb)&lt;/a&gt;&lt;/strong&gt;&lt;/p&gt;</description>
		<pubDate>Thu, 16 May 2019 09:39:00 +0200</pubDate>
		<dc:creator>daniel.ramirezmahecha</dc:creator>
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		<title>09.  La juste colère. Autour de la &lt;em&gt;Médée&lt;/em&gt; de Jean-Bastier de La Péruse</title> 
		<link>https://atlante.univ-lille.fr/09-la-juste-colere-autour-de-la-emmedee-em-de-jean-bastier-de-la-peruse.html</link>
		<guid>https://atlante.univ-lille.fr/09-la-juste-colere-autour-de-la-emmedee-em-de-jean-bastier-de-la-peruse.html</guid>
		<description>&lt;p&gt;Alessandra Preda&lt;br /&gt;Universit&amp;eacute; de Milan&lt;br /&gt;p. 163-178.&lt;/p&gt;&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Alessandra Preda, &amp;laquo;&amp;nbsp;La juste col&amp;egrave;re&amp;nbsp;: autour de la &lt;em&gt;M&amp;eacute;d&amp;eacute;e&lt;/em&gt; de Jean-Bastier de La P&amp;eacute;ruse&amp;nbsp;&amp;raquo;.&lt;/strong&gt;&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&lt;strong&gt;R&amp;eacute;sum&amp;eacute;.&lt;/strong&gt; L&amp;rsquo;analyse de la trag&amp;eacute;die de Jean de La P&amp;eacute;ruse, &lt;em&gt;M&amp;eacute;d&amp;eacute;e&lt;/em&gt;, d&amp;eacute;veloppe une r&amp;eacute;flexion autour de la col&amp;egrave;re, une passion humaine violente et r&amp;eacute;active qui repr&amp;eacute;sente, parfois, une forme l&amp;eacute;gitime d&amp;rsquo;indignation. Cette indignation &amp;lsquo;juste&amp;rsquo; provoque l&amp;rsquo;acte vindicatif n&amp;eacute;cessaire, &amp;agrave; travers un proc&amp;egrave;s d&amp;rsquo;autocontr&amp;ocirc;le et d&amp;rsquo;&amp;eacute;laboration que cette &lt;em&gt;M&amp;eacute;d&amp;eacute;e&lt;/em&gt; de la Renaissance illustre parfaitement. L&amp;rsquo;analyse met en lumi&amp;egrave;re l&amp;rsquo;influence d&amp;rsquo;une production humaniste - la trag&amp;eacute;die n&amp;eacute;olatine Medea de Buchanan, le commentaire de Muret &amp;agrave; l&amp;rsquo;&lt;em&gt;&amp;Eacute;thique &amp;agrave; Nicomaque&lt;/em&gt;, les &lt;em&gt;Embl&amp;egrave;mes&lt;/em&gt; d&amp;rsquo;Alciato &amp;mdash; qui alimente la r&amp;eacute;flexion de La P&amp;eacute;ruse, &amp;eacute;tudiant de droit, po&amp;egrave;te et dramaturge, membre de la jeune Pl&amp;eacute;iade.&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&lt;strong&gt;Mots-cl&amp;eacute;. &lt;/strong&gt;Renaissance, Th&amp;eacute;&amp;acirc;tre, Trag&amp;eacute;die, Col&amp;egrave;re, M&amp;eacute;d&amp;eacute;e, Embl&amp;egrave;me.&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&amp;nbsp;&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&lt;strong&gt;Alessandra Preda, &amp;laquo;&amp;nbsp;The righteous wrath&amp;nbsp;: Jean-Bastier de La P&amp;eacute;ruse&#039;s&amp;nbsp;&lt;em&gt;M&amp;eacute;d&amp;eacute;e&lt;/em&gt;&lt;em&gt;&amp;nbsp;&lt;/em&gt;&amp;raquo;.&lt;/strong&gt;&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&lt;strong&gt;&lt;span lang=&quot;en-US&quot;&gt;Abstract. &lt;/span&gt;&lt;/strong&gt;&lt;span lang=&quot;en-US&quot;&gt;In this article the author seeks to analyse wrath by the means of an examination of La P&amp;eacute;ruse&amp;rsquo;s tragedy, &lt;/span&gt;&lt;em&gt;&lt;span lang=&quot;en-US&quot;&gt;M&amp;eacute;d&amp;eacute;e&lt;/span&gt;&lt;/em&gt;&lt;span lang=&quot;en-US&quot;&gt;. Wrath is a violent human and reactive expression which sometimes may represent a legitimate form of indignation. The righteous indignation causes the necessary vindictive act, in a process of self-control and elaboration that is perfectly illustrated by this Renaissance &lt;/span&gt;&lt;em&gt;&lt;span lang=&quot;en-US&quot;&gt;Medea&lt;/span&gt;&lt;/em&gt;&lt;span lang=&quot;en-US&quot;&gt;. The analysis shows a humanist production &amp;ndash; Buchanan&amp;rsquo;s Neo-Latin tragedy, Muret&amp;rsquo;s commentary of &lt;/span&gt;&lt;em&gt;&lt;span lang=&quot;en-US&quot;&gt;Ethica Nicomachea&lt;/span&gt;&lt;/em&gt;&lt;span lang=&quot;en-US&quot;&gt;, Alciato&amp;rsquo;s &lt;/span&gt;&lt;em&gt;&lt;span lang=&quot;en-US&quot;&gt;Emblems&lt;/span&gt;&lt;/em&gt;&lt;span lang=&quot;en-US&quot;&gt; &amp;ndash;influencing La P&amp;eacute;ruse&amp;rsquo;s tragedy and his reflection on the passion of wrath.&lt;/span&gt;&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&lt;span lang=&quot;en-US&quot;&gt;&lt;strong&gt;Keywords.&lt;/strong&gt;&amp;nbsp;&lt;/span&gt;&lt;span lang=&quot;en-US&quot;&gt;Renaissance, Theater, Tragedy, Wrath, Medea, Emblem.&lt;/span&gt;&lt;/p&gt;
&lt;p lang=&quot;en-US&quot; align=&quot;JUSTIFY&quot;&gt;&amp;nbsp;&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&lt;strong&gt;Alessandra Preda, &amp;laquo;&amp;nbsp;La giusta collera&amp;nbsp;: a proposito della &lt;em&gt;M&amp;eacute;d&amp;eacute;e&lt;/em&gt; di Jean-Bastier de La P&amp;eacute;ruse&amp;nbsp;&amp;raquo;.&lt;/strong&gt;&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&lt;strong&gt;Sintesi. &lt;/strong&gt;L&amp;rsquo;analisi della tragedia di Jean de la P&amp;eacute;ruse, &lt;em&gt;M&amp;eacute;d&amp;eacute;e&lt;/em&gt;, sviluppa una riflessione intorno alla passione della collera, un sentimento umano violento e reattivo che rappresenta, in alcune circostanze, una forma legittima e salutare di indignazione. E&amp;rsquo; tale giusta indignazione a promuovere un atto vendicativo necessario, attraverso un processo di autocontrollo e di elaborazione che questa &lt;em&gt;Medea&lt;/em&gt; cinquecentesca interpreta perfettamente. L&amp;rsquo;analisi mette in luce l&amp;rsquo;influenza di una produzione umanista - la tragedia neolatina &lt;em&gt;Medea&lt;/em&gt; di Buchanan, il commento di Muret all&amp;rsquo;&lt;em&gt;Etica Nicomachea&lt;/em&gt;, gli &lt;em&gt;Emblemata&lt;/em&gt; di Alciato - che sedimenta nella riflessione di La P&amp;eacute;ruse, studioso di diritto, poeta e drammaturgo, membro della nascente Pl&amp;eacute;iade.&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&lt;strong&gt;Parole chiavi.&lt;/strong&gt; Rinascimento, Teatro, Tragedia, Collera, Medea, Emblema.&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&amp;nbsp;&lt;/p&gt;
&lt;p align=&quot;JUSTIFY&quot;&gt;&lt;strong&gt;&lt;a href=&quot;https://atlante.univ-lille.fr/data/images/_articles/ATLANTE_9_10.pdf&quot;&gt;T&amp;eacute;l&amp;eacute;charger l&#039;article complet (pdf, 273 Kb)&lt;/a&gt;&lt;/strong&gt;&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;</description>
		<pubDate>Thu, 16 May 2019 09:21:00 +0200</pubDate>
		<dc:creator>daniel.ramirezmahecha</dc:creator>
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