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Montage and dismantling of the tableauIn the beginning, a magazine page held by an elegant man (fig. 1), we see only his right arm leaning against the window sill of a train, and at the end of that arm, protruding from the sleeve of his suit,...
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149 notices. Affichage des notices 43 à 63.
Articles
There's a paradox of allegory in the eighteenth century : on the one hand, allegory is completely deprecated it appears as an obsolete mode of expression, whose mechanisms are ostensibly incomprehensible. On the other hand, allegory has...
The map as a denial of utopiaUtopia is first and foremost a geography. The first utopian image, that of the frontispiece engraving of the first edition of More's L'Utopie , in Louvain in 15161, is an anonymous woodcut depicting the island of Utopia...
There's a consubstantial unrepresentability to the mystical fable, founded on the experience of night, confrontation with the invisible, the eccentric experience of the collapse of the codes and institutions of the sign. The fable itself, defined in...
No doubt Diderot1 has long been noted for a narrative practice and a form of thought based on a very particular relationship to time, a discontinuous time, heterogeneous, marked by astonishing leaps2, abrupt condensations, bold superimpositions3....
Paul Ricœur's Temps et récit trilogy1 is undoubtedly one of the most impressive contemporary undertakings philosophical tradition that goes back to Aristotle and Augustine, and the phenomenological overcoming of this tradition by Husserl and...
The institution of the Salons by the Académie royale de peinture, at the turn of the 17th and 18th centuries, probably did not have an economic objective from the outset : the king created academicians ; it was up to the academicians to offer...
The scenic type, which appeared at the end of the sixteenth century but only became widespread in the eighteenth, is marked, in contrast to the narrative type, by a desire to unify the performance space, which becomes a single stage, but also the...
The oldest semiological type of engraving we come across is the performative type. The engraving represents the hero's performance: his battle against another knight, or a less expected adversary (monster or fairy), or the reward bestowed upon him...
La Chanson de RolandThe Roland who gave his name to Ariosto's poem is supposed to be the same Roland from La Chanson de Roland, the eleventh- or twelfth-century epic that recounted Charlemagne's defeat at Roncesvalles in 778, an obscure historical...
The narrative engravings come after the performative engravings. This semiological type represents a compromise formation between the old performative type inherited from illumination and the new scenic type that has already become widespread in...
The motif of fighting over a corpse: the story of Cloridan and Medoro (Cantos XVIII and XIX)Ariosto based the story of the chant X about Biren's betrayal and Olympus' abandonment. The Enlightenment and the nineteenth century...
The episode of Olando's madness, which begins at the end of Canto 23 and occupies the entire beginning of Canto 24, is the central episode of Ariosto's epic. It gave him his name.How to represent madness ? Madness does not manifest itself as...
Editions during Ariosto's lifetime, without engravings
The first edition of Roland furieux (in forty songs) is an in-quarto volume, published in Ferrara, by Giovanni Mazocco dal Bondeno, in April 1516 (cote Bnf Res-yd-242).
The second edition...
Ambiguity of the word
What exactly does nature designate in the expression " state of nature ", from which the whole demonstration of the second discourse is woven? Rousseau explicitly refers to a double tradition : the...
Orlando Furioso's Cantos XXXII and XXXIII are built around a very special space: the Castle of La Roche Tristan. In Canto XXXII, this castle calls into question the rules of chivalric and courtly hospitality; on the other hand, the paintings it...
Modern Editions
Ludovico Ariosto, Orlando furioso, A cura di Lanfranco Caretti, Presentazione di Italo Calvino, 2 volumes, Turin, Einaudi, 1966, 1992. See the introduction by Lanfranco Caretti, pp. V-LX
L'Arioste, Roland furieux,...
The boat of Theseus, theoretical model
It wasn't until the nineteenth century that literature began to massively summon the architecture, urban ensembles and rural landscapes of its own time1. The work of literature then consists in turning these...
Angélique and Olympe abandoned on a rock : from heroic chivalry to perverse exhibition (songs X and XI)
We've seen how the illustration of Canto VII underwent a profound mutation from the Renaissance to the eighteenth century: in the...
L'île d'Alcine, or the erasure of allegoryL'île d'Alcine is an allegorical island: the war between the two half-sisters, the Logistille fairy, whose name evokes the Logistique fairy from Songe de Poliphile, and the Alcine fairy, who animalizes and...
I. The two enjoyments
" Par Deu, qui l'air fist et la mer,
Ne me mandez nule foiz mais.
Je vos di bien, Tristran, a fais,
Certes, je n'i vendroie mie.
Li rois pense que par folie,
Sire Tristran, vos aie amé ;
Mais Dex plevis ma...