Wyniki wyszukiwania - Biblioteka Nauki

Nowa wersja platformy, zawierająca wyłącznie zasoby pełnotekstowe, jest już dostępna.
Przejdź na https://bibliotekanauki.pl

Ograniczanie wyników

Znaleziono wyników: 4

Liczba wyników na stronie

Wyniki wyszukiwania

Wyszukiwano:
w słowach kluczowych: Corneille

Sortuj według:

Ogranicz wyniki do:

SIGNS and MEANINGS: Horace’s Trial and the Quarrel of the Cid (II)

100%

Soare A.

Human and Social Studies

2014

tom 3

nr 2

90-100

In Corneille’s Horace the hero is brought to trial for having defended Rome’s integrity by killing his own sister. The fifth act of the play is devoted to this trial, but should also be read like an allegorical re-enactment of the Querelle du Cid, during which Corneille himself was put to a kind of a ”trial’’ by colleagues and critics scandalized by the moral and ideological audacity of this first play dedicated to a criminal hero. Our paper tries to point out in detail the analogies that authorize such a reading.

Horace’s Trial and the Quarrel of the Cid (I)

100%

Soare A.

Human and Social Studies

2014

tom 3

nr 1

78-99

In Corneille’s Horace the hero is brought to trial for having defended Rome’s integrity by killing his own sister. The fifth act of the play is devoted to this trial, but should also be read like an allegorical re-enactment of the Querelle du Cid, during which Corneille himself was put to a kind of a ‘’trial’’ by colleagues and critics scandalized by the moral and ideological audacity of this first play dedicated to a criminal hero. Our paper tries to point out in detail the analogies that authorize such a reading.

Les cas des fi gures. L’analyse stylistique du texte dramatique au XVII siècle

100%

Bajer M.

Annales Neophilologiarum

2010

nr 4

5-25

The article deals with stylistic aspects in the analysis of 17th-century drama in France. In their critique of dramatic elocutio, pamphlet and poetic authors ascribe an expressive function to fi gures of discourse. This concept has strong roots in rhetorical theory, in whose development in the 17th century may be observed a characteristic evolution: from the initial valorisation of concepts of thought (such as hypotyposis), authors confer basic expressive functions to fi gures of construction (syllepse, ellipse, pléonasme, hyperbate). Also founded on poetics, the stylistic analysis of texts valorises only certain types of fi gure: the strictly dramatic function is ascribed above all to fi gures of thought, and sense. It is interesting that 17th-century poetics does not ascribe dramatic functions to fi gures of construction, which allows the limits of the infl uence of rhetorical theory on stylistics in poetics to be defi ned.

Przedmiotem artykułu są aspekty stylistycznej analizy dramatu w XVII wieku we Francji. W swojej krytyce dramatycznego elocutio autorzy poetyk i pamfl etów przypisują figurom dyskursu funkcję ekspresywną. Ta koncepcja jest silnie osadzona w teorii retoryki, w której rozwoju w XVII wieku można zaobserwować znamienną ewolucję: po początkowej waloryzacji fi gur myśli (np. hipotypoza), autorzy przyznają podstawowe funkcje ekspresywne fi gurom konstrukcji (syllepse, ellipse, pléonasme, hyperbate). Również prowadzona na gruncie poetyki analiza stylistyczna tekstów waloryzuje tylko pewne typy figur: ściśle dramatyczna funkcja przyznawana jest przede wszystkim figurom myśli oraz sensu. Interesujący jest fakt, iż poetyka XVII wieku nie przypisuje funkcji dramatycznych figurom konstrukcji, co pozwala uchwycić granice wpływu teorii retoryki na stylistykę uprawianą w ramach poetyki.

Politique et matrimoine local : le cas du Brutus de Catherine Bernard au Festival national Corneille de Barentin en 1972

84%

Keller-Rahbé E.

Orbis Linguarum

2019

nr 53

231-246

In 1972, Brutus by Catherine Bernard was played on stage during the Corneille National Festival in Barentin. Interestingly, despite the initial success at the Comédie-Française (18 December 1690), as well as during the next years, this five-act tragedy in verse was never staged afterwards. Based on the epitextual corpus composed with documents form the festival, press articles and magazine reviews, the present study queries on the cultural and political goals of that representation, orchestrated as a truly dramatic ʻresurrection’. It shows that the play was staged to satisfy the converging interests of both the municipality and the festival, and in a way that the rehabilitation and the instrumentalisation of Catherine Bernard were unavoidable. Hence, far from being entirely prejudicial, the operation tended to legitimise the cultural and feminine heritage at the national scale.