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By Jacqueline Cerquiglini-Toulet

Is it valid to conceive of and write a heritage of medieval French literature while the time period "literature" as we all know it this present day didn't look till the very finish of the center a long time? during this novel advent to French literature of the interval, Jacqueline Cerquiglini-Toulet says convinced, arguing profound literary awareness did exist on the time.

Cerquiglini-Toulet demanding situations the normal methods of analyzing and comparing literature, contemplating medieval literature no longer as become independent from that during different eras yet as a part of the wider culture of global literature. Her monstrous and realized readings of either canonical and lesser-known works pose an important questions on, between different issues, the inspiration of otherness, the that means of swap and balance, and the connection of medieval literature with theology.

Part background of literature, half theoretical feedback, this publication reshapes the language and content material of medieval works. by means of weaving jointly themes similar to the beginning of epic and lyric poetry, Latin-French bilingualism, women’s writing, grammar, authorship, and extra, Cerquiglini-Toulet does not anything lower than redefine either philosophical and literary ways to medieval French literature. Her booklet is a background of the literary act, a background of phrases, a background of rules and works―monuments instead of documents―that calls into query glossy thoughts of literature.

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Extra resources for A New History of Medieval French Literature

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The name reunites the two faces of the writer and his creature. The narrator inside the story is often designated by the name of acteur. This is the case, for example, in Le Débat du Vieil et du Jeune (The Debate of the Old Man and the Young) by Blosseville, a fifteenth-century poet of the Blois court. In this text, he assumes the position of an “embedded” narrator who is going to serve as secretary to the debaters. The latter call him by his authorial name: “For they called me Blosseville and gently asked me if I had heard the debate” (Car Blosseville me nommerent, / Et doulcement me demanderent / Se le debat avoye ouy; ll.

Villon does this in the Testament: “Here ends the testament and poor Villon is finished” (Icy se clost le testament / Et finist du povre Villon; ll. 1996–1997). The author can use his weariness as an argument. Using this approach, Martial d’Auvergne creates a very beautiful mise en abyme to bring to a close his Arrêts d’Amours. In an intradiegetic way, the Presiding Judge announces that he is tired and turns the floor over to the court clerk. But the clerk has a soft voice, and the The Work and Its Audiences 45 narrator cannot hear what he is saying.

Clerics must not mention their nonsense” (Poetes n’ont que baverie / Et a leur gré font fiction. / On ne doibt de leur jenglerie / Entre clercs faire mention; ll. 15085–15088). The Author’s Self-Awareness Authors name themselves, either in the first or third person, and generally also state their places of birth or origin: “My name is Marie and I come from France” (Marie ai nun, si sui de France); introduce the title of the work, “Chrétien begins his book about the Knight of the Cart” (Del Chevalier de la Charrete / Comance Crestïens son livre); or mention previous works, almost as in an advertisement.

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