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Jorge de Montemayor a Diana: pastýřský román nebo mystika? / Jorge de Montemayor and the Diana: a pastoral romance or mysticism?Juračková, Pavlína January 2019 (has links)
Writer Jorge de Montemayor wrote in the Spanish 16th century. History of literature is mainly interested in his last book Los siete libros de la Diana (The Seven Books of Diana) which is traditionally called the first pastoral romance written in the Iberian Peninsula. Concurrently, most studies explain the book from the same perspective, which works with the big artistic period (Renaissance) and artistic genre (the pastoral romance). If we focus on Jorge de Montemayor's book from a different view - which is connected with period situation (problems of converso, the Inquisition, the heterodoxy's opinions or book censorship) and which takes the author's previous texts in consideration - we are able to reread his work. This thesis seeks to use ideas coming from New Historicism. Using period situation Montemayor's texts set out to explain that Los siete libros de la Diana is closer to the spiritual way of mysticism than to literary form such as the pastoral romance.
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L'Urania de Lady Mary Wroth (1587 ? - 1651 ?) : une poétique de la mélancolie / Lady Mary Wroth's Urania : a Poetics of MelancholyLentsch-Griffin, Aurélie 07 December 2013 (has links)
Première femme à publier un roman en Angleterre, Lady Mary Wroth (1587 ?-1651 ?) est l’auteur d’une œuvre profondément marquée par la mélancolie. En 1621, soit la même année que la première édition de l’Anatomie de la mélancolie de Robert Burton, elle publie sous son propre nom un roman pastoral, The Countess of Montgomery’s Urania, suivi d’un recueil de poèmes intitulé Pamphilia to Amphilanthus en référence au couple central du roman. De la représentation du paysage à la structure narrative en passant par les symptômes physiques et psychologiques que manifeste l’ensemble des personnages, la mélancolie est partout dans ce roman. Maladie érudite et culturelle propre à une élite sociale mais réservée aux hommes lorsqu’elle révèle les génies, objet d’une véritable mode dans l’Angleterre du dix-septième siècle, la mélancolie devient pour Lady Mary Wroth l’instrument privilégié de la légitimation de son projet romanesque. Le roman se caractérise en effet par une poétique de la mélancolie qui se traduit par la mise en scène réflexive de l’écriture, par une écriture noire typiquement maniériste dans laquelle l’auteur s’affirme en se niant. Mais la mélancolie est aussi dans ce roman le symptôme d’un monde en crise dans lequel les valeurs morales qui ont triomphé à l’époque élisabéthaine, telles que l’héroïsme martial, sont désormais obsolètes. Le roman présente le sombre tableau d’un monde déchu sans espoir de rachat. En imitant aussi systématiquement l’Arcadie de Sidney – dont Wroth était la nièce –, l’Urania met en scène une nostalgie littéraire qui souligne l’incapacité de l’auteur à égaler ses modèles, mais fait parallèlement de cet aveu d’échec l’affirmation de sa propre légitimité. / Lady Mary Wroth (1587 ? -1651 ?), who was the first woman to publish a prose romance in England, authored works that are pervaded by melancholy. In 1621 – the same year as the first edition of Robert Burton’s Anatomy of Melancholy – she published a single volume containing her pastoral romance The Countess of Montgomery’s Urania and a sonnet sequence entitled Pamphilia to Amphilanthus which refers to the main couple in the romance. Melancholy is an overwhelming presence in Urania, as it appears not only in the setting and in the characters’ bodies and minds, but in the narrative structure of the romance as well. In seventeenth-century England, there was a well-known fashion for melancholy, which was seen as a sign of nobility and cultural genius, but only as far as men were concerned. Lady Mary Wroth uses melancholy to legitimize her authorial position inside the romance. Urania, indeed, is characterized by a poetics of melancholy which appears both in a self-conscious representation of the writing process and in a black, mannerist style which enables Wroth to make a claim for the legitimacy of her works by denying her own agency in them. Melancholy also functions as the symptom of moral decline, as the moral values which triumphed in the Elizabethan period, such as martial heroism, now appear irrevocably obsolete. The romance portrays a fallen world which reveals no hope of redemption whatsoever. In its systematic imitation of Sidney’s Arcadia, Urania showcases a literay nostalgia which enables Wroth to affirm her own authorial position by demonstrating her inability to equal her models.
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