84 research outputs found
GueniÚvre littéraire
La reine GueniĂšvre, Ă©pouse dâArthur, prĂ©sente et frĂ©quemment protagoniste active dans la plupart des romans arthuriens, est un personnage fictif sans fondement historique. Cependant, cette femme protĂ©iforme reflĂšte la presque totalitĂ© des images que le moyen Ăąge a formĂ©es du sexe fĂ©minin, entre sexualitĂ©, pouvoir et sagesse : « domna » adorĂ©e, amante passionnĂ©e, reine avenante et judicieuse ou nouvelle Putiphar, femme fidĂšle ou adultĂšre voire coupable de la chute de lâempire arthurien, Ă©gale Ă Marie ou Ă Ăve, sainte ou pĂ©cheresse, quelquefois mĂ©chante, hautaine, sournoise et jalouse, mais trĂšs souvent garantissant courtoisie, probitĂ©, gĂ©nĂ©rositĂ© et noblesse de cĆur.Queen Guinevere, wife of King Arthur, present and very often active protagonist in most of Arthurian literature, is a fictitious character without historic basis. However, this multiform woman reflects almost the totality of the images of the female sex the Middle Ages have developed between the poles of sexuality, power and wisdom : adored « domna », passionate lover, friendly and judicious queen or new Potiphar, loyal or adulterous spouse, even responsible of the fall of the Arthurian empire, equivalent to the Virgin or Eve, saint or sinner, sometimes malicious, haughty, shifty and jealous, but frequently maintaining courtesy, integrity, generosity and noble-mindedness
Thorsten W.D. Martini, Facetten literarischer Zorndarstellungen. Analysen ausgewĂ€hlter Texte der mittelalterlichen Epik des 12. und 13. Jahrhunderts unter BerĂŒcksichtigung der Gattungsfrage
Parmi les mĂ©diĂ©vistes dâOutre-Rhin spĂ©cialistes de la littĂ©rature mĂ©diĂ©vale allemande, la recherche sur les Ă©motions en tant que partie de lâanthropologie littĂ©raire est actuellement trĂšs en vogue. Au point quâil en devient presquâimpossible dâavoir une connaissance exhaustive des diffĂ©rentes approches de cet objet de recherche particuliĂšrement complexe aux deux niveaux de lâexistence historique et des reprĂ©sentations littĂ©raires. Un nombre sans cesse croissant dâĂ©tudes est consacrĂ© Ă des Ă©mo..
De BĂ©ranger Ă Bruant. Chansons sur les gueux â chansons pour les gueux ?
The literary history of the âgueuxâ in the nineteenth century, to which Victor Hugo contributedas well with his story Claude Gueux (1834), takes place mainly in the literary/musical genre of the âchansonâ and in feuilletonistic and sociological texts of the paupĂ©risme-debate of the time. BĂ©rangerâs Les Gueux, emphasizing the intrinsic value and the autonomy of the social outsider in contrast to his criminalization which dominated the contemporary discussion, remains tinted with epicurean vision and is still too uncritical of the status quo to remain unchallenged in the course of its literary reception â ranging from Gustave Leroy and Jean-Baptiste ClĂ©ment, who protested just as vigorously as Jules VallĂšs, to the âlimonadierâ and disciple of BĂ©ranger, Jean-Louis Renaudot, Jehan Rictus, Jean Richepinâs Chanson des Gueux, and the commercialization of the topic of the outcast by Aristide Bruantâ. Doubtless, these reactions to Les Gueux reflect the political-ideological debates of nineteenth century bourgeois society on the solution of the social question
De Charlemagne Ă Amadis
Lâauteur se propose ici de rĂ©pondre Ă la question de savoir quels Ă©taient, aux alentours de 1500 et dans le cadre de la continuitĂ© multisĂ©culaire du savoir littĂ©raire et culturel, les personnages modĂšles dont disposaient lâaristocratie et le pouvoir royal pour dĂ©finir leurs orientations culturelles en matiĂšre de politique intĂ©rieure et extĂ©rieure. Il sera dâabord question de CĂ©sar et dâAlexandre le Grand, deux figures de proue de lâAntiquitĂ© et dĂ©jĂ remises Ă lâhonneur au Moyen Ăge mais prĂ©sentant chacune des aspects problĂ©matiques. Ensuite sera abordĂ© Charlemagne, qui fut Ă©rigĂ© en mythe, surtout dans les chansons de geste, mais dont le modĂšle ne fut pour la royautĂ© française au XVIe siĂšcle que sporadiquement utile, par exemple lorsquâon voulut appuyer la candidature de François Ier Ă la couronne impĂ©riale en 1519. Câest pour de tout autres raisons (y compris intralittĂ©raires) quâĂ©taient vraisemblablement âdisqualifiĂ©sâ les hĂ©ros des romans arthuriens : Arthur, Perceval et surtout Lancelot. La « dĂ©couverte » dâun nouveau hĂ©ros, Amadis de Gaule, importĂ© mais considĂ©rablement modifiĂ©, permit cependant de purifier les personnages chevaleresques autochtones de leurs tares, en considĂ©ration des considĂ©rables changements militaires et mutations dans les structures de pouvoir ; il devenait nĂ©cessaire de les soustraire Ă leur passĂ© qui se terminait en une sorte de crĂ©puscule de la chevalerie. Amadis peut ĂȘtre considĂ©rĂ© comme la somme de tous les « superhĂ©ros » littĂ©raires du Moyen Ăge courtois, dĂ©barrassĂ©s de leurs zones dâombre. Ce chevalier modĂšle entre en scĂšne pour combattre le mal et pour aider les faibles et les vertueux dans dâinnombrables Ă©preuves, en lâhonneur de sa bien-aimĂ©e et avec le soutien de la fĂ©e Urganda. Lâimmense succĂšs dâAmadis au XVIe siĂšcle atteste Ă quel point il correspondait aux besoins et aux attentes de lâĂ©lite « chevaleresque » de cette Ă©poque dans sa quĂȘte dâun modĂšle Ă propager et Ă suivre.Focussing on the time around 1500, this article attempts to answer the question what, within centuries of continued literary and cultural knowledge, was available in the way of reputable secular models and idols upon which to base an aristocratic and regal self-image with respect to culture and foreign and domestic policy. Attention is first paid to the heroes of ancient times â Caesar and Alexander the Great â who were both already greatly respected in the Middle Ages but whose veneration was not unproblematic. Then attention is focused on Charlemagne, who was turned into a mythical figure in the chansons de geste and with whom the French monarchs of the 16th century tried to identify â with varying degrees of success â for example in 1519, when an attempt was made to strengthen Francis Iâs claim to the imperial crown. The great heroes of the Arthurian novels â Arthur, Percival and especially Lancelot â may be âdisqualifiedâ in a different way and for other (literary) reasons. By âdiscoveringâ and considerably modifying a new, imported heroic figure, Amadis de Gaula, it became possible to purge the handed-down, autochthonous knightly figures of their flaws, reflecting the immense changes that had taken place in military and political conditions and discharging the old models from their story ending into a kind of literary knightly twilight. Amadis can be regarded as the sum of all the great purified heroes of the courtly and literary Middle Ages. This knight appeared on behalf of his ladyâs honor and was protected by the good fairy Urganda to fight evil in the world in countless knightly trials and to help the virtuous and weak. The great success of âAmadisâ in the sixteenth century shows that he was practically a perfect fit in the search for members of a âknightlyâ elite at this time
De Charlemagne Ă Amadis
Lâauteur se propose ici de rĂ©pondre Ă la question de savoir quels Ă©taient, aux alentours de 1500 et dans le cadre de la continuitĂ© multisĂ©culaire du savoir littĂ©raire et culturel, les personnages modĂšles dont disposaient lâaristocratie et le pouvoir royal pour dĂ©finir leurs orientations culturelles en matiĂšre de politique intĂ©rieure et extĂ©rieure. Il sera dâabord question de CĂ©sar et dâAlexandre le Grand, deux figures de proue de lâAntiquitĂ© et dĂ©jĂ remises Ă lâhonneur au Moyen Ăge mais prĂ©sentant chacune des aspects problĂ©matiques. Ensuite sera abordĂ© Charlemagne, qui fut Ă©rigĂ© en mythe, surtout dans les chansons de geste, mais dont le modĂšle ne fut pour la royautĂ© française au XVIe siĂšcle que sporadiquement utile, par exemple lorsquâon voulut appuyer la candidature de François Ier Ă la couronne impĂ©riale en 1519. Câest pour de tout autres raisons (y compris intralittĂ©raires) quâĂ©taient vraisemblablement âdisqualifiĂ©sâ les hĂ©ros des romans arthuriens : Arthur, Perceval et surtout Lancelot. La « dĂ©couverte » dâun nouveau hĂ©ros, Amadis de Gaule, importĂ© mais considĂ©rablement modifiĂ©, permit cependant de purifier les personnages chevaleresques autochtones de leurs tares, en considĂ©ration des considĂ©rables changements militaires et mutations dans les structures de pouvoir ; il devenait nĂ©cessaire de les soustraire Ă leur passĂ© qui se terminait en une sorte de crĂ©puscule de la chevalerie. Amadis peut ĂȘtre considĂ©rĂ© comme la somme de tous les « superhĂ©ros » littĂ©raires du Moyen Ăge courtois, dĂ©barrassĂ©s de leurs zones dâombre. Ce chevalier modĂšle entre en scĂšne pour combattre le mal et pour aider les faibles et les vertueux dans dâinnombrables Ă©preuves, en lâhonneur de sa bien-aimĂ©e et avec le soutien de la fĂ©e Urganda. Lâimmense succĂšs dâAmadis au XVIe siĂšcle atteste Ă quel point il correspondait aux besoins et aux attentes de lâĂ©lite « chevaleresque » de cette Ă©poque dans sa quĂȘte dâun modĂšle Ă propager et Ă suivre.Focussing on the time around 1500, this article attempts to answer the question what, within centuries of continued literary and cultural knowledge, was available in the way of reputable secular models and idols upon which to base an aristocratic and regal self-image with respect to culture and foreign and domestic policy. Attention is first paid to the heroes of ancient times â Caesar and Alexander the Great â who were both already greatly respected in the Middle Ages but whose veneration was not unproblematic. Then attention is focused on Charlemagne, who was turned into a mythical figure in the chansons de geste and with whom the French monarchs of the 16th century tried to identify â with varying degrees of success â for example in 1519, when an attempt was made to strengthen Francis Iâs claim to the imperial crown. The great heroes of the Arthurian novels â Arthur, Percival and especially Lancelot â may be âdisqualifiedâ in a different way and for other (literary) reasons. By âdiscoveringâ and considerably modifying a new, imported heroic figure, Amadis de Gaula, it became possible to purge the handed-down, autochthonous knightly figures of their flaws, reflecting the immense changes that had taken place in military and political conditions and discharging the old models from their story ending into a kind of literary knightly twilight. Amadis can be regarded as the sum of all the great purified heroes of the courtly and literary Middle Ages. This knight appeared on behalf of his ladyâs honor and was protected by the good fairy Urganda to fight evil in the world in countless knightly trials and to help the virtuous and weak. The great success of âAmadisâ in the sixteenth century shows that he was practically a perfect fit in the search for members of a âknightlyâ elite at this time
Des « livres sacrĂ©s ». Fiction et idĂ©e de la bibliothĂšque au Moyen Ăge
Avant dâessayer de mettre en lumiĂšre la bibliothĂšque du Moyen Ăge imaginĂ©e en tant que fiction littĂ©raire ou bien en tant quâidĂ©e et idĂ©al, il faut souligner que les changements et bouleversements qui se sont produits essentiellement depuis la fin du XIIe siĂšcle, ont certes menĂ© Ă une diffĂ©renciation fondamentale du savoir et des sciences, sans pour autant que cela ait eu des rĂ©percussions dĂ©cisives sur lâidĂ©e, encore en quĂȘte dâharmonie, de la bibliothĂšque. Dans cette mesure, il est permis d..
GueniÚvre littéraire
La reine GueniĂšvre, Ă©pouse dâArthur, prĂ©sente et frĂ©quemment protagoniste active dans la plupart des romans arthuriens, est un personnage fictif sans fondement historique. Cependant, cette femme protĂ©iforme reflĂšte la presque totalitĂ© des images que le moyen Ăąge a formĂ©es du sexe fĂ©minin, entre sexualitĂ©, pouvoir et sagesse : « domna » adorĂ©e, amante passionnĂ©e, reine avenante et judicieuse ou nouvelle Putiphar, femme fidĂšle ou adultĂšre voire coupable de la chute de lâempire arthurien, Ă©gale Ă Marie ou Ă Ăve, sainte ou pĂ©cheresse, quelquefois mĂ©chante, hautaine, sournoise et jalouse, mais trĂšs souvent garantissant courtoisie, probitĂ©, gĂ©nĂ©rositĂ© et noblesse de cĆur.Queen Guinevere, wife of King Arthur, present and very often active protagonist in most of Arthurian literature, is a fictitious character without historic basis. However, this multiform woman reflects almost the totality of the images of the female sex the Middle Ages have developed between the poles of sexuality, power and wisdom : adored « domna », passionate lover, friendly and judicious queen or new Potiphar, loyal or adulterous spouse, even responsible of the fall of the Arthurian empire, equivalent to the Virgin or Eve, saint or sinner, sometimes malicious, haughty, shifty and jealous, but frequently maintaining courtesy, integrity, generosity and noble-mindedness
Dynamic Vessel Analysis using surface-mount device LEDs as light source
Purpose : In human retinal blood flow research dynamic vessel analysis (DVA) with the Retinal Vessel Analyzer (Imedos Systems UG) is the Gold standard to measure alterations in vessel diameter. However, vessel contrast is often reduced due to stray light caused by illumination of lash, lid, or opaque lens such as cataract lens. For reasons of spatial adaptation, we developed and validated a novel 24-fold segmented LED light source for fundus cameras based on surface-mount technology.
Methods : We studied 16 young volunteers (7f, 8m, 24.7±1.5 years) all free of ocular or systemic disease. To compare the new setup with the Gold standard the relative maximum vaso-dilation value was determined. We measured four primary vessels: one superior temporal artery and vein (STa/STv), one inferior temporal artery and vein (ITa/ITv), as well. The surface-mount device LED-based light source was connected to a mydriatic fundus camera (Visucam, Carl Zeiss Meditec AG). We followed the DVA standard protocol. The beam geometry was annular (all segments on). Each volunteer was measured two times. One measurement with the Gold standard and one with the new setup, in a random order. A resting period of approximately 10 minutes was adhered between the DVA measurements to avoid suppression of retinal vessel reactions in consecutive experiments. Comparison of the two setups were demonstrated and analyzed using the Bland-Altmann method. To value the differences among the group means we performed a paired t-test. All four data sets (n=16, each) were normal distributed (Shapiro-Wilk).
Results : The comparison analysis according to Bland-Altmann, with no outliers, resulted in the following mean differences (MD) and Limits of Agreement (LoA) with n=16 for every type of vessel (Gold standard vs. new setup). STa: MD=-0.28%, LoA=-3.28%/+2.71. ITa: MD=-0.09%, LoA=-3.01%/+2.84. STv: MD=-0.44%, LoA=-2.63%/+3.52. ITv: MD=-0.54%, LoA=-2.55%/+1.02. The t-test p-values were 0.473 (STa), 0.818 (ITa), 0.276 (STv), and 0.050 (ITv). pâ„0.05 means no significant difference.
Conclusions : We successfully performed a new approach of Dynamic Vessel Analysis using a miniaturized surface-mount device LED-based light source. Statistically, there are no significant differences in the maximum dilation value of the new setup compared to the Gold standard. The new setup can be used for dynamic vessel analysis in humans as well
« Au lieu dâouvrir son cĆur et son esprit, Lalanne aurait dĂ» fermer sa gueule ». Quelques problĂšmes posĂ©s par la chanson sur la migration
Since the publication of Ursula Mathis-Moserâs groundbreaking monograph in 1984, we consider the semiotic triad of text, music, and interpretation when analysing a chanson. We could add to this triad the mise en scĂšne on stage whose importance has continuously increased since Aristide Bruant and the Montmartre chanson. It is not simply the superposition of these elements (text, melody, voice, gestures, scenery, light) that is responsible for the effect of a chanson on the public, but their interplay.To illustrate the aesthetic problems a chanson engagĂ©e (e.g. about migration) can raise, I will analyse Francis Lalanneâs song âPlus jamais ça!â (2015), which was written and composed for refugees and their aides. It was first diffused as a video clip on internet where it triggered a wave of indignation and derision. By analysing the interplay of the three dimensions of the chanson mentioned above and by comparing âPlus jamais çaâ to Christophe MaĂ©âs âEldorado,â I will demonstrate that the will to engage is not enough in order for a chanson to be successful. The political or humanitarian chanson must avoid any disturbance of the âunity of messageâ produced by text, music, interpretation, and visual effects
- âŠ