Delphine Demelas, Sur un air épique, sur un air lyrique : célébrer le bon connétable. Édition critique et commentaires du manuscrit 428 (306) de la bibliothèque municipale d’Aix-en-Provence contenant La Chans (original) (raw)
Critica del testo, 2015
Old French lyric poetry does not match the monolithic image often presented by the critics. It begins and ends with two exceptional cases, Conon de Béthune and Thibaut de Champagne and moreover the exclusive insistence on the "grand chant courtois" with its love theme largely reflects the choice of the songbook compilers. Selective criteria control the organisation of the aesthetic canon shown for example by mss. K N P X. However, analysis of Thibaut de Champagne’s manuscript tradition shows that his Liederbuch, with which these same songbooks begin, presents characteristics that are different from and incompatible with the criteria governing the early canon of trouvère lyric. Placing the King of Navarre at the head of the trouvère tradition may therefore be a late move revealing a change of taste and a new literary concept of lyric production
Entre les lignes du sertão. La "Leçon d'écriture" chamanique de Claude Lévi-Strauss
Revue des Lettres modernes, 2019
Ce travail propose une analyse textuelle de la « Leçon d’écriture » de Tristes tropiques, dont la lecture critique par Jacques Derrida fit date. Il montre que l’étude « grammatologique » de celui-ci, l’extrayant de son contexte viatique, occulte l’aspect extrêmement spatial du récit de Lévi-Strauss, masquant ainsi la réelle portée d’un objet littéraire paradoxal : écrire pour condamner l’écriture, c’est se comporter comme un poulpe, ou un chaman ; c’est, somme toute, une réaction bien naturelle. Mots clés : Ethnographie, Mato Grosso, désert, chamanisme, Nambikwara, magie, mythe This work proposes a textual analysis of the “Writing lesson” from Tristes tropiques, whose critical reading by Jacques Derrida marks a milestone. It shows that the “grammatological” study by the latter, extracting it from its viatic context, obscures the extremely spatial aspect of Levi-Strauss’s narrative, thus masking the real significance of a paradoxical literary object: writing to condemn writing means behaving like an octopus or a shaman; it is, after all, a very natural reaction. Keywords: ethnography, Mato Grosso, desert, shamanism, Nambikwara, magic, myth