Search

« La Laitière et le Pot au lait » et « Le Curé et le Mort », conçues par Jean La Fontaine comme un diptyque, se distinguent par la richesse de leur symbolique métatextuelle. Les deux figures sexuées et antithétiques de Perrette et du curé incarnent deux conceptions de la création poétique, l'une faisant des œuvres la nature des textes, l'autre acclimatant l'anti-naturel. Dès lors, chaque dénouement prend une valeur métaphorique qui éclaire une partie des enjeux du monde animal chez le fabuliste.

This essay aims to study the evolution of the apologue during the Renaissance from the very beginning of its cultivation among Italian humanists in the 15th century. The new features it adopts separate it formally and thematically from the traditional fables: progressive preference for the personification of abstract entities, stress on ethic-philosophical teachings, indiscriminate use of narration and literary dialogue. In this way the apologue approaches other learned forms of allegorical writing and gets a functional autonomy which is shown in the new poetic consideration of the fable. Finally this process is related to the increasing censure against milesian fables in Spanish Renaissance literature., Estudia la evolución del apólogo en el Renacimiento desde que empieza a cultivarse entre los humanistas italianos del siglo XV, y cómo los nuevos rasgos lo van alejando de las fábulas tradicionales en aspectos formales y de contenido: progresiva predilección por las personificaciones de entidades abstractas, hincapié en la enseñanza ético-filosófica, empleo de fomas narrativas y del diálogo literario indistintamente. El apólogo se acerca así a otras fomas cultas de escritura alegórica y adquiere autonomía funcional, lo que se manifiesta en una nueva consideración poética de la fábula. Por último, se relaciona este proceso con las críticas a las fábulas milesias que proliferan en la literatura renacentista española.

International audience; L’usage habile des différents supports de diffusion de ses contes fantastiques par George Sand montre qu’elle pense la porosité de leurs publics. Susceptibles de s’adresser aux petits comme aux grands, ces textes entendent réaliser un projet pédagogique ambitieux : former moralement, socialement et politiquement leurs lecteurs. En vertu de cette réception démocratique, ils concourent à concrétiser l’idéal républicain qui habite leur auteure.

Cet article propose une microlecture de la fable « Le Lièvre et les Grenouilles » de La Fontaine. On y montre que, loin d’offrir une pure variation sur un thème ésopique connu, la réécriture lafontainienne introduit de subtiles dissonances qui transforment profondément la portée de l’apologue : la solitude et l’individualisation du lièvre conduisent le poète à proposer non plus une simple allégorie de la crainte mais un tableau poético-nosologique de la mélancolie. Or ce tableau d’un animal à l’imagination troublée par une crainte sans mesure et sans cause devient pour La Fontaine le support conceptuel d’une anthropologie et d’une philosophie morale. La description psycho-physiologique du mélancolique recroquevillé se fait miroir grossissant pour le moraliste : elle est l’occasion d’une réflexion élargie sur le lieu qu’il convient d’occuper en ce monde, sur les limites d’une éthique de la tranquillité et du plaisir « en repos », et sur le pouvoir de l’imagination.

Dans cette prælectio qui est tout autant une prælusio, écrite with tongue in cheek à l’intention des néophytes, le recours à la fable, loin d’enfermer, comme on l’a prétendu, une polémique voilée contre la Florence néoplatonicienne, introduit, sous l’autorité de Pythagore « lui-même », à la fois auteur d’une Tam portentosæ sapientiæ (les Symbola) et le premier « ami de la sagesse », une réflexion sur la réalité et l’apparence qui est la meilleure introduction à la philosophie., In this prælectio, rather a prælusio, written with tongue in cheek for his students, the use of fable, instead of being, as has been said, a veiled attack against the neo-platonic movement in Florence, develops, under the patronage of Pythagoras « himself », together author of a Tam portentosæ sapientiæ (the Symbola) and the first « friend of wisdom », a reflexion on reality and appearance which is the best introduction to philosophy.

International audience

В статье рассматривается трансформация жанра аполог в русской классической традиции, его новое терминологическое наполнение в литературе XIX в., указывается на наличие апологической линии в жанрах притчи, легенды, предания, рассказа. Исследование предпринято на литературнохудожественном материале В.Ф. Одоевского, И.С. Тургенева, А.П. Чехова, находящемся, как правило, на периферии внимания филологов. Выводы работы позволяют обратить внимание как на сам исследовательский вектор, так и на его результаты, которые дают принципиально новые ответы на известные вопросы стиля и жанра., The article analyses the transformation of the apologue as a genre in Russian classical literature tradition, its new meaning as a term in the literature of 19th century. Apologue traits are to be found in parable, legend, tale and short story genres. The study examines literary and fictional works of V.F. Odoevskiy, I.S. Turgenev, A.P. Chekhov which arent usually in the center of philologists attention. Conclusions of the study draw the attention to the study direction itself as well as to its results that give essentially new answers to wellknown questions about the style and the genre. The study conducts comparison of the apologue terms definition with the fable which is considered synonym from the Ancient times. Moreover the main trait of apologue is animal characters whereas in literature of the Middle Ages, the European Enlightenment, and furthermore in literature of Modern Age this feature is absent. Above that, the German literature shows that apologue is connected to meanings crucial for Christian worldview, but by the middle of 19th century, these meanings are pushed out by the terminology of so called calendar literature. The analysis of a fairy tale written by V.F. Odoevskiy shows that the writer who was familiar with apologues of F. Krummacher structures his work basing on principles of apologue where main trait is moral teaching, important in Christianity and characters there are not made into animals. To confirm that this is not one example of apologue this article also examines a short story by I. Turgenev called A drop of life, where the apologetic content is connected to the genre of Christian legend. The apologue is in the basis of this synthetic in terms of genre work with distinct moral agenda. While seeming inifferent to moral and spiritual composition, genre definitions fairy tale and short story are trying to indicate oral nature of the story, they contain features of oral tradition and legends. The study analyses in details in search of apologue features the short story A story of senior gardener by A. Chekhov. The semantics of the gardener image, the key problem of crime and punishment, the reflection upon chronotopos of the short story, also the mutual for three works character of the doctor, the way hes presented, all of this confirms the hypothesis of the study. The article concludes that the genre of apologue is dominant in almost all of the calendar literature works and in those short stories, fairy tales and other genres that promote directly or indirectly the moral and didactic idea., №12 (2019)

La postérité a si bien attaché le nom de La Fontaine au genre de la fable animalière que l’on veut croire que le poète n’a écrit que des fables et qu’il n’est de fable que d’animaux : c’est méconnaître le nombre de fables sans animaux dans les douze livres des Fables ; et c’est ne pas vouloir se souvenir que le fabuliste est l’auteur de deux recueils de Contes au moins, dont la rédaction et la publication sont exactement contemporaines de la diffusion des Fables.

The author of this article contemplates rather a curious problem that is illustrative for understanding the poetics of the Russian literature of the 19th century, — intensification of an element of convention in the fiction. By recurring to the genre of a fairy tale, both O. Storozhenko, a Romanticist, and V. G. Korolenko, a representative of the literary realism of the last third of the 19th century, succeeded in expressing the national model of the world. The writers correlated the events happening to their contemporary with the universal, supertemporal categories. The author of this article draws on the advanced and most promising, as they seem to be nowadays, literary strategies: mythopoetics and narratology, in particular; works by V. I. Tyupa. The analysis of the works by O. Storozhenko and V. G. Korolenko dedicated to an encounter of man and the devil enables to conclude that the fantasy by Storozhenko is express, like in a fairy tale. The fantasy in the work by V. Korolenko is implicit. The singularity of the Little Russian fairy tale «The Judgement Day» is a peculiar flavour of convention; speaking of this work; development of a psychological insight can be mentioned. The plot of the novel «A Devil In Love» by O. Storozhenko ascends to fairy tales and legendry and has an express mythopoetic core., В статье анализируются жанровые особенности повести О. Стороженко «Влюбленный черт» и «малорусской сказки» В. Г. Короленко «Судный день». В обоих произведениях происходит встреча человека с чертом. У О. Стороженкофантастика, как и в сказке, явная, в «Судном дне» фантастика имеет завуалированный характер. По своей природе произведение В. Г. Короленко ближе к нравственно-психологической фантастической повести., У статті аналізуються жанрові особливості повісті О. Стороженка «Закоханий чорт» і «малоросійської казки» В. Г. Короленка «Судний день». В обох творах відбувається зустріч людини з чортом. В О. Стороженка фантастика, як і в казці, є явною, тоді як у «Судному дні» фантастика має завуальований характер. За своєю природою твір В. Г. Короленка є ближчим до морально-психологічної фантастично ї повісті.

International audience

International audience; Cet article analyse les Fables de 1668 à la lumière d’une double tradition, l’art de la pointe et les traités de civilité, dont les Fables font affleurer les potentialités politiques. La rhétorique du trait d’esprit, dans le premier recueil de La Fontaine, serait une forme de pédagogie mondaine, où le poète se donnerait en exemple au prince pour l’inciter à apprendre l’art de la parole civile. En ce sens le prince n’est plus seulement le destinataire des poèmes, invité à devenir un parfait honnête homme, primus inter pares, mais aussi le modèle et l’image de la souveraineté et de l’autonomie de la personne privée.

International audience

Étude de l'adaptation théâtrale de l'apologue de Boccace

International audience; Dans les six premiers livres des Fables, publiés en 1668, Jean de La Fontaine offre au tout jeune dauphin un recueil « première manière ». Ni franchement satiriste, ni vraiment rebelle, mais sujet lucide et poète conscient, engagé par cela même, La Fontaine imagine une pédagogie mondaine, souriante et exigeante. Une pédagogie poétique surtout, riche d’une sagesse pratique : car à l’heure où s’élabore l’art subtil et retors de la parole courtisane, à l’heure où l’art de régner suppose un art de parler, de se taire et de faire taire, la fable a plus d’un tour à enseigner à celui qui devait (ou aurait dû) orchestrer, le temps venu, le grand ensemble de la cour. Dans ce manuel princier, héritier des Progymnasmata – forme archaïque des exercices de style à la Queneau –, La Fontaine aiguise son stylet au genre de l’épigramme et livre ses fables dans leur première enfance.

International audience

Dans les six premiers livres des Fables, publiés en 1668, Jean de La Fontaine offre au tout jeune dauphin un recueil « première manière ». Ni franchement satiriste, ni vraiment rebelle, mais sujet lucide et poète conscient, engagé par cela même, La Fontaine imagine une pédagogie mondaine, souriante et exigeante. Une pédagogie poétique surtout, riche d’une sagesse pratique : car à l’heure où s’élabore l’art subtil et retors de la parole courtisane, à l’heure où l’art de régner suppose un art de parler, de se taire et de faire taire, la fable a plus d’un tour à enseigner à celui qui devait (ou aurait dû) orchestrer, le temps venu, le grand ensemble de la cour. Dans ce manuel princier, héritier des Progymnasmata – forme archaïque des exercices de style à la Queneau –, La Fontaine aiguise son stylet au genre de l’épigramme et livre ses fables dans leur première enfance.

International audience

International audience

International audience

International audience

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

The aim of this research is to find out a possibility of a characterization of the argumentative kind for the texts: parable, fable and apologue, generally considered to be narratives, looking into how the process of argumentation take place at theses genres, as to say, how these texts with the same function, the argumentation would come out different or look alike. Therefore, at the beginning, the definition given to these three genres is analyzed and an investigation on the sort of characters taken so far, as a criterion way to tell them apart. Afterwards, a study of the elements of the structure of the narrative type is done based on the Travaglia s theory (2001 and 2002) and the elements of the argumentative structure also based on the rhetoric of the Perelman and Olbrechts-Tyteca s (2002). All along the study, texts of the corpus are used and previously analyzed to identify the elements of the theory approached. From these studies of nature analytic-descriptive and quantitative, a conclusion that the genres apologue, fable and parable presents a crossing of types at which the narrative is an element that acts in function of the discourse responsible for the setting of the argumentative type. As narrative types, the three genres get close in the categories direction, plot and ethics, being that, almost always implicit in the plot, in the outcome or in the remarks, being responsible to give a doctrinal character to these genres since their origins. Up to now, at the structure of the narrative you can find the presence of elements of the categories and remarks that tell apart these genres significantly. Inside the argumentative structure, the distinctive elements that act in the macroestructure of the apologues, of the fables and the parables show respect to the sort of the agreements with which the speakers stand by and the types of arguments used, considering the pragmatic discourse function predominantly argumentative, once these genres are used at social circles and specific situations. Having in mind these finding results, we can judge that this study adds important data and make a difference among the genres: apologue, fable and parable, giving to them a configuration of the argumentative form in which the narrative is an element of the structure, which can be used as a background for argumentation. Este estudo busca verificar a possibilidade de uma caracterização de tipo argumentativo para os textos dos gêneros: parábola, fábula e apólogo, geralmente considerados narrativos. Investiga-se como ocorre nesses gêneros o processo de argumentação e em que esses textos com a mesma função, a argumentação, distinguem-se e/ou assemelham-se. Para isso, inicialmente, é verificada a conceituação dada a esses três gêneros e a investigação dos tipos de personagens até então tomados como critério de distinção entre eles. Em seguida, é feito o estudo dos elementos da estrutura do tipo narrativo com base na teoria de Travaglia (2001 e 2002) e dos elementos da estrutura argumentativa com base na retórica de Perelman e Olbrechts-Tyteca (2002). Durante esse estudo, são usados textos do corpus, previamente analisado, identificando assim elementos da teoria abordada. A partir desses estudos de natureza analítico-descritiva e quantitativa, conclui-se que os gêneros apólogo, fábula e parábola apresentam um cruzamento de tipos em que a narração é um elemento que age em função do discurso responsável pela instauração do tipo argumentativo. Enquanto tipos narrativos, os três gêneros se aproximam nas categorias orientação, trama e moral, estando essa, quase sempre implícita na trama, nos resultados ou nos comentários, sendo a responsável pelo caráter doutrinário dado a esses gêneros desde as suas origens. Ainda na estrutura narrativa há a presença de elementos das categorias resultado e comentários que diferenciam significantemente esses gêneros. Dentro da estrutura argumentativa os elementos distintivos que atuam na macroestrutura dos apólogos, das fábulas e das parábolas dizem respeito aos tipos de acordos em que se apóiam os interlocutores e aos tipos de argumentos usados, considerando a função discursivo-pragmática predominantemente argumentativa, uma vez que esses gêneros são usados em esferas sociais e em situações específicas. Tendo em vista os resultados encontrados, julgamos que este trabalho acrescenta dados importantes para caracterização e diferenciação dos gêneros apólogo, fábula e parábola, configurando-se-lhes uma estrutura argumentativa em que a narração é um elemento estruturador, servindo de pano de fundo para a argumentação. Mestre em Lingüística

Una de las dos narraciones insertas en la Vigilia y octmario de San Juan Bautista de la monja cisterciense Ana Francisca Abarca de Bolea, bajo el titulo de "Apólogo de la ventura en la desdicha", presenta un particular interés por tratarse de una adaptación española única del cuento conocido como Fortunatus o Los tres objetos mágicos y las frutas maravillosas. Se trata del tipo cuentístico recogido en el catálogo universal elaborado por Antti Aarne y Stith Thompson con el número 566. En el presente artículo se estudia la narración de la monja cisterciense en relación con otras manifestaciones de este cuento, procedentes tanto de su rama escrita (que arraiga en la Gesta romanorum), como de su rama oral, de la que se han recogido una amplia muestra de variantes., One of the two stories of Vigilia y octavario de San Juan Bautista, by Ana Francisca Abarca de Bolea, entitled "Apólogo de la ventura en la desdicha", draws particular attention because it is a rare Spanish adaptation of the well-known story called Fortunatus or Los tres objetos mágicos y las frutas maravillosas. This tale is labelled as number 566, according to universal catalogue, elaborated by Antti Aarne and Stith Thompson. In this article, we shall attempt to study Abarca de Bolea's narration in relation to other similar versions of the tale, steming from both the oral and the written traditions, this last one rooted in the Gesta romanorum.

The purpose of this paper is to outline the original and distinctive characteristicsof the fable as a literary genre. We review the development of the fable concept, referringto some fundamental stages in Western culture, specifically focussing on theGreek, Medieval and Renaissance periods. La Fontaine’s interpretation of the fable andthe ensuing intense literary debate contributed to the emergence of a commonEuropean cultural consciousness. We develop here an analysis and interpretation of theformal and ideological specificity of the fable as an allegorical genre, using criticalmyth analysis and interpretation methods. This study also presents some of the mostpopular fables in Portugal, their moral lessons and the cultural connotations of theirmain characters. The research connects the fable with other allegorical genres and themost traditional and popular form: the proverb., Este estudo pretende evidenciar as características específicas e originais da fábulaenquanto género literário. Apresentamos a evolução do conceito referindo alguns dos períodos mais significativos da nossa cultura ocidental, o período clássico, a idademédia e o renascimento. A reflexão de La Fontaine e o intenso debate posterior contribuírampara a emergência de uma consciência cultural comum. Apresentamos tambémuma análise e uma interpretação mitocrítica das características formais e ideológicas dafábula enquanto género alegórico. Referimos algumas das fábulas mais conhecidas erecorrentes em Portugal, as suas morais e as conotações culturais dos seus principaisprotagonistas. A investigação relaciona a fábula com outros géneros alegóricos e com aforma mais tradicional da cultura popular: o provérbio.