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1. Augustinian Studies: Volume > 12
Dr. José Oroz Reta Une Polémique Augustinienne Contre Cicéron: Du Fatalisme à la Prescience Divine
2. Augustinian Studies: Volume > 17
José Oroz Reta L’Homme Nouveau Selon Saint Augustin
3. Augustinian Studies: Volume > 3
Charles Boyer Jean Calvin et Saint Augustin
4. Augustinian Studies: Volume > 45 > Issue: 2
Isabelle Bochet Réflexions sur l’exégèse figurative d’Augustin: Christ Meets Me Everywhere: Augustine’s Early Figurative Exegesis de M. Cameron
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L’article présente et discute le livre de Michael Cameron, Christ Meets Me Everywhere. Augustine’s Early Figurative Exegesis. Dans cet ouvrage, M. Cameron expose la manière dont Augustin a élaboré sa méthode d’interprétation figurative de l’Ancien Testament, depuis ses premières œuvres jusqu’en 400 environ, c’est-à-dire jusqu’à la rédaction des Confessions, du De catechizandis rudibus et du Contra Faustum manichaeum. La force du livre est d’articuler la christologie d’Augustin à sa lecture figurative des Écritures: la manière dont Augustin a peu à peu compris la profondeur de la médiation du Christ, à la fois Dieu et homme, grâce à la lecture de Paul et des Psaumes, est à lier à l’importance qu’il donne, dans l’Écriture, aux signa translata. M. Cameron montre bien le rôle qu’a joué Ambroise en permettant à Augustin de rattacher la Bible au cadre rhétorique qui lui était familier; il serait fécond de compléter ses remarques en analysant aussi la pratique exégétique d’Ambroise sur quelques exemples et en précisant le rôle de Tyconius dans la formation de l’exégèse figurative d’Augustin. Le jugement que porte M. Cameron sur le De doctrina christiana qu’il juge “expérimental et incomplet à bien des titres” mérite sans doute d’être un peu nuancé.
5. Augustinian Studies: Volume > 6
Maurice Léveillé Don de l’esprit et baptême
6. Augustinian Studies: Volume > 7
Maurice Léveillé Don de l’esprit et baptême: Réflexions en marge d’une prédication augustinienne
7. Augustinian Studies: Volume > 7
José Oroz Reta Prière et recherche de Dieu dans les Confessions de Saint Augustin
8. Mediaevalia: Volume > 24
Lucie Bonato, Maryse Emery Chypre au Moyen-Âge - Les Cathédrales: L'Influence Française
9. Mediaevalia: Volume > 25 > Issue: 2
Eugenia Margarida Neves dos Santos D'Un Imaginaire à l'Autre: Partonopeus de Blois et la Historia de l'Esforçat Cavaller Partinobles
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This paper offers an introduction to the anonymous Catalan Historia de I'Esforgat Cavalier Partinobles; the author discusses some of the principal differences between the Historia and the Old French Partonopeus de Blois. She notes that the opening episodes of the Catalan text are marked by a strong element of fantasy and provide an alternative version of the family history of Melior and her sister; also that in Partonopeus the character of Gaudin is already a Christian when he first appears, but that in the Historia his conversion forms part of the main story. These and other changes, including the introduction of a Moorish sorceress and a mysterious sword which may be wielded only by a Christian, are related to the historical context of Christian / Muslim conflict in northern Spain against which the text was composed. The author also considers questions of cultural transmission, concluding that the Catalan adaptation is not simply a re-telling of the Partonopeus story, but also serves as a means of preserving an endangered language,
10. Mediaevalia: Volume > 25 > Issue: 2
Anne Reynders La Version en Moyen-Néerlandais du Partonopeude Blois Est-Elle Une Traduction Fidéle d'Une Version Frangaise Aujourd'hui Perdue?
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This paper is a comparative study of the continuation of both the Middle Dutch Pardionopeus van Bloys and the Old French Partonopeus de Blois. The author argues that, contrary to the opinions of some previous scholars, Parthonopeus van Bloys is not an unquestioning translation of the French text; rather it represents a subtle reworking of the continuation. The Dutch tale also contains a unique episode which has little in common with the French tradition, which appears to be an original composition rather than a translation of a lost Old French version. The author observes that the Middle Dutch adaptation differentiates more clearly between Christians and Muslims than the Old French version, and notes the narrator's use of humour and irony, particularly in the portrayal of the sultan. She concludes that the writer of Parthonopeus van Bloys was no simple translator, but rather a critical adaptor who analysed his original carefully and then produced a modified text which was popular among the medieval Dutch-speaking public
11. Mediaevalia: Volume > 25 > Issue: 2
Pierre-Marie Joris "Thèbes Avec Troie": Partonopeude Blois ou le Sens d'Un Retour
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This paper explores the relationship between Partonopeus de Blois and other contemporary Old French texts. Among the numerous reworkings of literary material recognisable within the narrative, the author focuses on how the narrator of the Old French text rewrites elements from the romances of antiquity, particularly material related to Thebes and to the story of Troy. He argues that the skillful integration of these elements and the inherent intertextuality of the structure of the romance informs our reception of the text, and contributes to a complex reading of what is a superbly-architectured piece of work. He goes on to argue that it is only by understanding the subtle nuances of the literary interplay within Partonopeus de Blois that we will be able to further our knowledge of the place held by this particular romance in the pantheon of medieval literature.
12. Mediaevalia: Volume > 25 > Issue: 2
Alain Corbellari De la "Bibliothèque Des Romans" au Grand Opéra: Les Métamorphoses de Partonopeus aux XVIII et XIXe Siècles
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Forgotten in France for many centuries, the romance of Partonopeus de Blois was resurrected in the eighteenth century and enjoyed a certain notoriety which culminated in Massenet's opera Esclarmonde, a nineteenth-century adaptation of the tale by the librettist Alfred Blau. This paper reveals the story of the rediscovery and the dissemination of Partonopeus de Blois through the eighteenth and nineteenth centuries, and explores the motivations of the early philologists for choosing this romance. The author then focuses on the sources of the opera Esclarmonde and on the possible inspirations and influences affecting its creators
13. Mediaevalia: Volume > 25 > Issue: 2
Francis Gingras Le Miel et l'Amertume: Partonopeus de Blois et l'Art du Roman
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This paper focuses on the prologue of the Old French Partonopeus de Blois. The author analyses the narrator's style of writing and argues that he puts the receivers at the very centre of the experience, relying on them to analyse the material with his subtle help. The author argues that it is therefore not the intrinsic nature — good or bad — of the story which is important, but what the receivers may gain from it. Via a series of reworkings, the creator of Partonopeus orients the reception of the story and establishes his narrative style by an innovative use of literary tradition.
14. Mediaevalia: Volume > 25 > Issue: 2
Olivier Collet "Armes Et Amour" Ou "Amour Sans Armes?": Un Aspect Négligé de la Circulation et de la Reception du Roman de Partonopeu de Blois au XIIIème Siècle
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This paper analyses the differing receptions of the Old French Partonopeus de Blois in the twelfth and thirteenth centuries by revisiting a little known text, a peculiar prolongation in the form of an Art d'aimer which has been added to a versified French translation of the Disciplina clericalis. This continuation exists in only one manuscript; recent advances in technology and new research have allowed the author to determine that quite large parts of this Art d'aimer have been borrowed from Partonopeus. He analyses these borrowings, reassesses the judgments of his predecessors, and concludes that Partonopeus de Blois might have had a much greater literary impact on the authors of other Old French texts than has previously been thought
15. Mediaevalia: Volume > 25 > Issue: 2
Denis Hüe Faire d'Armes, Parler d'Amour: Les Strategies du Récit Dans Partonopeus de Blois
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In this paper the author revisits selected scenes of love and war from the Old French Partonopeus de Blois. He focuses on the rhetoric of these passages and by a close textual reading highlights the dynamics of the romance and the game of echoes between the two spheres. He underlines the symmetry of the discourse of love and war and the constant dialogue which is established by the anonymous author. Epic and courtly motifs are knowingly intertwined to create meaning and to renew the art of writing. He concludes that in this story, love is the way to redeem not only the knight but also the narrator of the romance.
16. Mediaevalia: Volume > 25 > Issue: 2
An Faems Le Narrateur Amoureux de Parthonopeus Vanbloys
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This paper consists of a comparative study of the figure of the narrator in the Old French Partonopeus de Blois and the Middle Dutch Parthonopeus van Bloys. The author focuses on two key passages which illustrate the way in which the translator both maintains and adapts the narratorial interventions in the text. In general, the figure of the narrator in the Middle Dutch poem is a faithful recreation of his French predecessor; however, there are some significant differences between the two. In the first passage the addition of a reference to Ovid illustrates the relationship between the poet and his medieval Dutch public. The second passage forms part of the translator's own original continuation of the story of the sultan Margaris, which sees a significant shift in the function of the narrator and the tone of his interventions.
17. Mediaevalia: Volume > 25 > Issue: 2
Mattia Cavagna Le Désert-Forêt Dans le Roman de Partonopeus de Blois
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This paper analyses the importance of the forest in understanding the Old French Partonopeus de Blois. The forest embodies the dual nature of the romance, mixing religious and supernatural elements. It provides a structural framework for the action, as both parts of the romance start with a journey into the forest: it is the passage to the Otherworld, the frontier between reality and the unknown. Placed at the limit of the civilised world, the forest is the space of perigrinations and of reconciliation, both with other characters and with God. In Partonopeus the forest also leads to the sea, the next step in the journey to the Otherworld, and the passage from one realm of reality to the other is achieved with the help of an animal. The author also reflects on the otherworldly roles of Melior and Uraque, in the traditions of the fairy lover and the healing fairy.
18. Mediaevalia: Volume > 26 > Issue: 1
Rosanna Brusegan La Mémoire Du Texte: L'art de l'Allusion Dans le Chievrefoil de Marie de France
19. Mediaevalia: Volume > 26 > Issue: 1
Giovanna Angeli Lanval et l'Oubli du Roi Arthur
20. Mediaevalia: Volume > 26 > Issue: 1
Susan Small Quelques Implications Semiotiques de l'Homonymie Cygne/Signe Telle Qu'elle s'Applique a Milun