Continuum, Volume 2AMS Press, 1990 - French literature |
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Page 66
Corneille constructs a dramatic struggle between himself — as both representative and leader of his period — and antiquity . Such a struggle requires , as does the creation of a dramatic subject ( formalist sujet ) out of the ragged and ...
Corneille constructs a dramatic struggle between himself — as both representative and leader of his period — and antiquity . Such a struggle requires , as does the creation of a dramatic subject ( formalist sujet ) out of the ragged and ...
Page 67
The contrast between the ancients and " our " period is a refrain : " Les anciens se sont fort souvent contentés de cette peinture , sans se mettre en peine de faire récompenser les bonnes actions et punir les mauvaises .
The contrast between the ancients and " our " period is a refrain : " Les anciens se sont fort souvent contentés de cette peinture , sans se mettre en peine de faire récompenser les bonnes actions et punir les mauvaises .
Page 180
With clarity and elegance of style , De Ley demonstrates how to read sixteenth- and seventeenth - century texts in the light of the characteristic thought processes of the two periods . And for this close reading of texts joined with an ...
With clarity and elegance of style , De Ley demonstrates how to read sixteenth- and seventeenth - century texts in the light of the characteristic thought processes of the two periods . And for this close reading of texts joined with an ...
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action analysis Antiochus appears Astrée attempt autre baroque become Bérénice bien c'est calls century chapter characters chose classical close comedy complete concept Corneille Corneille's critical critique d'une death defined described désir desire difference discourse discussion dramatic edition effect essay ethical être example excluded exists fact fait fall faut figures final follow force French human illusion important individual je/tu language limite literary means Médée middle milieu Molière Montaigne moral n'est narrative nature Néron never Nicole original Paris passion pensées period peut play poetic poetry poets political possible present problem qu'elle qu'il question Racine Racine's reader reading regard relation Renaissance représentation represented rhetorical role says scene sense sexual signe social sort spectateur stage story structure suggests theater théâtre theatrical theory third person Titus tout tragedy tragic UNIVERSITY