Maîtrise esthétique de la passion féminine: Fonctionnement topique du pavillon dans La Princesse de Clèves.

Research output: Contribution to journal › Journal article › Research › peer-review

Standard

Maîtrise esthétique de la passion féminine : Fonctionnement topique du pavillon dans La Princesse de Clèves.. / Fastrup, Anne.

In: Revue Romane, Vol. 42, No. 2, 2007, p. 297-341.

Research output: Contribution to journal › Journal article › Research › peer-review

Harvard

Fastrup, A 2007, 'Maîtrise esthétique de la passion féminine: Fonctionnement topique du pavillon dans La Princesse de Clèves.', Revue Romane, vol. 42, no. 2, pp. 297-341. https://doi.org/10.1111/j.1600-0811.2007.420208.x

APA

Fastrup, A. (2007). Maîtrise esthétique de la passion féminine: Fonctionnement topique du pavillon dans La Princesse de Clèves. Revue Romane, 42(2), 297-341. https://doi.org/10.1111/j.1600-0811.2007.420208.x

Vancouver

Fastrup A. Maîtrise esthétique de la passion féminine: Fonctionnement topique du pavillon dans La Princesse de Clèves. Revue Romane. 2007;42(2):297-341. https://doi.org/10.1111/j.1600-0811.2007.420208.x

Author

Fastrup, Anne. / Maîtrise esthétique de la passion féminine : Fonctionnement topique du pavillon dans La Princesse de Clèves. In: Revue Romane. 2007 ; Vol. 42, No. 2. pp. 297-341.

Bibtex

@article{d8d25c80185311ddbee902004c4f4f50,
title = "Ma{\^i}trise esth{\'e}tique de la passion f{\'e}minine: Fonctionnement topique du pavillon dans La Princesse de Cl{\`e}ves.",
abstract = "La Princ{\`e}sse de Cl{\`e}ves was published in 1678 it was celebrated as a literary achievement by some readers but criticized by others, in particular by some of the most reknowned and influential critiques of the time Jean-Baptiste Henri du Trousset Valincour and Roger de Bussy-Rabutin, as an attack on the ideals of plausibility and moral decency. It was notably the two scenes known as {"}The Confession{"} and {"}The Dream{"}, both taking place in the pavilion at the Cl{\`e}ves estate La Coulommiers, that appeared indecent and implausible in the eyes of the two critiques. Taking the multiple symbolique connotations of the pavilion as a starting point, this article will argue that the accusations of implausibility and indecency should be understood as ideological reactions to the novel's negociations of desire, aesthetics and power",
keywords = "Det Humanistiske Fakultet, Lafayette, Madame de, litter{\ae}r topologi, sansynlighed, s{\o}mmelighed, roman, lidenskab",
author = "Anne Fastrup",
year = "2007",
doi = "10.1111/j.1600-0811.2007.420208.x",
language = "Fransk",
volume = "42",
pages = "297--341",
journal = "Revue Romane",
issn = "0035-3906",
publisher = "John Benjamins Publishing Company",
number = "2",

}

RIS

TY - JOUR

T1 - Maîtrise esthétique de la passion féminine

T2 - Fonctionnement topique du pavillon dans La Princesse de Clèves.

AU - Fastrup, Anne

PY - 2007

Y1 - 2007

N2 - La Princèsse de Clèves was published in 1678 it was celebrated as a literary achievement by some readers but criticized by others, in particular by some of the most reknowned and influential critiques of the time Jean-Baptiste Henri du Trousset Valincour and Roger de Bussy-Rabutin, as an attack on the ideals of plausibility and moral decency. It was notably the two scenes known as "The Confession" and "The Dream", both taking place in the pavilion at the Clèves estate La Coulommiers, that appeared indecent and implausible in the eyes of the two critiques. Taking the multiple symbolique connotations of the pavilion as a starting point, this article will argue that the accusations of implausibility and indecency should be understood as ideological reactions to the novel's negociations of desire, aesthetics and power

AB - La Princèsse de Clèves was published in 1678 it was celebrated as a literary achievement by some readers but criticized by others, in particular by some of the most reknowned and influential critiques of the time Jean-Baptiste Henri du Trousset Valincour and Roger de Bussy-Rabutin, as an attack on the ideals of plausibility and moral decency. It was notably the two scenes known as "The Confession" and "The Dream", both taking place in the pavilion at the Clèves estate La Coulommiers, that appeared indecent and implausible in the eyes of the two critiques. Taking the multiple symbolique connotations of the pavilion as a starting point, this article will argue that the accusations of implausibility and indecency should be understood as ideological reactions to the novel's negociations of desire, aesthetics and power

KW - Det Humanistiske Fakultet

KW - Lafayette, Madame de

KW - litterær topologi

KW - sansynlighed

KW - sømmelighed

KW - roman

KW - lidenskab

U2 - 10.1111/j.1600-0811.2007.420208.x

DO - 10.1111/j.1600-0811.2007.420208.x

M3 - Tidsskriftartikel

VL - 42

SP - 297

EP - 341

JO - Revue Romane

JF - Revue Romane

SN - 0035-3906

IS - 2

ER -

ID: 3941477