Jean Lemaire de Belges's Rhetorical Masks in L’Amant Vert and “Les Regretz de la Dame Infortunée”

A prominent feature of the poetry of Franco-Burgundian poet and rhetorician Jean Lemaire de Belges (1473–1524) is his use of a rhetorical mask—a persona—through which to proffer his utterances and assert his identity. Because the early sixteenth-century court poet's financially and politically subservient position vis-à-vis powerful aristocratic patrons demands an encomiastic rhetoric that leaves little room for the poet's self-assertion within the body of the poetic text, Lemaire must employ the indirect means of a narrative mask to assert his own existence and concerns. This article examines first the narrative mask of the parrot-lover in the 1505 Epîtres de l’Amant Vert, through which Lemaire is able to voice concerns about his precarious position as a writer almost entirely at the mercy of his patron's good health and good will. A discussion of “Les Regretz de la Dame Infortunée” (1506) follows, in which Lemaire takes an intriguing narratological stance that unites his voice to that of his patroness, Margaret of Austria (1480–1530), ultimately forging an authorial je that speaks for both poet and patron. This nearly mystical union of narrative voices allows Lemaire to express his own concerns about the volatility of the patronage system while concomitantly giving voice to Margaret's mourning at the death of her brother, Philip the Handsome (1478–1506).     

Pure and impure gestes: the generation of history in Jean d’Outremeuse's Myreur des histors

ABSTRACT

Scholars have long debated the place in medieval historiography of Jean d’Outremeuse's Myreur des histors, a universal history in celebration of Liège written in French around 1399. The abundance of Old French epic material in a chronicle that, according to its author, contained translations of only Latin sources, was once a source of outrage. The Myreur now holds significant interest, however, for its evidence of late medieval narrative strategies. This study demonstrates the Myreur's deliberate adaptation of epic material to glorify Liège. The author reimagines the Carolingian past as a source for future historical narratives by knowingly altering the genealogical framework of the chanson de geste universe. Carrying tales of sexual impurity, he describes the demise of the Carolingian line and transforms figures from epic to function within his linear history. This inventive approach allowed him to create a new hero- and history-generating lineage for his universal history.     

Euhemerus and the Chronicle of John Malalas

In spite of Warren Treadgold's recent contention to the contrary, no new insights on the Sacred History of Euhemerus of Messene are to be gleaned from John Malalas and the account of the gods found in his chronicle. They cannot be directly connected to Euhemerus, or even to a complete version of Diodorus Siculus’ lost sixth book, which related a version of the Sacred History. We would, nevertheless, like to know the source for what Malalas says about the gods. Previous efforts to identify the author of the euhemeristic narrative in the chronicle of Malalas prove unavailing and misleading. Taking into account the parallel version of this narrative found in the Excerpta Latina Barbari, it would seem that the most likely author is Bouttios, one of the authorities cited for a few other items by Malalas. Treadgold has included this Bouttios in the list of authors he considers to be nothing more than inventions of Malalas. But, unlike the others on Treadgold's list, the existence of Bouttios can be independently corroborated. We are, moreover, in a position to offer some speculations about Bouttios and his work.     

Knowledge of the past and the judgement of history in tenth‐century Trier: Regino of Prüm and the lost manuscript of Bishop Adventius of Metz

Regino of Prüm's chronicle is an invaluable source for ninth‐ and early tenth‐century Frankish history, but also for contemporary perceptions of that history. Though Regino's motivations for writing continue to be discussed, most historians now agree that his account can be read as one of Carolingian rise and fall. This article argues that this interpretative stance should be considered as in part a product of Regino's engagement with the surprisingly limited sources for the ninth century at his disposal. Taken together, these texts suggested a narrative for which Regino could find ample confirmation in the events of his own time.     

Maps,Painting and Lies Portraying Napoleon's Battlefields in Northern Italy

A comparison of Giuseppe Bagetti's landscape sketches, watercolours, oil paintings and engravings with contemporary maps and the existing landscape reveals that in the creation of Bagetti's landscapes, narrative played a role that differed in cartographic and artistic representations. The comparison also demonstrates that his images were powerful constructions that were more successful in reflecting a narrative of glorious conquest than was possible through cartography. This paper offers a critical examination of Bagetti's representations of Napoleon's northern Italian campaign, which he sketched and painted between 1802 and 1809. Bagetti's paintings were neither pacifist nor an expression of Piedmontese patriotism but instead were inspired by, and constructed according to, a narrative about the conquest that reflected the views of the French authorities. The narrative found expression in formal written instructions from the central cartographical office in the Dépôt de la guerre, Paris, in verbal and written instructions from Bagetti's immediate superior, Jean François Martinel, and in letters personally addressed to Bagetti from the officer commanding the Dépôt. It is clear from a careful reading of the correspondence and from a comparison of Bagetti's paintings with both the present landscape and maps made at the time that Bagetti's disputes with his supervisors revolved around protecting his artistic integrity and reputation rather than resisting the authority of a foreign regime.     

‘No One Knows What He is Until He is Told’: Audience and Personhood in a Colonial African Diary

ABSTRACT

This article explores questions of audience and personhood in the diary of Akinpelu Obisesan, a Yoruba man who lived in colonial Nigeria. In particular, it examines how Obisesan wrote between the genres of autobiography and biography so as to generate a sphere for self-fashioning in the colonial context. After introducing Obisesan and exploring briefly the relationship between autobiography, diary writing and the self, I show how Obisesan’s diary narrated a deeply relational form of personhood, which he both generated as a writer and consumed as a reader. The article analyses this narrative, exploring how Obisesan constituted various real and imagined audiences for his diary, while simultaneously claiming his privacy and ‘archiving himself’ into a tin trunk. In the final section of the article, I present a close reading of sections of the 1927 diary, to show how, when writing his diary, Obisesan projected multiple audiences into his text. He used these audiences as a foil for enhancing his own sense of self, thus constituting his personhood and legitimating his precarious social position in colonial society.     

Anti-Jewish rhetoric in Guibert of Nogent's Dei gesta per Francos

When Guibert of Nogent, a Benedictine monk living in northern France, re-wrote the anonymous Gesta Francorum, an eyewitness chronicle of the First Crusade, he changed more than just the style and the title. One of Guibert's most significant additions to his model was vitriolic anti-Jewish rhetoric. The present article explains some of the reasons why Guibert felt the need to deride the Jews of the Old Testament, particularly the Maccabees, as part of his narrative of the First Crusade. It attempts to demonstrate that Guibert's playing down the achievements of Jewish warriors of the past was inseparable from his aim to present crusading, to quote Jonathan Riley-Smith, in ‘theologically acceptable terms’, as a spiritual enterprise.     

The early section of the Worcester chronicle

The Latin chronicle traditionally attributed to Florence of Worcester is examined, and it is suggested that its early portion, down to the end of the reign of Æthelred the Unready, was compiled at Ramsey Abbey in Huntingdonshire during the last two decades of his reign. The repercussions of this on the transmission of the vernacular texts of the Anglo-Saxon chronicle are explored.     

宫泽贤治的童话创作

在日本近代文学史上,宫泽贤治是一个独特的存在。英年早逝的宫泽贤治作为儿童文学作家,他的童话文学也迥异于当时儿童文学的主流作家们。本文论述了宫泽贤治独特的童话创作观念,艺术上独创的故事性、小说式的展开方法以及思想主体上具有宗教色彩的求道性,以期阐释其童话文学传世的因由。     

樋口一叶小说《行云》的时空意向

小说《行云》写的是一位上京求学后又返回故里的青年的故事。青年的情感经历揭示出了由甲州大藤村至东京的空间距离。文中衬以路途之险,反映了作者对当时甲州人呼吁中央线铁路建设的关注和声援。同时,作者还以“战争画”等小道具明示了小说时间与创作时间的一致性,进而虚拟了青年归乡后的数年时间,以两者暗喻了狂热一时的甲午战争对于普通民众来说毫无意义。     

Spiritual-Material Noninterventionism: Reformed Influences on Bodin's Political Theology

ABSTRACT

Jean Bodin's political philosophy drew on a key Reformed principle: the necessary separation between the spiritual and material realms. This principle, as Bodin understood it, required that the sovereign avoid interference with his subjects’ property. As such, the separation of the spiritual and material served Bodin's voluntarism, permitting man, who occupied a middle state between the spiritual and material, to impose his will on the world, but also made man (and particularly woman) vulnerable to abusing this state through witchcraft. Tracing this principle through Bodin's thought demonstrates another connection between the sovereign and the witch.     

Institutions and Falsified Culture in the Novel Evening Act by Croatian Writer Pavao Pavličić

`In one area of his prose work, the Croatian writer Pavao Pavli?i? belongs to a group of writers in the 1970s who used a fantastic narrative model and thematized irrational parallel worlds as opposed to a realist model of narration. Pavli?i?’s novel Evening Act (published as Ve?ernji akt in 1981) has a realistic beginning, but it slips into fantastic narration when the main character, a young man called Mihovil, discovers his ability to falsify documents and works of art. At the same time, he is capable of recognizing falsified art works and documents that are accepted as an integral part of social, cultural, and historical memory. When this ability becomes dangerous, Mihovil falsifies his own body to escape from his unbearable reality. This paper will analyse the function of the fantastic model in Pavli?i?’s novel as a postmodern play with traditions of Croatian and world literature and culture. The ludic layer of the novel has a highly symbolic value: it draws attention to the relationship of cultural institutions and society to the authenticity of art works, the role of art, and ways of preserving (or destroying) cultural memory.     

胡适年谱思想略论

胡适在撰写年谱的学术活动中,就年谱体例的发展与创新、年谱的功用与价值、年谱与传记的关系等问题,形成了丰富系统的思想,并对年谱体裁的发展产生了重要影响.胡适认为年谱应该揭示谱主学问思想的变迁沿革与发展脉络,总结其学术地位与学术贡献,年谱不仅要记述谱主的成就,也可以进行评判与批评,指出他的错误与短处.胡适总体上是将年谱视为传记之一种,但也注意到年谱在内容、体例、功用等方面与一般传记又有一定的区别.     

贵州新一代乡土文学的叙事艺术——冉正万中短篇小说创作浅论

贵州作家冉正万以诙谐、幽默的笔法勾勒着黔北地域的风土人情。他以一种热忱与坚持书写着故土,以具有浓烈乡土特色的黔北民间语言塑造了“冉姓坝”系列小说。在对乡土文学的传承与创新中,赋予了文本新的视角。通过独特的乡土叙事艺术来表达对农村、农民的深切关怀以及对故乡与祖国的深沉热爱。     

Can silence speak volumes? Widukind's Res Gestae Saxonicae and the coronation of Otto I reconsidered

The Res Gestae Saxonicae, Widukind of Corvey's chronicle of the rise of the Ottonian kings, waxes lyrical about Otto I's coronation as king at Aachen in 936 but passes in silence over his coronation as emperor at Rome in 962. This causes difficulties of interpretation, because the text is generally considered to constitute a unified narrative up to the end of its shortest surviving recension, dated to 967 or 968; scholars have previously dealt with these difficulties by claiming that Widukind's work was a ‘subtle polemic’ against the role of the pope in the making of an emperor. This article suggests instead that only the sections documenting events up to c.961 constitute a unified text, subsequent chapters being no more than hastily compiled addenda. Widukind's notorious omission of the imperial coronation was thus an accidental feature of the text, not the cornerstone of an ideological claim about the emperor's direct connection to God. His portrayal of the Aachen coronation establishes Otto's multiple claims to be the rightful king without differentiating qualitatively between them.     

“It's About Time You Came Out”: Sexualities,Mobility and Home

Abstract: Helping redress the dominance of metropolitan narratives upon which much literature on sexuality is framed, this article interprets the narrative told by a “white” 16‐year‐old man living in regional Australia. Our aim is to investigate the intersections of migration and homemaking in sexual subject formation. Finding a place to call “home” can be a complex process for young men born in regional Australia and not conforming to the social formations of a “normal guy”. This young man's narrative expressively reveals the fluidity and spatiality inherent in processes of negotiating sexual subjectivities. His story provides telling insights into how migration and mobility change his understandings of home and of self by making possible a third‐space configured by neither the gender norms of his hometown nor the “gay scene” in Sydney.     

三岛由纪夫美学观的形成和变异

三岛由纪夫是一位非常复杂的作家,其作品中表现出的男性之美以及健壮的肌肉,大海的波涛和南国的太阳等象征性描述,往往使读者感到迷惑,尤其是晚年的政治表现和切腹自杀的那幕闹剧,要使得学界围绕其人和其美学观长期争论不休,本文试图从病迹学的角度解释这位作家美学观的形成和变异。     

The Story of Jimmy: the Practice of History on North Pentecost,Vanuatu1

The Story of Jimmy is a frequently told oral‐historical account of ‘first contact’ from North Pentecost, Vanuatu. It describes the adventures of a group of ni‐Vanuatu plantation labourers who escape from Fiji by hijacking a ship and navigate a return to their home islands in Vanuatu. Central to the story is a young white man, known simply as Jimmy. Unwittingly forced to make the journey with them, and before they are all finally shipwrecked on the east coast of North Pentecost, Jimmy witnesses the murder and cannibalisation of his father by the starving hijackers. Yet upon departing for home some four years later he bestows a new name upon the Island: Uretabe, the ‘world of love/gifts’. This story, with its dual‐inverted narrative of abduction, transformation, escape and return, presents a remarkable account at a unique moment of historical rupture and cross‐cultural exchange. In doing so it also expresses idiomatic themes of mobility, place and identity as they relate to the politics of both the colonial past and postcolonial present in North Pentecost. This paper explores those themes and narratives while considering their relevance to my own experiences as a researcher in the area.     

The early section of the Worcester chronicle

The Latin chronicle traditionally attributed to Florence of Worcester is examined, and it is suggested that its early portion, down to the end of the reign of Æthelred the Unready, was compiled at Ramsey Abbey in Huntingdonshire during the last two decades of his reign. The repercussions of this on the transmission of the vernacular texts of the Anglo-Saxon chronicle are explored.     

Barbarian interest in the Excerpta Latina Barbari

Joseph Justus Scaliger dubbed the text of Parisinus Latinus 4884, the sole surviving witness to a Merovingian Latin translation of a now lost Greek world chronicle, the Excerpta Latina Barbari. The name was essentially a judgement on the linguistic abilities of the translator, but it is suggestive. What is there in the chronicle to appeal to the ‘barbarian’ inhabitants of Gaul? An answer to this question can offer some insight into the provenance of a neglected, but intriguing text. It will be proposed that the Greek original of the Excerpta was composed as a gift for the Austrasian king Theudebert I and was intended to elicit his aid in the war against the Ostrogothic rulers of Italy. The translation is another matter. It seems to have been undertaken about two centuries later in the context of the missionary push to the north and east from Frankish territory.