{"id":1160,"date":"1996-03-10T19:31:46","date_gmt":"1996-03-10T18:31:46","guid":{"rendered":"http:\/\/www.lilec.it\/francofonia\/?p=1160"},"modified":"2017-03-29T12:42:08","modified_gmt":"2017-03-29T10:42:08","slug":"30-1996","status":"publish","type":"post","link":"http:\/\/www.lilec.it\/francofonia\/30-1996\/","title":{"rendered":"30 Printemps \/ Primavera 1996"},"content":{"rendered":"<p><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-1 nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-top:20px;--awb-padding-bottom:20px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-0 fusion_builder_column_1_1 1_1 fusion-one-full fusion-column-first fusion-column-last\" style=\"--awb-bg-size:cover;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\"><div class=\"fusion-text fusion-text-1\"><h2 style=\"text-align: center;\" data-lineheight=\"47\" data-fontsize=\"34\"><strong><div class=\"fusion-counters-circle counters-circle\" data-animationOffset=\"top-into-view\"><div class=\"counter-circle-wrapper\" style=\"--awb-font-size:34.090909090909px;--awb-size:150px;\" data-originalsize=\"150\"><div class=\"fusion-counter-circle counter-circle counter-circle-content\" data-percent=\"100\" data-countdown=\"\" data-filledcolor=\"rgba(0,165,55,1)\" data-unfilledcolor=\"rgba(246,246,246,1)\" data-scale=\"\" data-size=\"150\" data-speed=\"1500\" data-strokesize=\"7.5\"><div class=\"fusion-counter-circle-content-inner\">30<\/div><\/div><\/div><\/div>Printemps \/\u00a0<\/strong><strong>Primavera<\/strong><\/h2>\n<h2 style=\"text-align: center;\" data-lineheight=\"47\" data-fontsize=\"34\"><strong>\u00a01996<\/strong><\/h2>\n<p style=\"text-align: left;\"><a href=\"http:\/\/www.jstor.org\/stable\/i40116677\" target=\"_blank\"><img decoding=\"async\" class=\"alignleft wp-image-321\" src=\"http:\/\/www.lilec.it\/francofonia\/wp\/wp-content\/uploads\/2017\/03\/JSTOR_Logo_RGB_60x76-1.gif\" alt=\"\" width=\"46\" height=\"59\" \/><\/a><\/p>\n<p style=\"text-align: left;\"><a href=\"http:\/\/www.jstor.org\/stable\/i40116677\" target=\"_blank\">Lire ce num\u00e9ro sur JSTOR<\/a><br \/>\n<a href=\"http:\/\/www.jstor.org\/stable\/i40116677\" target=\"_blank\">Leggere questo numero su JSTOR<\/a><\/p>\n<\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-2 hundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-background-position:left top;--awb-border-color:#ff3300;--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-top:30px;--awb-padding-bottom:35px;--awb-background-color:rgba(224,224,224,0.95);--awb-border-sizes-top:0px;--awb-border-sizes-bottom:0px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-1 fusion_builder_column_1_1 1_1 fusion-one-full fusion-column-first fusion-column-last fusion-column-no-min-height\" style=\"--awb-bg-size:cover;--awb-margin-bottom:0px;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\"><div class=\"fusion-text fusion-text-2\"><h2 style=\"text-align: center;\"><span style=\"color: #000000;\">Sommaire \/\u00a0<\/span><span style=\"color: #000000;\">Indice<\/span><\/h2>\n<\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-3 hundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-right:20px;--awb-padding-left:20px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-2 fusion_builder_column_1_1 1_1 fusion-one-full fusion-column-first fusion-column-last fusion-column-no-min-height\" style=\"--awb-bg-size:cover;--awb-margin-bottom:0px;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\"><div class=\"fusion-section-separator section-separator triangle fusion-section-separator-1\" style=\"--awb-border-bottom:1px solid rgba(224,224,224,0.95);--awb-spacer-height:1px;--awb-svg-margin-left:0;--awb-svg-margin-right:0;--awb-icon-color:#ffffff;\"><div class=\"fusion-section-separator-svg\"><div class=\"divider-candy-arrow bottom\" style=\"top:0px;border-top-color: rgba(224,224,224,0.95);\"><\/div><div class=\"divider-candy bottom\" style=\"bottom:-21px;border-bottom:1px solid rgba(224,224,224,0.95);border-left:1px solid rgba(224,224,224,0.95);\"><\/div><\/div><div class=\"fusion-section-separator-spacer\"><div class=\"fusion-section-separator-spacer-height\"><\/div><\/div><\/div><div class=\"fusion-text fusion-text-3\"><\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-4 nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-top:20px;--awb-padding-bottom:20px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-3 fusion_builder_column_1_1 1_1 fusion-one-full fusion-column-first fusion-column-last\" style=\"--awb-bg-size:cover;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\"><div class=\"fusion-tabs fusion-tabs-1 classic nav-is-justified horizontal-tabs icon-position-left mobile-mode-accordion\" style=\"--awb-title-border-radius-top-left:0px;--awb-title-border-radius-top-right:0px;--awb-title-border-radius-bottom-right:0px;--awb-title-border-radius-bottom-left:0px;--awb-inactive-color:#ebeaea;--awb-background-color:#ffffff;--awb-border-color:#ebeaea;--awb-active-border-color:#278157;\"><div class=\"nav\"><ul class=\"nav-tabs nav-justified\" role=\"tablist\"><li class=\"active\" role=\"presentation\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-c7664695968152d314e\" aria-selected=\"true\" id=\"fusion-tab-articles\" href=\"#tab-c7664695968152d314e\"><h4 class=\"fusion-tab-heading\">Articles<\/h4><\/a><\/li><li role=\"presentation\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-bdce4af5145554c5f3a\" aria-selected=\"false\" tabindex=\"-1\" id=\"fusion-tab-r\u00e9sum\u00e9s\" href=\"#tab-bdce4af5145554c5f3a\"><h4 class=\"fusion-tab-heading\">R\u00e9sum\u00e9s<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-content\"><div class=\"nav fusion-mobile-tab-nav\"><ul class=\"nav-tabs nav-justified\" role=\"tablist\"><li class=\"active\" role=\"presentation\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-c7664695968152d314e\" aria-selected=\"true\" id=\"mobile-fusion-tab-articles\" href=\"#tab-c7664695968152d314e\"><h4 class=\"fusion-tab-heading\">Articles<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-pane fade fusion-clearfix in active\" role=\"tabpanel\" tabindex=\"0\" aria-labelledby=\"fusion-tab-articles\" id=\"tab-c7664695968152d314e\">\n<p><strong>Marie-Louise Lentengre<\/strong>,\u00a0Jean Tardieu: un lyrisme feutr\u00e9<\/p>\n<p><strong>Lilian Pestre De Almeida<\/strong>,\u00a0<em>Le premier jardin<\/em>: m\u00e9moire collective et m\u00e9moire individuelle dans le roman d\u2019Anne H\u00e9bert<\/p>\n<p><strong>Marianne Gasperoni<\/strong>, <strong>Sabina Maffei<\/strong>,\u00a0Considerazioni sul manoscritto F.Fr. 688 della Biblioteca Nazionale di Parigi: l\u2019<em>Ystoire<\/em> <em>Romane<\/em> e l\u2019<em>Ystoire<\/em> <em>de li Longobart<\/em> di Paolo Diacono<\/p>\n<\/div><div class=\"nav fusion-mobile-tab-nav\"><ul class=\"nav-tabs nav-justified\" role=\"tablist\"><li role=\"presentation\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-bdce4af5145554c5f3a\" aria-selected=\"false\" tabindex=\"-1\" id=\"mobile-fusion-tab-r\u00e9sum\u00e9s\" href=\"#tab-bdce4af5145554c5f3a\"><h4 class=\"fusion-tab-heading\">R\u00e9sum\u00e9s<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-pane fade fusion-clearfix\" role=\"tabpanel\" tabindex=\"0\" aria-labelledby=\"fusion-tab-r\u00e9sum\u00e9s\" id=\"tab-bdce4af5145554c5f3a\">\n<p><strong>Marie-Louise Lentengre<\/strong>,\u00a0Jean Tardieu: un lyrisme feutr\u00e9<br \/>\nConsid\u00e9r\u00e9 avant tout comme un dramaturge de l&#8217;absurde, un ma\u00eetre du burlesque et un jongleur de mots, Jean Tardieu est aussi et surtout un po\u00e8te lyrique. En renon\u00e7ant aux grandes projections mythiques qui ont marqu\u00e9 la figure du po\u00e8te depuis les romantiques jusqu&#8217;\u00e0 Apollinaire, Tardieu retrouve la puret\u00e9 d&#8217;un moi proche de ses \u00abfr\u00e8res humains\u00bb, dont la condition est aujourd&#8217;hui celle d&#8217;\u00eatres en proie \u00e0 la finitude. Pour dire cette commune d\u00e9r\u00e9liction, la parole po\u00e9tique doit se prononcer au plus pr\u00e8s du silence, dans un \u00e9quilibre fragile entre pr\u00e9sence et absence. L&#8217;auteur analyse quelques po\u00e8mes de Tardieu dans la tentative de cerner au plus pr\u00e8s cet \u00e9tat l\u00e9ger de la parole, d\u00e9fini comme un lyrisme \u00abfeutr\u00e9\u00bb.<\/p>\n<p><strong>Lilian Pestre De Almeida<\/strong>,\u00a0<em>Le premier jardin<\/em>: m\u00e9moire collective et m\u00e9moire individuelle dans le roman d\u2019Anne H\u00e9bert<br \/>\nAnalyse du roman d&#8217;Anne Hebert,\u00a0<em>Le Premier jardin<\/em>, du point de vue de la m\u00e9moire et de la po\u00e9tique du r\u00e9cit. La reconstitution du pass\u00e9 se fait \u00e0 travers les personnages f\u00e9minins gr\u00e2ce au jeu th\u00e9\u00e2tral incorporant diff\u00e9rents micro-r\u00e9cits ench\u00e2ss\u00e9s dans le macro-r\u00e9cit et transformant le sch\u00e9ma masculin de la filiation en une s\u00e9rie synchronique de descendance. Dans le texte, l&#8217;\u00e9pisode des bonnes de\u00a0la Grande-All\u00e9e\u00a0constitue un souvenir \u00e9cran qui fait la transition de la m\u00e9moire collective \u00e0 la m\u00e9moire individuelle. Enfin, l&#8217;analyse revient aux probl\u00e8mes du roman d\u00e9gageant certains aspects de la po\u00e9tique h\u00e9bertienne, en particulier l&#8217;instabilit\u00e9 de la voix narrative et les diff\u00e9rents sens du titre.<\/p>\n<p><strong>Marianne Gasperoni<\/strong>, <strong>Sabina Maffei<\/strong>,\u00a0Considerazioni sul manoscritto F.Fr. 688 della Biblioteca Nazionale di Parigi: l\u2019<em>Ystoire<\/em> <em>Romane<\/em> e l\u2019<em>Ystoire<\/em> <em>de li Longobart<\/em> di Paolo Diacono<br \/>\nLe Manuscrit f. fr.\u00a0688 de\u00a0la Biblioth\u00e8que Nationale\u00a0de Paris contient cinq textes historiques traduits en ancien fran\u00e7ais:\u00a0laChronique\u00a0par Isidore, l\u2019<em>Histoire Romane<\/em>\u00a0par Paul Diacre, l\u2019<em>Histoire de li Longobart<\/em>\u00a0par Paul Diacre, l\u2019<em>Histoire de li Normant<\/em>\u00a0par Aim\u00e9 de Mont Cassin et l\u2019<em>Historia Sicula<\/em>\u00a0par l&#8217;Anonyme Vatican. L&#8217;\u00e9dition critique des deux \u0153uvres de Paul Diacre a permis de dater le manuscrit \u00e0 l&#8217;ann\u00e9e 1343. On a identifi\u00e9 au moins trois interpolateurs qui ont contribu\u00e9 \u00e0 la formation des deux textes tels qu&#8217;ils nous sont parvenus. L&#8217;analyse linguistique a confirm\u00e9 que le traducteur et le commettant de l&#8217;\u0153uvre proviennent du Sud de l&#8217;Italie.<\/p>\n<\/div><\/div><\/div><div class=\"fusion-text fusion-text-4\"><h2>Notes et commentaires\/Note e rassegne<\/h2>\n<p><strong>Farid Laroussi<\/strong>,\u00a0L\u2019inversion dans<em> Sodome et Gomorrhe<\/em> de Proust: un\u00a0discours en trompe l\u2019\u0153il<\/p>\n<p><strong>Adebayo Toyo<\/strong>,\u00a0Carnavalisation et dialogisme dans <em>Les Soleils des ind\u00e9pendances<\/em> d\u2019Ahmadou Kourouma<\/p>\n<p><strong>Fiammetta Fiorini<\/strong>,\u00a0Un mito epistolare: le lettere di Camille Desmoulins\u00a0a Lucile Duplessis<\/p>\n<h2>Comptes rendus\/Recensioni<\/h2>\n<p><strong>G. De Piaggi<\/strong>,\u00a0<em>La conqu<\/em>\u00ea<em>te de l\u2019\u00e9criture ou une saison d\u2019\u00e9criture narrative au f\u00e9minin: les ann\u00e9es 70\u00a0<\/em>(Paola Olivi)<\/p>\n<p><strong>C. Fratta<\/strong>,\u00a0<em>Appunti sulla narrativa del Canada francofono\u00a0<\/em>(Paola Ruggeri)<\/p>\n<p><strong>A. Marchetti<\/strong> (a cura di),\u00a0<em>L\u2019Androgino. Invenzioni sul mito\u00a0<\/em>(Davide Monda)<\/p>\n<p><strong>H. Godard<\/strong>,\u00a0<em>D\u2019un Giono l\u2019autre\u00a0<\/em>(Gianni Poli)<\/p>\n<p><strong>M. Heintze<\/strong>,\u00a0<em>K<\/em>\u00f6<em>nig<\/em>,\u00a0<em>Held und Sippe. Untersuchungen zur Chanson de\u00a0geste des 13. und 14. Jahrhunderts und ihrer Zyklenbildung<\/em>\u00a0(Gian Gabriella Buti)<\/p>\n<p><strong>A. M. Babbi<\/strong> (a cura di),\u00a0<em>Le roman du Chastelain de Coucy et de la dame<\/em><em>de Fayel\u00a0<\/em>(Lucia Bettetini)<\/p>\n<h2>Notes de lecture\/Pubblicazioni ricevute e schede<\/h2>\n<h2>Actualit\u00e9s\/Notiziario<\/h2>\n<p>Pubblicato con\u00a0contributi del Ministero dell\u2019Universit\u00e0 e della Ricerca Scientifica e Tecnologica, e dell\u2019Universit\u00e0 di Bologna. Lavori eseguiti con un contributo del C.N.R.<\/p>\n<\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"<h3 style=\"text-align: center;\" data-fontsize=\"34\" data-lineheight=\"47\"><em><strong>Num\u00e9ro libre<\/strong><\/em><em><strong><sup><\/sup><\/strong><\/em><\/h3>\n","protected":false},"author":2,"featured_media":1357,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1160","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rivista"],"_links":{"self":[{"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/posts\/1160","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/comments?post=1160"}],"version-history":[{"count":11,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/posts\/1160\/revisions"}],"predecessor-version":[{"id":1874,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/posts\/1160\/revisions\/1874"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/media\/1357"}],"wp:attachment":[{"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/media?parent=1160"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/categories?post=1160"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/tags?post=1160"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}