{"id":1165,"date":"1995-10-10T19:40:33","date_gmt":"1995-10-10T18:40:33","guid":{"rendered":"http:\/\/www.lilec.it\/francofonia\/?p=1165"},"modified":"2017-03-29T12:42:53","modified_gmt":"2017-03-29T10:42:53","slug":"29-1995","status":"publish","type":"post","link":"http:\/\/www.lilec.it\/francofonia\/29-1995\/","title":{"rendered":"29 Automne \/ Autunno 1995"},"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\">29<\/div><\/div><\/div><\/div><\/strong><strong>Automne \/\u00a0<\/strong><strong>Autunno 1995<\/strong><\/h2>\n<p style=\"text-align: left;\"><a href=\"http:\/\/www.jstor.org\/stable\/i40116676\" 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\/i40116676\" target=\"_blank\">Lire ce num\u00e9ro sur JSTOR<\/a><br \/>\n<a href=\"http:\/\/www.jstor.org\/stable\/i40116676\" 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-a78ab4043cc97651a64\" aria-selected=\"true\" id=\"fusion-tab-articles\" href=\"#tab-a78ab4043cc97651a64\"><h4 class=\"fusion-tab-heading\">Articles<\/h4><\/a><\/li><li role=\"presentation\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-87bee54d6275797fbb8\" aria-selected=\"false\" tabindex=\"-1\" id=\"fusion-tab-r\u00e9sum\u00e9s\" href=\"#tab-87bee54d6275797fbb8\"><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-a78ab4043cc97651a64\" aria-selected=\"true\" id=\"mobile-fusion-tab-articles\" href=\"#tab-a78ab4043cc97651a64\"><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-a78ab4043cc97651a64\">\n<p><strong>Andr\u00e9 Siganos<\/strong>,\u00a0Mythe et \u00e9criture: la nostalgie de l\u2019archa\u00efque<\/p>\n<p><strong>Francesco Benozzo<\/strong>,\u00a0<em>Fenomenologia dell\u2019originale <\/em>di un romanzo cortese: la situazione manoscritta del<em> Tristan et Lancelot<\/em><\/p>\n<p><strong>Paolo Budini<\/strong>,\u00a0Le th\u00e8me du gaspillage dans<em> Les Fleurs du mal <\/em>de 1857<\/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-87bee54d6275797fbb8\" aria-selected=\"false\" tabindex=\"-1\" id=\"mobile-fusion-tab-r\u00e9sum\u00e9s\" href=\"#tab-87bee54d6275797fbb8\"><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-87bee54d6275797fbb8\">\n<p><strong>Andr\u00e9 Siganos<\/strong>,\u00a0Mythe et \u00e9criture: la nostalgie de l\u2019archa\u00efque<br \/>\nEn partant des r\u00e9sultats les plus r\u00e9cents des recherches men\u00e9es dans le domaine de la mytho-analyse et de la mythocritique, l&#8217;auteur de cet article s&#8217;interroge sur un aspect particulier de l&#8217;\u00e9criture qui traduit le mythe dans son passage hypoth\u00e9tique \u00e0 la litt\u00e9rature. L&#8217;analyse de quelques syntagmes minimaux pose la question d&#8217;une \u00ab\u00e9criture archa\u00efque\u00bb.<\/p>\n<p><strong>Francesco Benozzo<\/strong>,\u00a0<em>Fenomenologia dell\u2019originale <\/em>di un romanzo cortese: la situazione manoscritta del<em> Tristan et Lancelot<br \/>\n<\/em>Le\u00a0<em>Tristan et Lancelot<\/em>\u00a0de Pierre Sala est un roman arthurien \u00e9crit au commencement du\u00a0XVIe\u00a0si\u00e8cle et conserv\u00e9 dans deux mss. L&#8217;analyse graph\u00e9matique, variantistique, microstylistique et linguistique permet d&#8217;inclure la situation manuscrite de l&#8217;\u0153uvre dans le domaine de la \u00abphilologie de l&#8217;original\u00bb, qui \u00e0 \u00e9t\u00e9 \u00e9tudi\u00e9e et exp\u00e9riment\u00e9e en particulier par l&#8217;ecdotique italienne de l&#8217;apr\u00e8s-guerre. L&#8217;article, qui r\u00e9sume aussi les principes de la nouvelle \u00e9dition du roman, repr\u00e9sente donc une \u00e9tude de \u00abphilologie arthurienne d&#8217;auteur\u00bb sur un exemple important de roman breton de\u00a0la Renaissance.<\/p>\n<p><strong>Paolo Budini<\/strong>,\u00a0Le th\u00e8me du gaspillage dans<em> Les Fleurs du mal <\/em>de 1857<br \/>\nDans\u00a0<em>Les Fleurs du mal<\/em>\u00a0de 1857 &#8211; notamment dans la deuxi\u00e8me section,\u00a0<em>Fleurs du mal<\/em>,\u00a0telle qu&#8217;elle \u00e9tait dans cette premi\u00e8re \u00e9dition &#8211; le lecteur est frapp\u00e9 par la fr\u00e9quence imposante d&#8217;images dont l&#8217;\u00e9l\u00e9ment dominant est le sang qui coule et se disperse: ce sont des images qui se th\u00e9matisent en une perte d&#8217;\u00e9nergie vitale, en une dissipation, que l\u2019on est tent\u00e9 de d\u00e9finir\u00a0<em>gaspillage<\/em>,bien que ce terme, appartenant au champ s\u00e9mantique de l&#8217;\u00e9conomie, ne fasse pas partie du lexique baudelairien.<\/p>\n<\/div><\/div><\/div><div class=\"fusion-text fusion-text-4\"><h2>Notes et commentaires\/Note e rassegne<\/h2>\n<p><strong>Antoine Fongaro<\/strong>,\u00a0Traduire la po\u00e9sie (domaine franco-italien)<\/p>\n<p><strong>Heinz Kl\u00fcppenholz<\/strong>,\u00a0L\u2019Odyss\u00e9e de la guerre ou<em> Les Pr\u00e9tendants <\/em>de\u00a0Charles Bertin<\/p>\n<p><strong>Rossella Cirelli<\/strong>,\u00a0L\u2019io femminile e il suo doppio:<em> Indiana <\/em>di George\u00a0Sand e<em> Die Schwestern <\/em>di Annette von Droste-H\u00fclshoff<\/p>\n<h2>Comptes rendus\/Recensioni<\/h2>\n<p><strong>R. Roussel<\/strong>,\u00a0<em>Comment\u00a0<\/em>j<em>\u2019ai \u00e9crit certains de mes livres\u00a0<\/em>(Gianni Poli)<\/p>\n<p><strong>A. Artaud<\/strong>,\u00a0<em>\u0152uvres compl\u00e8tes<\/em><em>,\u00a0<\/em>vol. XXVI (Gianni Poli)<\/p>\n<p><strong>M. Kundera<\/strong>,\u00a0<em>Les testaments trahis\u00a0<\/em>(Simona Mambrini)<\/p>\n<p><strong>C. Beyal<\/strong>a,\u00a0<em>Ass\u00e8ze l\u2019Africaine\u00a0<\/em>(Jacques Chevrier)<\/p>\n<p><em>Dalla Tragedia Rinascimentale alla Tragicommedia Barocca\u00a0<\/em>(Davide Monda)<\/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 della Ricerca Scientifica e Tecnologica, e dell&#8217;Universit\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":1356,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1165","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\/1165","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=1165"}],"version-history":[{"count":9,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/posts\/1165\/revisions"}],"predecessor-version":[{"id":1875,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/posts\/1165\/revisions\/1875"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/media\/1356"}],"wp:attachment":[{"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/media?parent=1165"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/categories?post=1165"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/tags?post=1165"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}