Review of «Hors toute intimidation». Panurge ou la parole singulière

Review | Contributor(s): Guy Demerson

Review of Le vif du sens. Corps et poésie selon Maurice Scève

Review | Contributor(s): François Rigolot

Review of Espaces de l’image

Review | Contributor(s): Yvonne Bellenger

Review of Pindare avant Ronsard. De l’émergence du grec à la publication des Quatre Premiers livres des Odes de Ronsard

Review | Contributor(s): Stephen Murphy

Review of L’imaginaire cosmologique de Ronsard

Review | Contributor(s): Cécile Alduy

Review of La Franciade sur le métier. Ronsard et la pratique du poème héroïque

Review | Contributor(s): Jan Miernowski

Review of Cornélie, tragédie

Review | Contributor(s): Madeleine Lazard

Review of Jean-Baptiste Chassignet. Actes du colloque du Centre Jacques-Petit, Besançon (4, 5 et 6 mai 1999)

Review | Contributor(s): Catherine Grisé

Review of Les Facétieuses Journées

Review | Contributor(s): François Rigolot

Review of Mangeurs d’homme et mangeurs d’âme. Une correspondance missionnaire au XVIe, la lettre jésuite du Brésil, 1549-1568

Review | Contributor(s): Denis Bjaï

Review of Les singularités de la France Équinoxiale. Histoire de la mission des pères capucins au Brésil (1612-1615)

Review | Contributor(s): Denis Bjaï

Review of The Jesuits and the Thirty Years’ War: Kings, Courts, and Confessors

Review | Contributor(s): Andrew A. Chibi

Avant-Propos

Article | Contributor(s): Olga Anna Duhl

Introduction

Article | Contributor(s): Olga Anna Duhl

Comédies bibliques, comédies profanes de Marguerite de Navarre: deux faces d'un Janus évangélique

Article | Contributor(s): Régine Reynolds-Cornell

This essay establishes a parallel between Marguerite de Navarre’s four biblical plays and those four secular plays (labeled as “comedies”) that were written between 1535 and 1547. It is suggested that the aim of both tetralogies was to proselytize: not only do their themes clearly blend together,...

«Vrayment voicy de plaisans fous»: la folie dans le théâtre profane de Marguerite de Navarre

Article | Contributor(s): Barbara Marczuk

This study shows that the dialectics of wisdom and folly, which owes a great deal to the relativization of reason in Renaissance culture, undergoes an original development in Marguerite de Navarre’s “secular” theater. While in these plays Marguerite uses figures of folly which inscribe themselves...

Marguerite de Navarre et le mystère médiéval

Article | Contributor(s): Charles Mazouer

This article examines the relationship between Marguerite de Navarre’s biblical plays and the genre of the fifteenth- and sixteenth-century medieval mystery play by focusing on three dramatic elements: staging, characters, and language. While, with respect to staging, Marguerite recaptures the...

L'allégorie théâtrale au début du XVIe siècle: le cas des pièces «profanes» de Marguerite de Navarre

Article | Contributor(s): Jelle Koopmans

In the sixteenth century, allegory was old, but allegorical drama was relatively new. This is both a hermeneutical and a stylistic phenomenon that has not yet led to re-consideration of Marguerite de Navarre’s “secular” plays. These works are generally considered atypical, in the sense that she...

Témoignage de l'actualité médicale du temps: Le Mallade de Marguerite de Navarre (c. 1535)

Article | Contributor(s): Colette H. Winn

Written around 1535, Le Mallade bears witness, as V.-L. Saulnier puts it, to Marguerite de Navarre’s effort to reconcile the official Church dogma with the new Evangelical faith following the Affaire des Placards. But in addition to its documentary value for France’s religious history, this play...

La place de La comédie des quatre femmes de Marguerite de Navarre (1542) dans le discours sur le célibat volontaire comme modèle de félicité de l'Arioste à Gabrielle Suchon

Article | Contributor(s): Brenda Dunn-Lardeau

In the Comedy for Four Women (1542), Marguerite de Navarre presents a dialogue among five female protagonists who express the delights and the torments that stem from the love of their suitors or husbands. This is true for all except the First Girl, who does not want to have anything to do with...