Un silence assourdissant à la césure : les guerres larvées de l’e caduc entre oedipiens, misogynes et glottophobes
Widely studied from the "natural" perspective of a generational tabula rasa, the formalist shift in poetic technique known as the abolition of the coupe feminine, which occurred around 1515, is a thorny issue much more complicated than it would first appear. This formal silence, imposed up...
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| Format: | Electronic Article |
| Language: | French |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Iter Press
2019
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| In: |
Renaissance and reformation
Year: 2019, Volume: 42, Issue: 1, Pages: 17-40 |
| IxTheo Classification: | CD Christianity and Culture KAG Church history 1500-1648; Reformation; humanism; Renaissance KBG France NBE Anthropology |
| Online Access: |
Volltext (kostenfrei) Volltext (lizenzpflichtig) |
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| 520 | |a Widely studied from the "natural" perspective of a generational tabula rasa, the formalist shift in poetic technique known as the abolition of the coupe feminine, which occurred around 1515, is a thorny issue much more complicated than it would first appear. This formal silence, imposed upon the caesura by young poets (Marot) and older ones (Lemaire) alike, caused a sensation once wielded as a misogynist spearhead against a more insidiously authoritarian linguistic normalization. Beyond the false debate around modernity that re-enacts an older one, and beyond the debate, conducted in misogynist terms, that incongruously literalizes a highly technical issue, the last flickers of "epic" and "lyrical" coupes would seem also to need to conceal the dissidence of phonological, regional specificity against the centralist francisation of the "poetic thing," under the influence of a new unanimity at the Court of Valois that discretely—and unusually—opposes order to reactionary rebellion. | ||
| 520 | |a Largement étudié sous l'angle « naturel » d'une tabula rasa générationnelle, le changement technique, voire formaliste, connu comme « l'abolition de la coupe féminine » vers 1515 est un nœud conflictuel bien plus sinueux qu'il n'y paraît de prime aborde. Ce silence formel, imposé à la césure par de jeunes poètes (Marot) et de moins jeunes (Lemaire), fit grand bruit une fois brandi comme fer de lance misogyne contre une mise aux normes liguistique plus insidieusement autoritaire. Outre le faux débat de la modernité qui en rejoue un plus ancien, outre celui de la misogynie qui littéralise incongrûment une affaire des plus techniques, les derniers feux des coupes « épique » et « lyrique » semblent aussi devoir masquer la dissidence d'une spécificité phonétique régionale contre la francisation centraliste de la chose poétique, sous l'effet d'un nouvel unanimisme de cour qui, discrètement, oppose comme rarement l'ordre à une rébellion réactionnaire. | ||
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