The purpose of this article is to analyze the significance of a special space, which has a particular meaning in Tahar Ben Jelloun＇s work： the public square of Jemaa el-Fnaa, Marrakesh＇s Medina Quarter. For Tahar B...The purpose of this article is to analyze the significance of a special space, which has a particular meaning in Tahar Ben Jelloun＇s work： the public square of Jemaa el-Fnaa, Marrakesh＇s Medina Quarter. For Tahar Ben Jelloun, the well-known French Maghrebian writer, the process of writing begins with the emergence of creative evidence in speech. It is the matrix of his writing. Thus, an oral perspective is sketched out, a whole game of fleeting narratives told in the public square. This space is an ideal one that draws its elements from orality and contributes to the preservation of traditional knowledge and the implementation of common values participating in a collective memory. How does Ben Jelloun seize the voices that already exist in the real Public Square in order to engage them in his narrative？ A closer examination of the text enables us to unpick the process of Ben Jelloun＇s narrative strategies. In the public square, the picture that emerges is that two essential elements reveal the organization of the narrative： the cultural source and the literary source.展开更多
Based on original archival and codicological research, this paper in- vestigates the transformations and negotiations between manuscript and printed versions of fifteenth-century poetry through the specific example of...Based on original archival and codicological research, this paper in- vestigates the transformations and negotiations between manuscript and printed versions of fifteenth-century poetry through the specific example of one surprisingly complex debate poem, Le Songe de la Pucelle （The Dream of the Virgin）. Our debate relates the choice that a female narrator must make between the respective appeals of two personifications, Love and Shame, who appear to her in a dream- vision. The manuscript tradition invariably collects the poem with other fifteenth- century debates and moral texts, while the early printed copies tended to have experienced a prior separate circulation and often remain as monotextual pamphlets. Manuscript and printed copies of the same poem seem, then, to target different audiences. My paper investigates this curious divergence in the transmission pattern of the manuscript and printed versions of the Songe and seeks possible answers in the very different sets of images accompanying the text in manuscript and printed versions.展开更多
文摘The purpose of this article is to analyze the significance of a special space, which has a particular meaning in Tahar Ben Jelloun＇s work： the public square of Jemaa el-Fnaa, Marrakesh＇s Medina Quarter. For Tahar Ben Jelloun, the well-known French Maghrebian writer, the process of writing begins with the emergence of creative evidence in speech. It is the matrix of his writing. Thus, an oral perspective is sketched out, a whole game of fleeting narratives told in the public square. This space is an ideal one that draws its elements from orality and contributes to the preservation of traditional knowledge and the implementation of common values participating in a collective memory. How does Ben Jelloun seize the voices that already exist in the real Public Square in order to engage them in his narrative？ A closer examination of the text enables us to unpick the process of Ben Jelloun＇s narrative strategies. In the public square, the picture that emerges is that two essential elements reveal the organization of the narrative： the cultural source and the literary source.
文摘Based on original archival and codicological research, this paper in- vestigates the transformations and negotiations between manuscript and printed versions of fifteenth-century poetry through the specific example of one surprisingly complex debate poem, Le Songe de la Pucelle （The Dream of the Virgin）. Our debate relates the choice that a female narrator must make between the respective appeals of two personifications, Love and Shame, who appear to her in a dream- vision. The manuscript tradition invariably collects the poem with other fifteenth- century debates and moral texts, while the early printed copies tended to have experienced a prior separate circulation and often remain as monotextual pamphlets. Manuscript and printed copies of the same poem seem, then, to target different audiences. My paper investigates this curious divergence in the transmission pattern of the manuscript and printed versions of the Songe and seeks possible answers in the very different sets of images accompanying the text in manuscript and printed versions.
