서브메뉴
검색
The "Histoire Comique": At the Crossroads of Theater and the Novel
The "Histoire Comique": At the Crossroads of Theater and the Novel
상세정보
- 자료유형
- 학위논문 서양
- 최종처리일시
- 20260202105131
- ISBN
- 9798291553138
- DDC
- 840
- 서명/저자
- The Histoire Comique: At the Crossroads of Theater and the Novel
- 발행사항
- [Sl] : The University of Wisconsin - Madison, 2025
- 발행사항
- Ann Arbor : ProQuest Dissertations & Theses, 2025
- 형태사항
- 231 p
- 주기사항
- Source: Dissertations Abstracts International, Volume: 87-02, Section: A.
- 주기사항
- Advisor: Debaisieux, Martine.
- 학위논문주기
- Thesis (Ph.D.)--The University of Wisconsin - Madison, 2025.
- 초록/해제
- 요약This dissertation focuses on the connections between the "histoire comique," a marginal narrative genre in seventeenth-century France, and the theater. It examines this relation from the genre's inception in 1623, with Sorel's Histoire comique de Francion, through to the genre's final manifestations in Furetiere's Roman bourgeois (1666) and Dassoucy's Avantures de Monsieur Dassoucy (1677). Going beyond previous analyses that only account for scattered references to theatrical culture in individual histoire comiques, this study envisions a more organic, ambivalent and fundamental interconnection between the evolving domains of theater and the novel in the baroque period. In addition to shedding new light on both familiar and lesser known histoires comiques, this study contributes to a better understanding of the "comique" and the "theatrical" in the seventeenth-century. It also confronts and nuances the claims of theorists and literary critics including Bakhtin, Foucault, Genette, Rousset and Sarduy about baroque literature and aesthetics.Chapter 1 analyzes the 1623 edition of Francion. Close readings of several emblematic episodes reveal how the carnivalesque tropes and imagery present throughout the novel are transformed and alienated from their original meaning by a subtle theatrical logic that informs Francion's aesthetic strategies and narrative structure. Chapter 2 focuses on histoires comiques from the genre's middle period, including Sorel's Le Berger extravagant (1627), Du Verdier's Le Chevalier hypocondriaque (1632) and Claireville's Le Gascon extravagant (1637). These "antinovels" use their "extravagant" protagonists, afflicted by a theatrical strain of "folie romanesque", to parody traditional forms of the novel; they also engage in a constructive project aimed at creating a "vraisemblable" alternative to outmoded narrative genres, in part by emulating contemporary theatrical conventions. Chapter 3 deals with Le Roman bourgeois and Les Avantures de Monsieur Dassoucy. Whereas earlier histoire comiques exploit the ambivalence of literary conventions and generic categories during the baroque era, these novels react to the more rigid, normative culture of classicism, in which theater and theatricality are central to social and aesthetic norms. This dissertation concludes with a brief analysis of Ariane Mnouchkine's Moliere (1978) and Eric Rohmer's Les Amours d'Astree et de Celadon (2007), which shows how essential elements of baroque aesthetics, as they relate to theatricality, find resonance in the cinema.
- 일반주제명
- French literature
- 일반주제명
- Theater history
- 일반주제명
- Aesthetics
- 일반주제명
- Film studies
- 키워드
- Sorel, Charles
- 키워드
- Bakhtin, Mikhail
- 키워드
- Theatricality
- 기타저자
- The University of Wisconsin - Madison French
- 기본자료저록
- Dissertations Abstracts International. 87-02A.
- 전자적 위치 및 접속
- 로그인 후 원문을 볼 수 있습니다.
MARC
008260126s2025 us c eng d■001000017359518
■00520260202105131
■006m o d
■007cr#unu||||||||
■020 ▼a9798291553138
■035 ▼a(MiAaPQ)AAI32239230
■040 ▼aMiAaPQ▼cMiAaPQ
■0820 ▼a840
■1001 ▼aTaylor, Alexander R.
■24510▼aThe "Histoire Comique": At the Crossroads of Theater and the Novel
■260 ▼a[Sl]▼bThe University of Wisconsin - Madison▼c2025
■260 1▼aAnn Arbor▼bProQuest Dissertations & Theses▼c2025
■300 ▼a231 p
■500 ▼aSource: Dissertations Abstracts International, Volume: 87-02, Section: A.
■500 ▼aAdvisor: Debaisieux, Martine.
■5021 ▼aThesis (Ph.D.)--The University of Wisconsin - Madison, 2025.
■520 ▼aThis dissertation focuses on the connections between the "histoire comique," a marginal narrative genre in seventeenth-century France, and the theater. It examines this relation from the genre's inception in 1623, with Sorel's Histoire comique de Francion, through to the genre's final manifestations in Furetiere's Roman bourgeois (1666) and Dassoucy's Avantures de Monsieur Dassoucy (1677). Going beyond previous analyses that only account for scattered references to theatrical culture in individual histoire comiques, this study envisions a more organic, ambivalent and fundamental interconnection between the evolving domains of theater and the novel in the baroque period. In addition to shedding new light on both familiar and lesser known histoires comiques, this study contributes to a better understanding of the "comique" and the "theatrical" in the seventeenth-century. It also confronts and nuances the claims of theorists and literary critics including Bakhtin, Foucault, Genette, Rousset and Sarduy about baroque literature and aesthetics.Chapter 1 analyzes the 1623 edition of Francion. Close readings of several emblematic episodes reveal how the carnivalesque tropes and imagery present throughout the novel are transformed and alienated from their original meaning by a subtle theatrical logic that informs Francion's aesthetic strategies and narrative structure. Chapter 2 focuses on histoires comiques from the genre's middle period, including Sorel's Le Berger extravagant (1627), Du Verdier's Le Chevalier hypocondriaque (1632) and Claireville's Le Gascon extravagant (1637). These "antinovels" use their "extravagant" protagonists, afflicted by a theatrical strain of "folie romanesque", to parody traditional forms of the novel; they also engage in a constructive project aimed at creating a "vraisemblable" alternative to outmoded narrative genres, in part by emulating contemporary theatrical conventions. Chapter 3 deals with Le Roman bourgeois and Les Avantures de Monsieur Dassoucy. Whereas earlier histoire comiques exploit the ambivalence of literary conventions and generic categories during the baroque era, these novels react to the more rigid, normative culture of classicism, in which theater and theatricality are central to social and aesthetic norms. This dissertation concludes with a brief analysis of Ariane Mnouchkine's Moliere (1978) and Eric Rohmer's Les Amours d'Astree et de Celadon (2007), which shows how essential elements of baroque aesthetics, as they relate to theatricality, find resonance in the cinema.
■590 ▼aSchool code: 0262.
■650 4▼aFrench literature
■650 4▼aTheater history
■650 4▼aAesthetics
■650 4▼aFilm studies
■653 ▼aFuretiere, Antoine
■653 ▼aBaroque literature
■653 ▼aSorel, Charles
■653 ▼aHistoires comiques
■653 ▼aBakhtin, Mikhail
■653 ▼aTheatricality
■690 ▼a0205
■690 ▼a0900
■690 ▼a0644
■690 ▼a0650
■71020▼aThe University of Wisconsin - Madison▼bFrench.
■7730 ▼tDissertations Abstracts International▼g87-02A.
■790 ▼a0262
■791 ▼aPh.D.
■792 ▼a2025
■793 ▼aEnglish
■85640▼uhttp://www.riss.kr/pdu/ddodLink.do?id=T17359518▼nKERIS▼z이 자료의 원문은 한국교육학술정보원에서 제공합니다.
