Fonctions de l’écriture emblématique chez Rabelais

Rigolot, François; Sider, Sandra

doi:10.1353/esp.1988.0004

Cited by 3 publications

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“…62 According to François Rigolot, "what Du Bellay really advocates is an art of active mistranslation, one that shall deny exemplary foreign models their claim to a timeless, monopolistic, and unchanging plentitude." 63 Rigolot argues that Du Bellay's imitation theory endorses not just linguistic distance, but an epistemological distance reflected in deliberate mistranslation. Notably, in his chapter "Du long poëme francoys," which expresses the desire for an epic composed in French, Du Bellay's models are, of course, Homer and Virgil; but he also cites the Ferrarese poet Ludovico Ariosto (1474-1533), whose vernacular romance epic Orlando furioso (final edition 1532, French translation 1544) served as an Italian example of what could be achieved in France.…”

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Penelope’s Web: Francesco Primaticcio’s Epic Revision at Fontainebleau^*

Fiorenza¹

2006

Renaiss. Q.

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Francesco Primaticcio designed his celebrated Galerie d’Ulysse at Fontainebleau (now destroyed) at a time when the epic genre was being updated and redefined. One of the most popular scenes from the gallery, Ulysses and Penelope recounting their adventures to one another in bed (from book 23 of theOdyssey),was adapted and revised in an independent composition by Primaticcio himself:Ulysses and Penelope(Toledo Museum of Art, ca. 1560). In contrast to the Fontainebleau mural, the artist’s self-conscious, refined pictorial language for his canvas converts epic energy into lyric sentimentality. As a result, Penelope becomes the central focus of the new composition. Through the language of gesture the painting stresses such themes as beauty and desire, and further employs such prized poetic devices as reversal (peripeteia) and recognition (anagnorisis). By responding to the formal prescriptions of both the epic and romance genres, Primaticcio exploits the expressive and visual potential of the Homeric episode in an utterly novel way. The painting opens up questions into ways of reading, viewing, and interpreting mythic subject matter in sixteenth-century France.

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