https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=546 Shakespeare en devenir N°5 — 2011 fr mar., 22 nov. 2011 13:43:30 +0100 jeu., 10 févr. 2022 03:53:04 +0100 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=546 0 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=555 Auteur à la biographie encore inconnue, Giovanfrancesco Straparola (1480 ? - 1557 ?) est à l’origine d’un recueil de contes et énigmes, Le piacevoli notti, publié à Venise en 1551 et 1553, dans lequel la rhétorique se décline en deux modalités discursives essentielles : le secret et la révélation. Celles-ci sont dictées par une pluralité d’enjeux et engendrent une violence multiforme, reflet de la période historique à laquelle l’œuvre est liée, caractérisée par les guerres d’Italie et la Contre-Réforme. Dans les deux composantes narratives, différentes et complémentaires à la fois, que sont le conte et l’énigme, secret et révélation se traduisent par un « arsenal » de techniques argumentatives s’étendant de la fiction à la dramaturgie carnavalesque, en passant par l’absurde, l’analogie, l’argomentum et l’exemplification. En faisant du « forcer-à-dire » et du « forcer-à-taire » les vecteurs d’une éloquence sacrée, Straparola parvient à éviter les fourches caudines de l’Inquisition. Nul doute que par l’habileté dont il fait preuve dans le maniement de l’ars dicendi il soit parvenu à atteindre la principale finalité de celui-ci, convaincre, faisant ainsi des Piacevoli notti un succès éditorial. Giovan Francesco Straparola (1480? 1557?) whose biography remains unknown is the author of a collection of tales and riddles, Le piacevoli notti, published in Venice in 1551 and 1553, in which  the rhetoric is based on two main discursive elements: secret and revelation. These are established by many stakes and engender a multiform violence, reflecting the historical period to which the masterpiece belongs, that is to say the Wars of Italy and the Counter-Reformation. In both narrative elements, that is, tales and riddles – that are different and complementary at the same time –, secret and revelation use an ‘arsenal’ of argumentative techniques from fiction to playwriting carnival, going through the absurd, analogy, argumentum and exemplification. Using ‘force to say’ and ‘force to conceal’ as the conveyances of a sacred eloquence, the author manages to avoid the yoke of the Inquisition. Straparola is undoubtedly a master in the use of the ‘ars dicendi’ and as such he has reached its main goal: to convince and has thus made of the Piacevoli notti a publishing success. jeu., 22 déc. 2011 10:08:13 +0100 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=555 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=560 L’enjeu de cette contribution est d’étudier l’expression de la violence sur la scène des collèges jésuites à travers les Tragoediae seu diversarum gentium et imperiorum magni principes (Tragédies ou les grands princes de divers peuples et empires), corpus de quatre tragédies écrites par le Père Petrus Mussonius (Pierre Mousson), intitulées Pompeius Magnus (Pompée le Grand), Croesus liberatus (Crésus délivré), Cyrus punitus (Cyrus puni) et Darius proditus (Darius trahi), et publiées en 1621. Présente dans les intrigues empruntées à l’histoire antique païenne, la violence s’exprime certes par le verbe, en un flot de mots comme en des stichomythies lapidaires, injures, métaphores saisissantes, sons inarticulés suscitant la mimique, mais elle trouve aussi sa présence physique et matérielle sur scène, en des personnages incarnés par des collégiens devant leurs camarades, leurs familles ainsi que le public de la cité et ses notables. Elle s’affirme par la représentation de la mort sur scène : cadavre mutilé exhibé, tête objet de violence, mais aussi sujet agressant ses bourreaux. Cette utilisation faite, dans ce cadre pédagogique, de scènes sanglantes relève d’une esthétique de l’ostentation qui fait écho au théâtre de la cruauté et au théâtre baroque, tout en répondant au goût du public, malgré certaines recommandations littéraires et religieuses. This article studies the expression of violence on the stage of the Jesuit colleges through Tragoediae seu diversarum gentium et imperiorum magni principes, entitled Pompeius Magnus, Croesus liberatus, Cyrus punitus and Darius proditus, and published in 1621. In these intrigues, borrowed from pagan ancient history, violence is certainly expressed in floods of words as in concise stage directions, insults, gripping metaphors, inarticulate sounds and mimicry, but it is physically and materially performed on stage by characters, by students before their fellows, families, the public of the city and leading citizens. It is intensified by the representation of death on stage : mutilated and displayed corpses, heads both as objects of violence and as assailants of their torturers. These bloody scenes in the Jesuit theatre refer to the aesthetics of ostentation, the theatre of cruelty and the baroque stage ; they correspond to the taste of the audience, in spite of some literary and religious recommendations. mar., 03 janv. 2012 16:57:20 +0100 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=560 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=557 Shakespeare’s work long antedates the initial influx of Eastern European legends about vampires into Western Europe in the eighteenth century. In Coriolanus, however, Shakespeare does present violence, including the verbal or emotional violence of scorn and insult, as a kind of narcissistic feeding upon others. Using metaphors drawn from politics and economics, as well as hunting and the consumption of food, Shakespeare foregrounds the opposition between two very different forms of interpersonal relatedness: healthy narcissism, represented by the Roman marketplace, and unhealthy narcissism or “pride,” symbolized by the “lonely dragon,” Coriolanus. Pride aims at self-sufficient, one-sided control over one’s own self-esteem, independent of the opinions of others. Healthy narcissism is in contrast a reciprocal, voluntary sharing of the burden of self-esteem regulation. The contempt that is so characteristic of Coriolanus, including outright violence, is in other words a maladaptive form of self-validation, forcing others to metabolize his own disavowed shame, rather than suffer it himself, or else plead for consolation. Drawing upon Aristotle’s definition of hubris, as well as Demosthenes’ forensic oratory, I then explain that the ancient Greeks developed a very precise category for such behavior. The term hubris, often thought to mean simply presumption or arrogance, in fact does not refer to a state of mind at all, but instead to a type of action: “outrageous” conduct designed to humiliate someone else. Shakespeare represents this kind of hubris in Coriolanus as a cannibalistic preying upon others, like that of a monster or a predatory animal.  Legends about vampires can be understood in like manner as a representation of narcissism. In our own time, narcissism is more likely to be expressed in snubs and slights than in the spectacular violence and scathing censure of Coriolanus’ Rome. Nevertheless, the basic impulse is the same. In order to explain Shakespeare’s representation of the connection between pride and hubris, I compare his paragon of unhealthy narcissism, Coriolanus, to the variation on the myth of the vampire currently popular in books, television, and movies such as the Twilight and Vampire Diaries series. I also distinguish this new, twenty-first-century vampire from Bram Stoker’s nineteenth-century version. Present-day versions of the vampire legend no longer stress the sinfulness of sexual libertinism, but instead, like Shakespeare’s Coriolanus, the social disruptiveness of misguided narcissism. jeu., 22 déc. 2011 10:34:06 +0100 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=557