Abstract
Bénigne Poissenot was the first author to introduce the theory of tragic tales reception, which was a vastly popular genre by the end of 16th and the beginning of 17th century in France. In the prologue of Nouvelles Histories Tragiques (1586) he emphasizes that the reason of his tales is to move the readers deeply and make them choose to go through a moral transformation and to live virtuous lives. This article’s objective is to investigate what methods and strategies the narrator uses to influence a reader’s emotions and to what extent those emotions help (or not) deliver the moral message, which can be found in his first-person declarations (the introduction and the conclusion of the tale). It is done by examining the fourth novel.References
Aristote (1991). Rhétorique (M. Dufour, Trans.). Paris : Belles Lettres.
Arnould, J. C. (1993). Sur la sixième des « Nouvelles histoires tragiques » de Bénigne Poissenot. In P. Salwa, D. Żółkiewska (Eds.), Narrations brèves. Mélanges de littérature ancienne offerts à Krystyna Kasprzyk (pp. 205-215). Warszawa : Publications de l’Institut de Philologie Romane de l’Université de Varsovie.
Arnould, J. C. (1995). Les visages de la douleur dans les récits tragiques du XVIe siècle. In B. Yon (Ed.), La Peinture des passions de la Renaissance à l’âge classique (pp. 49-59). Saint-Etienne : Publications de l’Université de Saint-Etienne.
Boggio-Quallio, E. (1981). La structure de la nouvelle tragique de Jacques Yver à Jean-Pierre Camus. In J. Lafond, A. Stegmann (Eds.), L’Automne de la Renaissance 1580-1630. Actes du XXIIe Colloque International de Tours, 2-13 juillet 1979 (pp. 209-217). Paris : Vrin.
Carr, R. (1977). Introduction. In P. Boaistuau, Histoires Tragiques (pp. IX-LXXXIV). Genève : Droz.
Chupeau, J. (1981). Quelques formes caractéristiques de l’écriture romanesque à la fin du XVIe siècle et au début du XVIIe. In J. Lafond, A. Stegmann (Eds.), L’Automne de la Renaissance 1580-1630. Actes du XXIIe Colloque International de Tours, 2-13 juillet 1979 (pp. 219-230). Paris : Vrin.
Cicéron (1985). De l’Orateur (E. Courbaud, Trans.). Paris : Belles Lettres.
Corbin, A., Courtine, J.-J., Vigarello, G. (Eds.) (2016). Histoire des émotions, vol. I : De l’antiquité aux Lumières (G. Vigarello, Ed.). Paris : Seuil.
Dimke-Kamola, J. (2014). Czytanie ciała. Problem werbalnej i niewerbalnej ekspresji emocji w piśmiennictwie włoskiego Renesansu. In A. Rzepka, D. Pudo, M. Wrana (Eds.), Pismo, lektura, biblioteka w dawnych literaturach romańskich (pp. 133-145). Kraków : Collegium Columbinum.
Horace (1995). Art Poétique. In Horace, Epîtres (F. Villeneuve, Trans.). Paris : Belles Lettres.
La Taille J. de (1998). De l’Art de la Tragédie. In J. de La Taille, Saul le Furieux, La Famine ou les Gabéonites (G. Spillebout, Ed.). Mont-de-Marsan : Éditions José Feijóo.
Mandrou, R. (1961). Introduction à la France moderne. Paris : Albin Michel.
Marczuk, B. (1997). Floridan et Elvide, cinq versions du récit reconsidérées. In A. Bartosz, K. Dybeł, P. Tylus (Eds.), Jeux de la variante. Mélanges offerts à Anna Drzewicka (pp. 54-66). Kraków : Viridis.
Maślanka-Soro, M. (2013). Powrót Melpomeny. Tragedia włoska od średniowiecznego odrodzenia po renesansowy rozkwit. Kraków : Księgarnia Akademicka.
Mathieu-Castellani, G. (2001). Le mécanicien, l’acteur et le charmeur de serpents : la rhétorique et les passions. In F. Lecercle, S. Perrier (Eds.), La Poétique des passions à la Renaissance (pp. 333-351). Paris : Champion.
Pietrzak, W. K. (2006). Le Tragique dans les nouvelles exemplaires en France au XVe siècle. Łódź : Wydawnictwo Uniwersytetu Łódzkiego.
Poissenot, B. (1996). Nouvelles Histoires tragiques [1586] (J. C. Arnould, R. Carr, Eds.). Genève : Droz.
Poli, S. (1991). Histoire(s) Tragique(s). Anthologie/Typologie d’un genre littéraire. Fasano – Paris : Schena-Nizet.
Suard, F. (1990). Floridan et Elvide aux XVe et XVIe siècles. In B. Alluin, F. Suard (Eds.), La Nouvelle. Définitions, transformations (pp. 163-179). Lille : Presses Universitaires de Lille.
License
- The Author hereby warrants that he/she is the owner of all the copyright and other intellectual property rights in the Work and that, within the scope of the present Agreement, the paper does not infringe the legal rights of another person.The owner of the copyright work also warrants that he/she is the sole and original creator thereof and that is not bound by any legal constraints in regard to the use or sale of the work.
- The Author grants the Purchaser non-exclusive and free of charge license to unlimited use worldwide over an unspecified period of time in the following areas of exploitation:
2.1. production of multiple copies of the Work produced according to the specific application of a given technology, including printing, reproduction of graphics through mechanical or electrical means (reprography) and digital technology;
2.2. marketing authorisation, loan or lease of the original or copies thereof;
2.3. public performance, public performance in the broadcast, video screening, media enhancements as well as broadcasting and rebroadcasting, made available to the public in such a way that members of the public may access the Work from a place and at a time individually chosen by them;
2.4. inclusion of the Work into a collective work (i.e. with a number of contributions);
2.5. inclusion of the Work in the electronic version to be offered on an electronic platform, or any other conceivable introduction of the Work in its electronic version to the Internet;
2.6. dissemination of electronic versions of the Work in its electronic version online, in a collective work or independently;
2.7. making the Work in the electronic version available to the public in such a way that members of the public may access the Work from a place and at a time individually chosen by them, in particular by making it accessible via the Internet, Intranet, Extranet;
2.8. making the Work available according to appropriate license pattern Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) as well as another language version of this license or any later version published by Creative Commons. - The Author grants the Adam Mickiewicz University in Poznan permission to:
3.1. reproduce a single copy (print or download) and royalty-free use and disposal of rights to compilations of the Work and these compilations.
3.2. send metadata files related to the Work, including to commercial and non-commercial journal-indexing databases. - The Author declares that, on the basis of the license granted in the present Agreement, the Purchaser is entitled and obliged to allow third parties to obtain further licenses (sublicenses) to the Work and to other materials, including derivatives thereof or compilations made based on or including the Work, whereas the provisions of such sub-licenses will be the same as with the attributed license pattern Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0)or another language version of this license, or any later version of this license published by Creative Commons. Thereby, the Author entitles all interested parties to use the work, for non-commercial purposes only, under the following conditions:
4.1. acknowledgment of authorship, i.e. observing the obligation to provide, along with the distributed work, information about the author, title, source (link to the original Work, DOI) and of the license itself.
4.2. the derivatives of the Work are subject to the same conditions, i.e. they may be published only based on a licence which would be identical to the one granting access to the original Work. - The University of Adam Mickiewicz in Poznań is obliged to
5.1. make the Work available to the public in such a way that members of the public may access the Work from a place and at a time individually chosen by them, without any technological constraints;
5.2. appropriately inform members of the public to whom the Work is to be made available about sublicenses in such a way as to ensure that all parties are properly informed (appropriate informing messages).
Other provisions
- The University of Adam Mickiewicz in Poznań hereby preserves the copyright to the journal as a whole (layout/stylesheet, graphics, cover design, logo etc.)