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À l’été 1831, Alphonse de Lamartine, l’auteur célèbre des Méditations poétiques, fraîchement élu à l’Académie française, se présente aux élections législatives à Bergues, à Toulon et à Mâcon, sa ville natale. Bien qu’il ne soit élu dans aucune des trois villes, le poète n’abandonne pas le projet d’entrer en politique et, le 15 octobre de la même année, il publie la «Lettre à M. le directeur de la Revue européenne sur la politique rationnelle», conçue comme une déclaration de principes adressé...

On considère que la création littéraire s’accomplit dans le silence et la solitude, et Proust lui-même l’a affirmé. Cependant, l’examen de la correspondance de Proust pour l’année 1913 et la découverte récente d’un jeu d’épreuve corrigé par Louis de Robert témoignent que l’écrivain a eu recours à plusieurs relecteurs et conseillers pour finaliser son livre et passer du Temps perdu à Du côté de chez Swann. Creative writing is considered to be accomplished in silence and solitude, as Proust himself has stated. However, an examination of Proust's correspondence for the year 1913 and the recent discovery of a set of proofs corrected by Louis de Robert show that the writer had recourse to several proofreaders and advisers to finalise his book and move from Temps perdu to Du côté de chez Swann.

Compte rendu de l'ouvrage suivant : VITTORIO FRIGERIO, Nous nous reverrons aux barricades. Les feuilletons des journaux deProudhon (1848-1850), Grenoble, UGA Éditions, 2021, 227 pp. International audience

International audience; In the middle of one of the fourteen known manuscripts of Matheolus’s Lamentations translated by Jean Le Fèvre at the end of the XIVth century, one can find a very peculiar textual addition. Indeed, the manuscript XXIII. D. 74 of Prague, dated from the middle of the XVth century, presents an interpolation of 26 verses, at the end of the second book of the Lamentations, dealing with Christine de Pizan. After a long misogynistic satire, Matheolus urges men to reject marriage and to multiply sexual conquests. The author of the interpolation offers then the example of Christine de Pizan. At first glance, this portrait appears in every way true to the persona created by Christine herself as a brave independent widow devoting her life to studies. She thus appears to be a model for those who seek to avoid remarriage and lead a faithful life. But such a reading, which would place the author of the interpolation as a continuator of Christine’s works more than an imitator of Jean Le Fèvre, disregards too heavily the context or cotext in which this example takes place. The choice of inserting those verses at this specific textual place cannot be inconsequential: if it might not completely change its meaning, it should at least invite us to be more cautious. This interpolation might in fact be an ironic depiction of Christine de Pizan and a criticism of her persona.

A Robert Fajen si doveva gia un fondamentale volume sullo Chevalier errant di Tommaso III di Saluzzo – Die Lanze und die Feder: Untersuchungen zum Livre du Chevalier errant von Thomas III., Markgraf von Saluzzo, Wiesbaden, Reichert, 2003 – oltre ad alcuni importanti contributi piu puntuali sullo stesso testo. E pubblicata ora la sua eccellente edizione di quest’opera importante e dal fascino obliquo, oggi conservata in due manoscritti: Paris, BnF, fr. 12559 (P) e Torino, BNU, L. V. 6 (T), dan...

Quelle meilleure maniere de celebrer le cent cinquantenaire de la mort d’Alphonse de Lamartine (1790-1869) et le bicentenaire de la parution des Meditations poetiques (1820) que de publier une biographie du poete? D’autant plus que la vie de Lamartine demeure assez peu connue aupres du grand public, en dehors de certains episodes entres dans la legende: sa breve mais intense idylle avec Julie Charles sur les rives du lac de Bourget et sa defense enflammee du drapeau tricolore sur les marches ...

This paper analyses the iconographic programme of the first Decameron translations into French, written, copied or published between 1411 and ca. 1500 (12 illuminated manuscripts of Laurent de Premierfait’s Cent nouvelles and two illustrated editions printed for Antoine Vérard between 1485 and 1500). It focuses on the structural transformations put forward by the illustrators from one version to another and it also shows how the balance between the frame narrative and the novellas themselves is reinvented in each specific version. The comparison between the manuscript tradition and the two incunabula aims at shedding fresh light, in particular, on Vérard’s Decameron adaptation and shows how the cornice becomes a striking feature in the visual identity of the French Cent nouvelles. International audience

International audience; The first redaction of the Histoire ancienne jusqu’à César was printed for Antoine Vérard in Paris in 1491 under the title Le premier/second volume de Orose. While the textual tradition of the Histoire ancienne is still little known in its later variations, this paper aims to study the layout and “mise en texte” of the printed version and some of the later manuscripts in order to open up some avenues for studying the transition of the text from manuscript to print.