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L’empreinte du loup-garou dans l’écriture médiévale: Pour une littérature en métamorphose?
| Summary: | Medieval literature is essentially, because of its being conditions, a literature of transition: transition from orality to literacy, from Latin language to roman languages, from paganism to Christianity. Such an evolution, which gave birth to our vernacular literature, has coincided with the growth of the werewolf as a literary motif, carrying in its wake an important philosophic reflexion about metamorphosis, until asking conditions themselves of a werewolf writing. Actually, the werewolf is not only a literary figure but is also at the origin of an original textual process, coming from the necessity of compromise with both vogue of marvellous and taboo of metamorphosis; from this has emerged an hybrid literature bearing the stamp of the wolf and likely to establish, in the writing closeness, a new relation joining the werewolf, the writer and his public. Did not such a conversion to otherness consecrate the medieval idea of literary metamorphosis itself? |
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| Subject: | Intimité Middle Ages Loup-garou Moyen Âge Werewolf Closeness Nature writing Altérité Écriture Otherness |
| Country: | Portugal |
| Document type: | journal article |
| Access type: | Open |
| Associated institution: | Carnets, Revista Electrónica de Estudos Franceses |
| Language: | French |
| Origin: | Carnets, Revista Electrónica de Estudos Franceses |
| Summary: | Medieval literature is essentially, because of its being conditions, a literature of transition: transition from orality to literacy, from Latin language to roman languages, from paganism to Christianity. Such an evolution, which gave birth to our vernacular literature, has coincided with the growth of the werewolf as a literary motif, carrying in its wake an important philosophic reflexion about metamorphosis, until asking conditions themselves of a werewolf writing. Actually, the werewolf is not only a literary figure but is also at the origin of an original textual process, coming from the necessity of compromise with both vogue of marvellous and taboo of metamorphosis; from this has emerged an hybrid literature bearing the stamp of the wolf and likely to establish, in the writing closeness, a new relation joining the werewolf, the writer and his public. Did not such a conversion to otherness consecrate the medieval idea of literary metamorphosis itself? |
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