Publication
Anatomie de la différence: le corps déréglé et les outrances de l'écriture épique (XIIe-XIIIe siècles)
| dc.contributor.author | Carreto, Carlos F. Clamote | |
| dc.date.accessioned | 2013-12-12T10:47:08Z | |
| dc.date.available | 2013-12-12T10:47:08Z | |
| dc.date.issued | 2012 | |
| dc.description.abstract | In a Universe in which aesthetic and moral perfection were often under the sign of bodily symmetry and proportion, all physical malformation is the living witness to a fail, conscious or unconscious, shamefully obvious or hidden under the most secret of secrecies, thereby causing a semiological psychosis which threatens and defies both the discourse and the social cultural and symbolic order for which the discourse itself is supposed to re- present. How then, should we understand the presence of the anomalous body at the very heart of a writing (the chanson de geste) which, by its exemplary nature, should be the epitome of rectitude? What is its impact on the poetic, moral and ideological plan? Why would a double negative as the Christian Hero have eyes that come out of their orbits, bloated bellies, bent spines or disproportionate ears? Why would Hersent, the avaricious and usurious merchant woman of Aiol have such a swollen abdomen? Can we identify a corporal typology of vices? On the other hand, is a protuberance a sign of exclusion only, or could it also be the sign of some sort of predestination? Following this line of thought, how should we interpret the fact that Guillaume d’Orange, according to a textual tradition with contradicting versions, is called either “Guillaume au court nez” or “Guillaume au courbe nez”? And why would Berte have grand pieds? The examples proliferate in a direct proportion to those excessive signs, endowed with a strange autonomy that allows them to cling themselves simultaneously to the surface of the body and of the text and which, in doing so, draw a sort of second language (or a subliminal one) which defies interpretation as it clearly demonstrates that the body, far from being a simple receptacle of pre-codified signs is equally a semiological territory, a dynamic and complex space which can, in turn, produce unexpected signs and above all senses that place it in the crossroads of history, myth and the poetic imaginary. | por |
| dc.identifier.citation | Carreto, Carlos F. Clamote - Anatomie de la différence: le corps déréglé et les outrances de l'écriture épique (XIIe-XIIIe siècles). "Micrologus. Natura, Scienze e Società Medievali" [Em linha]. ISSN 1123-2560. Vol. 20, (2012), p. 191-222 | por |
| dc.identifier.issn | 1123-2560 | |
| dc.identifier.uri | http://hdl.handle.net/10400.2/2701 | |
| dc.language.iso | fra | por |
| dc.peerreviewed | yes | por |
| dc.publisher | SISMEL - Edizioni del Galluzzo | por |
| dc.subject | Canções de gesta | por |
| dc.subject | Teoria dos géneros narrativos | por |
| dc.subject | Imaginário do corpo | por |
| dc.subject | Figura do monstro | |
| dc.title | Anatomie de la différence: le corps déréglé et les outrances de l'écriture épique (XIIe-XIIIe siècles) | por |
| dc.type | journal article | |
| dspace.entity.type | Publication | |
| oaire.citation.conferencePlace | Firenze | por |
| oaire.citation.endPage | 222 | por |
| oaire.citation.startPage | 191 | por |
| oaire.citation.title | Micrologus. Natura, Scienze e Società Medievali / Nature, Sciences and Medieval Societies | por |
| oaire.citation.volume | 20 | por |
| person.familyName | Fonseca Clamote Carreto | |
| person.givenName | Carlos | |
| person.identifier.orcid | 0000-0002-9931-0476 | |
| rcaap.rights | openAccess | por |
| rcaap.type | article | por |
| relation.isAuthorOfPublication | 08d30d3b-05cf-4e82-8628-bcd987eb77e7 | |
| relation.isAuthorOfPublication.latestForDiscovery | 08d30d3b-05cf-4e82-8628-bcd987eb77e7 |