de crenne helisenne marguerite briet (6 résultats)

Paperback. Etat : Very Good. 1st Edition. 205 pp.+ Illus Plt at Frontis, White Color Illus Paperback, VG, 1st ed.

softcover. Etat : Fine copy. 1st. 8vo, 205 pp., Edited & with an introduction by Lisa Neal; translated by Lisa Neal & Steven Rendall.

Soft cover. Etat : Fine. 1st Edition. Translated by Lisa Neal and Steven Rendall. 8vo. xxxi, 205 pp. Original illustrated cream-colored wrappers. Outer tips of front cover lightly curled else this is a tight, fine book.

Etat : new. Minneapolis : University of Minnesota Press,1996. Hardcover. xxxiii,204p. Ed.& Introd.: Lisa Neal. Transl.(french): Lisa Neal & Steven Randall. Bibliography. The first edition of this work: "Les Angoysses douloureuses qui procedent d'amours" was in 1538. In 1560 already eight editions had appeared. Briet wrote three other works soon after her first book. "Marguerite Briet, like her predecessor Christine de Pizan, enumerates illustrious women from antiquity through the Middle Ages in order to point to the errors of men who deny women the right to pursue their interests." (Mustacchi & Archambault, 1986). Condition : new copy. ISBN 9780816627882. Keywords : LITERARY CRITICISM, French literature.

Cartonnage Editeur. Etat : Très bon. In8 - cartonnage de l'éditeur - 232 pages.

Hardcover. Etat : Fine. Bound in late 17th c. black Morocco (extremities rubbed), with the gilt coat of arms of the Countess of Verrue on the boards, spine with 5 raised bands decorated with small gilt fleurons; gilt turn-ins, edges of text red. A fine copy of this rarity. Light ink spots on first two leaves, 17th c. inscription effaced from title ("Claude (?) 1613") tiny stain on leaf m3, small rust spot on lvs. X5-6, tear to upper margin of final leaf, not affecting text. Illustrated with 8 small woodcut scenes (on lvs. a3, c2, c6, g1, r7, A3, C3, F5.). A copy with exceptional provenance: Jeanne-Baptiste d'Albert de Luynes, Comtesse de Verrue (arms on both boards, sold 1737, n° 253), Louis-Jean Gaignat (?), manuscript note with the date, 10 avril 1769, n° 2501 (without mentioning the arms); Jacques-Charles Brunet (20-24 April 1868, n° 540), Eugène Marigues de Champ-Repus (ex-libris), Robert Hoe (ex-libris, II, 8 January 1912, n° 933) and Cortlandt F. Bishop (ex-libris, I, 5-8 April 1938, n° 519), Jean Bourdel (bookplate). Born around 1510 in Picardy, Marguerite Briet published her works under the name Hélisenne de Crenne. This edition of "Les uvres" comprises her three original compositions: "Les Angoisses douleurs"(Torments of Love), the first sentimental novel in French; "les Epistres familieres et invectives", and "le Songe", an allegorical dream sequence. The works were first printed together in 1543 by Charles L'Angelier, without illustrations. Étienne Groulleau then printed five successive editions (1550, 1551, 1553, 1555 and ours of 1560), all illustrated with 8 woodcuts in the text for "Les Angoisses douleurs." "For modern readers interested in the writings of early women authors, her manner of presentation reveals a preoccupation with questions of form, narrative structure, and portrayal of the psychological depth of her characters. While taking great pains with stylistic considerations, she also offered a heated defense of womankind against negative attacks by misogynists. In so doing, she created herself in the pages of her writing, painting a vivid and complex series of portraits of an evolving first-person persona, alternately a young woman, wife, friend, reader, humanist, feminist, and learned virago. Her books were bestsellers in France in the 1530s and 1540s, a clear testimony to the appeal of her message. The variety of her output is also significant. Her writings merged major literary currents of her time, embodying both the old medieval didacticism and allegory as well as the new Renaissance humanism and a sense of woman's inherent worth, a concept that today would be termed 'feminism.' "The multiplicity of her concerns, the strength of her voice, and the exceptionality of her achievements all foster an interest in Hélisenne's writing. In an era when most women were wives and mothers, she stands out as a virago, a woman who assumed the male role of writer. Historical research on women of the early modern period as well as norms set forth in the writing of her contemporaries underscore the rarity of her achievement, which was grounded by a firm grasp of the intellectual concerns of her day."(Wood, Hélisenne de Crenne : at the crossroads of Renaissance humanism and feminism, p. 15-16) "Crenne carved out in the literary landscape of Paris in the 1530s a distinctive feminine and feminist voice. In the fictional universe of her 'Angoysses douloureuses qui procedent d'amours' and 'Epistres familieres et invectives' she proposes a female-centred view of the world which gives centre stage to the female protagonist and the distinctive social and poetic conventions which govern her conduct and its textual and visual representation Crenne was unusual among her female literary peers of the period because she belonged neither to the court nor to the nobility. As an independent woman writer in the capital she needed to capture the attention of the readership through engagement with literary trends that were at the height of popularity. Her success at the business of writing was such that she was recorded in a contemporary history of Picardy as a writer, demonstrating the recognition she achieved in her region for her contribution to the world of letters."(Bromilow, Reading Women Writing) "Briet published four texts under the name Hélisenne de Crenne: 'Les Angoysses douloureuses qui pro edent d'amours' (1538), published in nine editions by 1560; 'Les Epistres familieres et invectives' (1539), published in six editions by 1560; 'Le Songe de Madame Helisenne' (1540); and the first French prose translation of books one to four of Virgil's Aeneid (1541). The first three works were collected and published as "Les Oeuvres"(1543) "The 'Angoysses' provides the general thematic backbone of Crenne's works. The overall project of the book is to warn her (female) readers against the dangers of love In the first part of the book, Dame Hélisenne describes falling in love with Guenelic and writing about the 'angoysses' of love and the faithlessness of lovers; Guenelic commits several cardinal sins as a lover, such as spreading gossip about Hélisenne's love for him and even telling her husband that he has violated her chastity. Her husband finds her writing and destroys it before locking her in a secluded tower. There, she rewrites the first part of the text in the hopes that the document will find its way to Guenelic. That moment in the tower is where Hélisenne the character merges into Dame Hélisenne the narrator-writer. This first part of the 'Angoysses' constitutes the 'roman sentimental' portion of the text. It gives us a psychologically rich portrait of a woman in love trying to express her experience in words. "Besides Hélisenne, there are two more first-person character-narrators. Guenelic narrates the second part of the Angoysses, in which he and his friend Quezinstra travel outside of France. The many exploits of the two friends prove their worth as knights and redeem Guenelic's behavior from part one. At.