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International audience John Gower (c. 1330-1408) is the only English poet of the late Middle Ages who may be known for certain to have composed his works in the three main languages then used in England – French, English and Latin – in a very conscious way, as testified by his three major poems, Vox Clamantis (in Latin), Mirour de l'Omme (in French) and Confessio Amantis (in English) . This makes him an exceptional representative of a period in which reforming ideas were expressed within the frame of a communication system still characterized by its multilingualism. ; John Gower (ca 1330-1408) est le seul poète anglais de la fin du Moyen Âge dont on peut être certain qu'il a composé son œuvre dans les trois langues principales alors en usage en Angleterre – le français, l'anglais et le latin – de manière tout à fait consciente, comme en témoignent ses trois principaux poèmes, la Vox Clamantis (latin), le Mirour de l'Omme (français) et la Confessio Amantis (anglais). Ainsi est-il le représentant exceptionnel d'une période où une réflexion à visée réformatrice s'exprime dans le cadre d'un système de communication encore caractérisé par son multilinguisme.

[ES] RicaWhile the critical apparatus on the afrocostarricense writer Eulalia Bernard Little says his focus on the black struggle, suggests the neutrality or absence of gender discussions, or even an overwhelming of the male figure in his poetry. However, so far there has not been a review that would make it possible to assess the treatment of concurrent experiences of race and gender in the course of his literary career. Through a diachronistic review of all its publications and poetic activism, this article looks at the fundamental place occupied by the status and vision of black women and their relationship with an atatradiation of thought and mobilisation of Afrodiasporic feminisms. The centrality of his own body and the refe-rence to motherhood of African and Caribbean inheritance can be traced from Bernard's first traits; but in addition, the author gives greater prominence to the image and ties with female figures, writers, divinities of the African diaspora and pro-gresive activists in their last poems. The coincidence between these gestures, the productions of other Afro-descendants, the African-Latin American feminist movements and an epistemology derived from the experience of black women allows us to start a discussion on Bernard Little's contributions to the genesis of afrofeminist thinking and the diaspora in Costa Rica. At the same time, it highlights the complexities of the use and (self-) assignment of black feminisms, their background and the diversity of their experiences in the Caribbean and Central America. This article is a result of the project "Eulalia Bernard Little Political Threath: poet, activist and university lecturer" registered with the Deputy Rectoration of Research at the University of Costa Rica. The work is also supported by the programme "Connected Worlds: The Caribbean, Origin of the Modern World", funded by the European Union's Horizon 2020-research and innovation programme (Marie Skłodowska-Curie grant agreement No 823846). ; Peer reviewed ; [ES] RicaWhile the critical ...

A la Renaissance, humanists rediscover Greek philosophical poems and the De natura rerum of Lucrèce in the text. Two issues already raised by the former passionate them: Is Homère the first philosophsopher? Is Empedocle philosophical or poet? For example, Florentin Ange Politien, who in the 1480s devoted his university courses to the homeric corpus, developed the theme of Homère's omniscience. In the second half of the 16th century, the Parisian publisher Henri Estienne published Greek spic poets and then an anthology of Greek 'philosophical poetry'. Denying that Empedocle was not poet on the pretext that it did not contain a fable, he justified scientific poetry. For example, the debate on the omniscience of Homère or the classification of Empedocle among poets encouraged the emergence of a new didactic poetry at the Renaissance. ; International audience During the Renaissance, humanists rediscover the original texts of Greek philosophical poems as well as Lucretius' famous De Rerum Natura. Twoquestions already raised by the Ancients become for them an object of passionate inquiry: "Was Homer really the first philosopher?" and "Was Empedocles a philosopher or a poet?" The Florentine humanist Angelo Poliziano, for example, who during the 1480s devoted his university teachings to the Homeric corpus, develops the theme of Homer's omniscience. Later, during the second half of the 16th century, the Parisian publisher Henri Estienne prints a volume of Greek epic poets, followed by an anthology of Greek "philosophical poetry". In refuting the claim that Empedocles, for not having composed a narrative fable should not really count as a poet, Estienne significantly bolsters the legitimacy of scientific poetry. In this way, Renaissance debates over Homer's omniscience and Empedocles' status amongst poets greatly facilitated the emergence of a new didactic poetry during the period. ; A la Renaissance, humanists rediscover Greek philosophical poems and the De natura rerum of Lucrèce in the text. Two issues already raised ...

International audience ; La discipline rhétorique médiévale de l"ars dictaminis est justement fameuse pour avoir été un quelque chose de différent de la rhétorique classique. Elle fut conçue et employée principalement pour l"écriture, non pas de discours, mais de lettres dont l"échange formait une part importante de la communication politique et personnelle aux XIe-XVe siècles. Dans la quasi-totalité des cas, les traités théoriques présentent les recettes pour écrire ces lettres en prose, et la grande masse des dictamina (textes obéissant aux lois de l"ars dictaminis) qui appliquèrent ces recettes conservées sont écrits en prose. Le Moyen Âge a bien sûr connu l"écriture des lettres en vers, selon le modèle des Héroïdes d"Ovide, mais la théorisation de l"écriture en vers aurait plutôt relevé de la discipline voisine de l"ars poetriae. Le présent article tente de faire le point sur la question des rapports entre l"ars dictaminis et la poésie, en montrant que les choses sont en fait beaucoup plus complexes. D"une part, les traités insistent très souvent sur le fait que le dictamen prosaïque n"est qu"un des trois rameaux des « genres rédactionnels » (genera dictandi), dont les deux autres sont la poésie métrique et la poésie rythmique. Or le rapport entre ces trois genres n"est pas seulement classificatoire : la prose de l"ars dictaminis était une prose rythmée, et son enseignement comme sa pratique dépendait de la connaissance de la poésie métrique et rythmique. D"autre part, de très nombreuses interconnections existent entre la pratique de la poésie et celle de l"ars dictaminis, tant d"un point de vue théorique que pratique. Il existe une large intersection entre les artes poetriae et les artes dictandi (traités théoriques), et de nombreux traités hybrides. La prose rythmée est parfois conceptualisée comme une sorte de poésie. Au niveau de la pratique, les rédacteurs créent souvent des lettres prosaïques qui entretiennent un rapport complexe avec la poésie, soit par l"insertion de citations de classiques ...

(I) ShinkankakuaIV, France — symbolism — symbolismeIII) ShinkankakuaIV) Liu Na'or touched on the new Japanese Poise V) New Japanese writers (Japan — China — Duo Duo — David Gascoyne) VI) Byron 1 (I) Tracking the intercultural interests of writers/translators readers through the main literary journals. (II) France-symbolisme-neo-symbolism III) Shinkankakua IV) Liu Na'or also interested in the new Japanese poetry V) surrealistically (Japon-Chine-Duo Duo Duo-David Gascoyne) VI) Byron, as we have seen last time, the introduction of Western literature in China in the first half of the 20th century has often passed through Japanese. This contemporary western literature was most often presented in the major literature journals of the time. The first of these reviews was awarded a title in English, Short Story Monthly; this highlights his commitment to modern writing, which was necessarily an open writing to the modern foreign world at that time. The last time we saw that the Slavic and East European literature was favoured by Lu Xun. From 1921, that is to say, at the beginning of the movement for a new culture, the 4 May movement, we find translations and presentations of this literature in the pages on which they are based. In 1921 Shen Yanbing, whose literary pseudonym is "Mao Dun", of the former Chinese politician (Wu, Zhejiang, 1896-Beijing, 1981), which wrote an assessment of Andreev's latest work that had just been suicided. ; Master ; (I) ShinkankakuaIV, France — symbolism — symbolismeIII) ShinkankakuaIV) Liu Na'or touched on the new Japanese Poise V) New Japanese writers (Japan — China — Duo Duo — David Gascoyne) VI) Byron 1 (I) Tracking the intercultural interests of writers/translators readers through the main literary journals. (II) France-symbolisme-neo-symbolism III) Shinkankakua IV) Liu Na'or also interested in the new Japanese poetry V) surrealistically (Japon-Chine-Duo Duo Duo-David Gascoyne) VI) Byron, as we have seen last time, the introduction of Western literature in China in the first half of the ...

Study on the representation of painting and its techniques in collective collections from around the beginning of the 17th century (from Bray, val, guillemot). ; International audience A study of images of paintings and its technics through anthologies of poetry (du bray, guillemot, du val) from the beginning of the seventeenth century. ; Study on the representation of painting and its techniques in collective collections from around the beginning of the 17th century (from Bray, val, guillemot). ; Etude de la représentation de la peinture et de ses techniques dans les recueils collectifs de vers du début du dix-septième siècle (du bray, du val, guillemot).

Life stories from teachers were poorly treated. However, the countless anecdotes at their disposal, written poems, testimonies, thoughts and revealed actions make it possible to understand, from a different angle, the role of educator they played during their career. The epistemological fund thus created is extremely rich for researchers in the humanities and social sciences. It was in this perspective that I looked at the trajectory of a former teacher dedicated to the educational and social cause in Senegal, Momar Lo. He served more than thirty years at the Senegalese school. He has also engaged politically in his place in which he is convinced that education and development include children's schooling and research. The biographical analysis presented here is largely based on a series of interviews I have conducted with Momar Lo, whose life has been entirely dedicated to helping children in school in order to provide them with an appropriate framework for continuing their studies. ; As histórias de vida que emanam dos professores têm recebido pouca atenção. Contudo, as inúmeras anedotas que têm à sua disposição, os poemas escritos, os testemunhos, os seus pensamentos e as suas acções reveladas tornam possível apreender, de um ângulo diferente, a missão de educador que desempenharam durante a sua carreira. A colecção epistemológica assim criada é extremamente rica para os investigadores das ciências humanas e sociais. É nesta perspectiva que me interessei pela carreira de um antigo professor dedicado à causa educativa e social no Senegal, Momar Lo. Serviu a escola senegalesa durante mais de trinta anos. Era também politicamente activo no seu país, convencido de que a educação e o desenvolvimento eram alcançados através da escolarização das crianças e da investigação. A análise biográfica aqui apresentada baseia-se em grande parte numa série de entrevistas que realizei com Momar Lo, cuja vida foi inteiramente dedicada a ajudar as crianças na escola a fornecer-lhes um quadro adequado para continuarem os seus ...

This paper inquires into the ways in which a gauchesco journalist/poet took part in the public sphere: Luis Pérez got censored in 1834 as a result of inner conflicts in the same political party he had endorsed, the federalismo . The popular nature of his audience and his own popular ways had become an obstacle when the federalismo , after the Revolución de los Restauradores , took a more moderate and conciliatory stance. The aim of this article is to discover the reasons behind his public disappearance, associated to the approach the press was supposed to adopt as well as the people who were supposed to be in charge of it. ; Este trabajo indaga en los modos de intervención pública de un gacetero/poeta gauchesco de raigambre rosista, Luis Pérez, que en 1834 fue censurado en un contexto de disputa por la hegemonía en el partido federal. El carácter popular del público interpelado por Pérez y su talante orillero fueron obstáculos cuando una postura más moderada y conciliatoria signó el federalismo a partir de la Revolución de los Restauradores. El objetivo del trabajo es discernir las razones detrás de la desaparición pública de Luis Pérez, ligada a una concepción tradicional de los usos de la prensa ilustrada y a los sujetos idóneos para poner en marcha las imprentas porteñas. Facultad de Humanidades y Ciencias de la Educación

International audience In the contemporary Central American poetry, the body has constantly occupied a space of first order. We propose in this paper to analyze how theimages of body are manifested in the poem. This paper does not focus on the study of a particular author, but discusses some significant moments in the representation of the body through a poetic corpus of authors of different generations, and from different countries of the isthmus, from the 1970s to the present. The study aims to analyze three modalities of body treatment: 1) the body as a love/erotic space and subversive; 2) the body as the painful geography of the nation; 3) the world as a body, the body of the world. ; En la poesía centroamericana contemporánea, el cuerpo ha ocupado constantemente un espacio de primer orden. Nos proponemos aquí analizar cómo semanifiestan en el poema las imágenes del cuerpo. Este trabajo no se enfoca como un estudio en torno a una obra de un autor específico, pretende en cambio hacer un recorrido por algunos momentos significativos de las representaciones del cuerpo a través de un corpus poético compuesto de autores(as) de diversas generaciones, y de diferentes países del istmo, desde los años 1970 hasta la actualidad. El estudio se propone analizar tres modalidades del tratamiento del cuerpo: 1) el cuerpo como espacio amatorio/erótico y subversivo; 2) el cuerpo como geografía dolorosa de la nación; 3) el mundo como cuerpo, el cuerpo del mundo.

What does it mean to treat poetry, brain scans, and library borrowing records alike as "data"? Today, we analyze rich and complicated data produced in the humanities at scale with computational tools such as Natural Language Processing, network analysis, and machine learning. Likewise, data scientists rely on humanists for political and historical context that helps make their work more equitable and just. During 2018-19, the Center for Digital Humanities (CDH) dedicated its energies to bringing various disciplinary voices at Princeton together to examine how data is transforming our academic fields and our society. We called this initiative "Year of Data," and held over twenty events - lectures, symposia, conferences, workshops - with campus partners in the humanities, arts, data and computer science, social science, and library and archives.

International audience 18 th century Ireland under the Penal Laws produced many poems deploring the country's fate under British rule. Brian Merriman, a hedge schoolmaster from Clare, published in 1780 a long, satirical poem called Cúirt an Mheain Oíche satirizing men's subjection of women within marriage. This contribution will examine what marriage law said about the situation of women and how the poem criticizes its negative consequences on the women of Ireland as judged by a bawdy fairy court of law. ; Au XVIIIème siècle, l'Irlande des Lois Pénales a produit de nombreux poèmes déplorant la servitude du pays sous la férule anglaise. Brian Merriman, maître d'école itinérant, originaire du comté de Clare, a composé en 1780 un long poème satirique, Cúirt an Mheáin Oíche, critiquant la domination des femmes au sein du mariage. Le présent article met en regard les lois matrimoniales et leurs conséquences négatives sur les femmes d'Irlande selon une cour de justice grivoise présidée par la reine des fées.

The computer ignores the chess. He is not afraid to attack the language, or even the quintessence of the language of poetry. And a combination of combinatory and random forces, it can be seen, in a few closed circles, to produce 'poems' which could be confused with those of automatic writing in Dada time. Far from being so bold. Far from trying to steal the promethetic fire, we will limit the trick of the machine to the mere observation of basic facts, diverting it away from anything that might resemble a new arrangement or creation. But it is still a great premise to apply a blind tool and objective methods to a poetic object that is most contrary to them. We still need to count on the recurrent words of political discourse. It is clear that in this variety of languages, known as the wooden language of automation, it is possible to learn freely — if any automation can be free. And when answers are expected, when comans respond to couplets, when words are predictable and repetitive, statistics can be justified and it is indeed in the policy field that lexicometry multiply its work, which follows presidential campaigns as faithfully as the polls precede them. But is poetry foreseeable? Are there no breaks and surprises? ; L'ordinateur ignore la pudeur. Il ne craint pas de s'attaquer au langage, ni même à la quintessence du langage qu'est la poésie. Et à force de combinatoire et d'aléatoire mêlés, on le voit, dans quelques cercles fermés, produire des « poèmes » qu'on pourrait confondre avec ceux de l'écriture automatique au temps de Dada. Loin de nous pareille audace. Loin de vouloir voler le feu prométhéen, nous limiterons l'ardeur de la machine à la seule observation des faits élémentaires, en la détournant de tout ce qui pourrait ressembler à un arrangement nouveau ou à une création. Mais c'est encore une grande prétention que d'appliquer un outil aveugle et des méthodes objectives à un objet poétique qui leur est le plus contraire. Passe encore de compter les mots récurrents des discours politiques. On voit ...

Moonbit is a hybrid work comprised of experimental poetry and a critical theory of the poetics and politics of computer code. It offers an extended intellectual and creative engagement with the affordances of computer software through multiple readings and re-writings of a singular text, the source code of the Apollo 11 Guidance Computer or the ���AGC.��� Moonbit re-marks and remixes the code that made space travel possible. Half of this book is erasure poetry that uses the AGC code as the source text, building on the premise that code can speak beyond its functional purpose. When we think about the 1960s U.S. space program and obscure scientific computer code, we might not first think about the Watts riots, Shakespeare, Winnie the Pooh, T.S. Eliot, or scatological jokes. Yet these cultural references and influences along with many more are scattered throughout the body of the code that powered the compact digital computer that successfully guided astronauts to the Moon and back and in July of 1969. Moonbit unravels and rewrites the many embedded cultural references that were braided together within the language resources of mid-century computer code. Moonbit also provides a gentle, non-expert introduction to the text of the AGC code, to digital poetics, and to critical code studies. Outlining a capacious interpretive practice, Moonbit takes up all manner of imaginative decodings and recodings of this code. It introduces some of the major existing approaches to the study of code and culture while provide multiple readings of the source code along with an explanation and theorization of the way in which the code works, as both a computational and a cultural text.

In England, the parliament has established itself in the last centuries of the Middle Ages as an institution representing the English elites, which was then relatively open and important for the functioning of the State. In order to identify these developments, literary sources are valuable, and in particular the abundant English poetry from 1350 onwards. They make it possible to approach the perception of this institution by contemporary times, and to place it in the broader context of reflection on the establishment of a dialogue between power and political society, at the heart of the birth of the modern state. ; International audience ; In England, the parliament has established itself in the last centuries of the Middle Ages as an institution representing the English elites, which was then relatively open and important for the functioning of the State. In order to identify these developments, literary sources are valuable, and in particular the abundant English poetry from 1350 onwards. They make it possible to approach the perception of this institution by contemporary times, and to place it in the broader context of reflection on the establishment of a dialogue between power and political society, at the heart of the birth of the modern state. ; En Angleterre, le parlement s'affirme dans les derniers siècles du Moyen Âge comme une institution représentative des élites anglaises, alors relativement ouverte, importante pour le fonctionnement de l'Etat. Pour cerner ces évolutions, les sources littéraires sont précieuses, et en particulier la poésie écrite en anglais, abondante à partir de 1350. Elles permettent d'approcher la perception qu'avaient les contemporains de cette institution, ainsi que de la replacer dans le cadre plus général d'une réflexion sur l'instauration d'un dialogue entre pouvoir et société politique, au cœur de la naissance de l'État moderne.

This article proposes a re-visit of the 'Fortoul survey', a collection of popular poetry carried out in France under the auspices of the Ministry of Public Instruction and Cultes between 1852 and 1877. In contrast to a dominant historical reading which considers that, at that time, the definition of a French national song is stabilised, this study shows how a national reference repertoire is formed in this specific historical configuration and established via a state apparatus. The aim is to contribute, on the one hand, to a historical sociology of politics by questioning the cultural foundations of a nation-state model in French and, on the other hand, to a sociology of scientific and artistic activity by identifying the mechanisms for producing a hierarchy of values in the literary and musical fields. ; International audience ; This article proposes a re-visit of the 'Fortoul survey', a collection of popular poetry carried out in France under the auspices of the Ministry of Public Instruction and Cultes between 1852 and 1877. In contrast to a dominant historical reading which considers that, at that time, the definition of a French national song is stabilised, this study shows how a national reference repertoire is formed in this specific historical configuration and established via a state apparatus. The aim is to contribute, on the one hand, to a historical sociology of politics by questioning the cultural foundations of a nation-state model in French and, on the other hand, to a sociology of scientific and artistic activity by identifying the mechanisms for producing a hierarchy of values in the literary and musical fields. ; Cet article propose une revisite de « l'enquête Fortoul », une collecte de poésies populaires menée en France sous l'égide du ministère de l'Instruction publique et des Cultes, entre 1852 et 1877. À rebours d'une lecture historiographique dominante qui considère qu'à cette date la définition d'une chanson de tradition nationale française est stabilisée, cette étude montre comment un ...