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La tragédie, c’est bien connu, finit mal. Au point que le terme «tragique» définit désormais tout événement funeste et sanglant. Mais la fin malheureuse n’a pas toujours été un élément essentiel du genre. C’est seulement lors de sa renaissance moderne que le dénouement malheureux a acquis une telle importance et ceci, en dépit de son manque de bienséance morale: si la tragédie finit mal, c’est que le héros, contre toute attente, n’est pas récompensé pour ses vertus et que les actions du méchant ne reçoivent pas la punition escomptée. Le dénouement malheureux est efficace, car il suscite la surprise et le pathos. Mais il contrevient aux conventions éthiques qui règlent la poétique renaissante: il n’est pas exemplaire. Par l’étude de la tragédie européenne de la première modernité, et plus spécifiquement de la théorie et de la pratique du genre en Italie, en France et en Espagne, cet ouvrage entend expliquer pourquoi le dénouement malheureux devient l’élément essentiel du genre au moment même où toute forme de poésie se doit d’être exemplaire. La tragédie moderne exprimerait alors la contradiction entre ce qui devrait être et ce qui est, en relevant l’écart qui sépare la foi en la providence divine et l’évidence de l’échec, de l’injustice et du malheur.

German literature --- Comparative literature --- Drama --- Italian literature --- Spanish literature --- Thematology --- French literature --- anno 1400-1499 --- anno 1500-1599 --- Tragedy --- Closure (Rhetoric) --- Tragic, The, in literature --- History and criticism --- Tragédie --- Tragédie italienne --- Tragédie espagnole --- Tragédie française --- Tragédie européenne --- Fin (littérature) --- Histoire et critique --- Esthétique --- Histoire et critique. --- Esthétique. --- Tragedy - History and criticism

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La 4e de couverture indique : "Le Théâtre au miroir des langues consiste à explorer les grandes notions théâtrales au moyen d'une étude lexicologique portant sur trois aires géolinguistiques : la France, l'Espagne et l'Italie des XVIe et XVIIe siècles. Divisé en huit chapitres (Genres théâtraux, Paratextes, Dramaturgie, Personnages, Notions esthétiques, Métiers et techniques, Lieu théâtral, Réception), l'ouvrage propose une étude comparative des composantes essentielles du théâtre à partir de leurs modes de désignation dans les trois langues. Prenant appui sur un vaste corpus de pièces, de préfaces et de traités, ces analyses permettent tout autant d'identifier les correspondances et les pratiques communes d'un pays à l'autre que de mettre au jour les spécificités nationales. Cet ouvrage a été conçu dans le cadre du projet ANR "IdT - Les idées du théâtre"."

Theater --- Terminology --- History --- Theatrical science --- Lexicology. Semantics --- Drama --- Comparative literature --- anno 1500-1599 --- anno 1600-1699 --- France --- Italy --- Spain --- Theater - Terminology - History --- Theater - France - Terminology - History - 16th century --- Theater - France - Terminology - History - 17th century --- Theater - Italy - Terminology - History - 16th century --- Theater - Italy - Terminology - History - 17th century --- Theater - Spain - Terminology - History - 16th century --- Theater - Spain - Terminology - History - 17th century

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In 1550, the theological notion of “scandal” was put forward in Calvin’s treatise Concerning Scandals. The reformer invited his coreligionists not to be afraid of scandal and not to concern themselves with fama. Focusing on the notion of scandal, the present study demonstrates the role of reputation in interdenominational conflicts. The Protestant-Catholic conflicts become a battle of conflicting memories. As Catholics and Protestants fight to impose their own narratives, it impacts the writing of history. Scandal, thus, is crucial on both sides; it constitutes a polemical tool in a war fought with the pen and the press where libels are tearing apart the nascent ‘public space’. Following its theological making, the legal making of scandal then gradually allows the monarchy to regain control of its torn ‘public space’. This book thus analyses the emerging of scandal in its modern understanding: an event constructed as a narrative through media coverage for political purposes, which brings into crisis the common basic standards and values of a society due to the transgressive nature ofthe acts or words it accounts for.

Literature: history & criticism --- Renaissance --- Knowledge --- Sciences --- Humanism --- Scandal --- Theology --- Politics --- Memory --- Historiography --- Literature --- Hermeneutics --- Calvin --- Reformer --- Scandals --- Reformed --- Catholics --- Fama

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Le thème de la punition est traditionnellement abordé sous l'angle juridico-politique ou psychanalytique. Les études rassemblées dans ce volume renouvellent le regard en s'interrogeant sur le rôle joué par les représentations littéraires et cinématographiques dans l'élaboration des concepts de faute et de châtiment. La culture italienne, de la Renaissance à nos jours, est ici le lieu privilégié de cette enquête.

Italian literature --- Punishment in literature. --- Punishment in motion pictures. --- History and criticism. --- Pasolini, Pier Paolo, --- Criticism and interpretation. --- Motion pictures --- Pasolini, Pier Paolo --- faute --- cinéma italien --- Pier Paolo Pasolini --- Ludovico Ariosto --- culture italienne moderne et contemporaine --- Giacomo Leopardi --- Italo Svevo --- punition --- châtiment

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La celebre battuta di Gide che apre questo volume si propone di indagare il complesso rapporto fra etica, estetica e rappresentazione, ma riformulando l’aforisma in forma interrogativa: “Con i buoni sentimenti si fanno brutti libri?”. È proprio così? È ancora così? Ma è, in fin dei conti, davvero sempre stato così? Cercare di rispondere a questa domanda vuol dire riflettere non solo sul valore estetico delle opere, ma anche sulla liceità o sulla pericolosità delle rappresentazioni; significa chiedersi se la cosa di cui si parla conta e qual è il significato etico del come è condotta la rappresentazione, è organizzata la forma; significa anche riflettere su alcune complesse problematiche che sempre più spesso sono al centro dei dibattiti contemporanei: la relazione fra autorialità e opera, fra scrittura e mercato, il canone, la visibilità, il ruolo pedagogico della letteratura, la funzione delle istituzioni, della censura fino ai dibattiti sulla cancel culture, sul politicamente corretto, sulla cultura woke, sull’appropriazione culturale, su un certo moralismo di ritorno, sul ruolo ideologicamente orientato del culturalismo, le relazioni fra la voce letteraria di una soggettività subalterna e i criteri di attribuzione del valore estetico.

Literature (General) --- relation entre l'éthique --- l'esthétique et la représentation --- relation entre la paternité et le travail --- relation entre l'écriture et le marché --- rôle pédagogique de la littérature --- fonction des institutions --- censure --- culture de l'annulation --- culture de l'éveil --- rôle idéologiquement orienté du culturalisme --- subjectivité subalterne --- rapporto fra etica --- estetica e rappresentazione --- relazione fra autorialità e opera --- relazione fra scrittura e mercato --- ruolo pedagogico della letteratura --- funzione delle istituzioni --- censura --- cancel culture --- cultura woke --- ruolo ideologicamente orientato del culturalismo --- soggettività subalterna --- relationship between ethics --- aesthetics and representation --- relationship between authorship and work --- relationship between writing and market --- pedagogical role of literature --- function of institutions --- censorship --- woke culture --- ideologically oriented role of culturalism --- subaltern subjectivity