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- All Subjects: Mirror of Simple Souls
- Language: French
Description
In 1999, Geneviève Hasenohr announced the discovery of a fragment of Marguerite Porete's Mirouer des Simples Ames, a work condemned by the Church at the University of Paris in 1310, hidden in a manuscript at the Bibliothèque municipale in Valenciennes. The fragment corresponds with roughly two chapters in the only extant French version of the manuscript (Chantilly, Musée Condé MS F XIV 26), and when compared with other editions of the Mirouer, it appears to be composed in what might have been Marguerite Porete's native dialect. The discovery changed scholars' perceptions of the weight of the various versions and translations - the Chantilly manuscript had been used previously to settle any questions of discrepancy, but now it appears that the Continental Latin and Middle English translations should be the arbiters. This discovery has elevated the Middle English editions, and has made the question of the translator's identity - he is known only by his initials M.N. - and background more imperative to an understanding of why a work with such a dubious history would be translated and harbored by English Carthusians in the century that followed its condemnation. The only candidate suggested for translator of the Mirouer has been Michael Northburgh (d. 1361), the Bishop of London and co-founder of the London Charterhouse, where two of the three remaining copies of the translation were once owned, but the language of the text and Northburgh's own position and interests do not fit this suggestion. My argument is that the content of the book, the method of its translation, its selection as a work for a Latin-illiterate audience, all fit within the interests of a circle of writers based in Yorkshire at the end of the fourteenth century. By beginning among the Yorkshire circle, and widening the search to include writers with a non-traditional contemplative audience, one that exists outside of the cloister - writers like Walter Hilton, the anonymous authors of the Cloud of Unknowing and the Chastising of God's Children, and Nicholas Love - we may have a better chance of locating and understanding the motives of the Middle English translator of the Mirouer.
ContributorsStauffer, Robert F (Author) / Voaden, Rosalynn (Thesis advisor) / Cruse, Markus (Committee member) / Sturges, Robert (Committee member) / Arizona State University (Publisher)
Created2011
Description
Alfred de Musset (1810-1857) is one of the greatest playwrights of the Romantic era. The most attractive fact of his work is the diversity of topics, genres, tones, opinions and styles. Musset's theater was created in the romantic drama period, which was influenced by abroad. He sought freedom of creation and sometimes showed independence from writers taking his own initiatives to change and mix different writing styles. Throughout the different parts of this thesis, I analyzed in detail the dramatic work of Musset, especially through his two plays, Les Caprices de Marianne (1833) and On ne Badine pas avec l'Amour (1834), to study the artistic originality of such an exceptionally talented artist. He lived in the Romantic period but never forgot his predecessors to whom he paid tribute. He was influenced by them while preserving his work's originality. This thesis consists of two chapters, the first is devoted to the Romanticism and its influence on Musset's dramatic work, and the second is about the different literary doctrines that have left their mark on Musset's theater. By studying them, I show how Musset used his talent to mix and match these several types of doctrines to create a unique artwork that is still alive and interesting today.
ContributorsAlavi, Azadeh (Author) / Canovas, Frédéric (Thesis advisor) / Cruse, Markus (Committee member) / Gallais, Sylvain (Committee member) / Arizona State University (Publisher)
Created2011