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Antyk w literaturze anglo-normandzkiej w XII wieku

100%
Abramowicz M.
Studia Europaea Gnesnensia
|
2012
|
issue 6
333-343
PL
In  the second half of the 12th century, the circle of Anglo-Norman culture saw the emergence of anew literary genre utilising Old French – the novel. The first examples of such works are translations of antique narratives which made up a trilogy: “The Tale of Thebes”, “The Tale of Troy” and “The Tale of Aeneas”. The appearance of these works and their popularity derives from the social need. On the one hand they contribute to prestige building of the young monarchy of the House of Plantagenet, who are apparently descended from Trojans.   On the other, the very use of the national language, as well as the specific construction of the plot (substantial broadening of the battle-related threads, introduction of amorous motifs, as well as the characteristic construction of the characters and the novel’s decorum) is indicative of the fact that this literature becomes a tool serving to introduce new, lay social elites to the circulation of the higher culture. 
2

La femme dans une «littérature française de Malte» du XVIIIe siècle

88%
Depasquale C.
Romanica Wratislaviensia
|
2011
|
vol. 58
33-42
EN
Between 1530 and 1798 Malta was ruled by a chivalric, monastic, hospitaller and military order which became known as the Order of Malta. The archives of the National Library of Malta preserve “an eighteenth century French literature of Malta” dealing with the religious duties of the Knights, the defence of the island against the Ottoman power, corsairing and projects and treatises written with the aim of improving the economic and political situation of the Order — these are subjects wherein women have no place. However, rare references to women are found in letters, diaries or memoirs that throw some light on Maltese society. Travel literature also accords some space to women. An interesting comedy in manuscript form, situated in eighteenth century Malta and written by a French knight, pokes fun at the femme fatale and portrays the Knight of Malta as both prey and victim. The intellectual woman, whether writer or reader, is totally absent.
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