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La honte dans les Lettres de la Marquise de M*** au Comte

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Pawłowska M.
Cahiers ERTA
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2017
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issue 11
29-45
EN
In the Lettres de la Marquise de M*** Crébillon shows, through the Marquise’s reflections of shame, the opposition between the galant and the tender conceptions of love. Galant love is represented as a game and false feeling, but it has a primary importance in mondain’s way of life. Failure to fulfil a galant love rules is accompanied by true or false feelings of shame. The Marquise de M*** wants conform to the galant tone demanded by society, but she is also seeking for true, tender love, which is opposed to behavior of a milieu. Accordingly, her sensitivity and a system of values brings her to elaborate her personal, secret conception of shame.
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Andrzej Rabsztyn, "L’hybridité du roman français à la première personne" (1789-1820), Katowice, Wydawnictwo Uniwersytetu Śląskiego, 2017, 242 pages

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Pawłowska M.
Acta Universitatis Lodziensis. Folia Litteraria Romanica
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2018
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issue 13
171-173
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L’amitié dans „Les États et Empires de la Lune” de Cyrano de Bergerac

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Pawłowska M.
Romanica Wratislaviensia
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2017
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vol. 64
47-55
EN
In his novel Les États et Empires de la Lune (Other Worlds, or the States and the Empires of the Moon), Cyrano de Bergerac describes imaginary visits to New France and to the Moon, and he por­trays in a burlesque way the society of his time. The encounters of the narrator with alien Lunarian cultures lead to his disappointment. The writer questions all the moral standards, ideals and scientific facts available in his century. Friendship is the only value he does not criticise but estimates.
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Histoire, fable, fiction: les désignations du roman au XVIIe siècle dans l’oeuvre de Jean-Pierre Camus

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Pawłowska M.
Romanica Wratislaviensia
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2010
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vol. 57
83-91
EN
In the 17th century the novel was a new genre becoming as popular among the readers as it was criticised by the moralists. Aesthetic accusations concerned the absence of romance in ancient poetics and, consequently, a lack of rules for the genre. The romance was also accused of demoralising young people by perverting their judgement of reality by means of deceitful fiction. Bishop Jean-Pierre Camus wrote the so-called pious romances that were to counterbalance the dangerous romances. All his novels include an in-depth author’s commentary in which the author recommends his romances to his readers as books that can contribute to the salvation of their souls, and at the same time deprecates novels by other authors. Such an attitude influences the terminology used by the author. The word roman is given a pejorative meaning and is used with reference to those novels that do not respect the principle of probability. He defines his own works, using the terms narré or histoire in order to stress the veracity of the facts presented in them. Other tool used by Camus is the presentation of his own novels as a type of epic or as works generically syncretic, containing elements of the epic poem, tragicomedy and non-literary exegetic elements. The terminological and generic negation of the fact that pious romances belong to the novel genre is to ennoble them.
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Antyk w siedemnastowiecznej teorii powieści: d’Urfé, Camus

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Pawłowska M.
Acta Universitatis Lodziensis. Folia Litteraria Romanica
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2013
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issue 008
149-157
FR
Honoré d’Urfé dans sa préface à "L’Astrée" se montre favorable à "La Poétique" d’Aristote et au principe de l’imitation des Anciens. En définissant l’activité du romancier en termes de régularité, d’Urfé lui accorde, en même temps, le droit à l’originalité. L’écrivain admet que les textes anciens possèdent des qualités esthétiques supérieures mais, en même temps, il remarque que les problèmes et idées qu’ils présentent peuvent être anachroniques. Jean-Pierre Camus, dans ses péritextes, joint la connaissance profonde de la culture antique au rejet de cette dernière. L’évêque de Belley, en moraliste, souligne la supériorité de la civilisation chrétienne, conteste ouvertement les valeurs de la culture de l’Antiquité païenne et encourage les auteurs de romans à créer des œuvres originales, soumises aux exigences du didactisme moral chrétien et non à l’esthétique classique. L’attitude des romanciers envers les valeurs antiques est donc complexe et révèle l’impact décisif de la Querelle du "Cid" dans la formation de l’esthétique romanesque du XVIIe siècle.
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Enseignement de la littérature française ancienne : souvenirs et témoignage

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Pawłowska M.
Romanica Wratislaviensia
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2018
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vol. 65
107-117
EN
In Poland the collapse of the communist regime in 1989 had multiple and diverse implications for all the aspects of the life of Polish people. Its impact on the essential elements of the educational process, which are the student, the teacher and the curriculum, is unquestionable. The presentinquiry is structured around these three elements, in order to, firstly, foreground their complexities and, secondly, draw some conclusions regarding the place that should/can Pre-Modern French literature occupy in university curriculum in non-francophone countries.
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François Dorval-Langlois de Fancan, Georges de Scudéry et le débat sur l’appartenance générique du roman

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Pawłowska M.
Romanica Silesiana
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2012
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vol. 7
FR
Le Tombeau des romans (1626), attributed to Fancan, discusses the usefulness of romances and historiography. In the first part of his pamphlet, Fancan criticizes fiction’s artifice as a lie. In the second part, however, the writer praises fiction as a way of teaching the truth in a veiled manner. Ibrahim (1641) appeared with a preface attributed to Georges de Scudéry, in which the questions of literary rules, probability (vraisemblance) and historicity in romances are asked. Writings on the novel of Fancan and Scudéry comprise important French treatises of the 17th century, which show the evolution of the genre of romance. Key words: French 17th century romance, François Dorval-Langlois de Fancan, Georges de Scudéry.
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Mlle de Scudéry: portrait de Sapho ou inclusion par l’exclusion

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Pawłowska M.
Romanica Wratislaviensia
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2011
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vol. 58
95-104
EN
In the 17th century, Mademoiselle de Scudéry, because of her sex, lack of wealth and tarnished name, did not occupy any significant place among the writers and the elite salons of Paris. However, she won the admiration and respect of her contemporaries by skilfully combining the promotion of her intellect with far-reaching modesty. She was highly appreciated by the literary circles for publishing her own book under her brother’s name and thus observing the rule concerning female propriety. Portraying herself as Sappho in the novel Artamène ou le Grand Cyrus, Mademoiselle de Scudéry presented herself as an outstanding intellectual, but at the same time she strongly dissociated herself from the bluestockings who publicly demonstrated their knowledge. She believed that no woman should do things reserved for men. If she had such predispositions, she should do so discreetly, without questioning the traditional division of social roles. Mademoiselle de Scudéry’s attitude was greatly appreciated by 17th century critics and readers.
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Les conceptions du roman et de l’histoire : au début du XVIIe siècle et dans la « Querelle sur La Princesse de Clèves »

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Pawłowska M.
Romanica Wratislaviensia
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2014
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vol. 61
13 - 20
EN
In the seventeenth century the romance novel and the historical had not yet become clearly defined genres and still shared many characteristics. It was a frequent practice for authors of romance novels to present them as true, historically-based stories. The aim of such a practice was to raise the status of a genre which had not been recognised by the critics and whose poetics did not reach back to Antiquity. The question of the confusion between the romance novel and the historical was raised in the discussion between Jean-Baptiste Trousset de Valincour, one of the detractors of The Princess of Cleves, and Jean-Antoine de Charnes, the novel’s advocate. In Valincour’s view, the romance novel should be thematically related to the historical. Conversely, de Charnes separates the two genres, arguing that each of them has a different role: while the historical has a didactic function, the romance novel is meant to entertain.
10
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Jean-Pierre Camus : la moralisation d’un genre immoral est-elle possible ?

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Pawłowska M.
Quêtes littéraires
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2013
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issue 3
32-39
EN
Camus complements his novels with long peritexts, thus using his ecclesiastic authority to legitimise their moral and didactic value. In these peritexts he juxtapposes the licentious novels with his own devout works of fiction, which are, in his own words, not only valuable and worth recommending, but also capable of saving the readers’ souls, put in danger by other texts. In any case, a close reading of these peritexts reveals a view which challenges the idea of the novel’s insidiousness and which bears witness to Camus’s great fascination with this officially condemned literary genre.
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Opanować strach – wątki dramatyczne w Astrei Honorégo d’Urfé

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Pawłowska M.
Acta Universitatis Lodziensis. Folia Litteraria Romanica
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2022
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vol. 17
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issue 2
151-160
EN
L’Astrée, a pastoral novel of Honoré d’Urfé abounds in dramatic episodes that shatter the bucolic idyll. The suicide scenes of Damon or Chriséide; the violent context of Placidie’s marriage show the protagonists in traumatic situations. However, they all keep their cool, preferring to act instead of lamenting. Thus Honoré d’Urfé shows readers how to survive dramatic situations. He wrote his novel for readers who had mostly survived the nightmare of religious wars, who were no strangers to dramatic choices, the imminence of death, and who realized that in a critical situation, It was not fear, but action and pragmatism that could save their lives. D’Urfé is an excellent teacher. In the pastoral novel, by confronting its heroes with dramatic choices, it shows readers what kinds of actions are rational and effective, and how life differs from literature.
FR
L’Astrée de Honoré d’Urfé abonde en épisodes dramatiques qui brisent l’idylle bucolique. Les scènes de suicide de Damon ou de Chriséide ; le contexte violent du mariage de Placidie montrent les protagonistes dans les situations traumatisantes. Toutefois ils gardent tous leur sang-froid, en préférant agir au lieu de se lamenter. Ainsi Honoré d’Urfé montre aux lecteurs la manière de survivre les situations dramatiques. Il a écrit son roman pour les lecteurs qui ont pour la plupart survécu au cauchemar des guerres de religion, qui n’étaient pas étrangers aux choix dramatiques, à l’imminence de la mort et qui ont réalisé que dans une situation critique, ce n’était pas la peur, mais une action et un pragmatisme qui pouvaient sauver leur vie. D’Urfé est un excellent pédagogue. Dans le roman pastoral, en confrontant ses héros à des choix dramatiques, il montre aux lecteurs quels types d’actions sont rationnels et efficaces, et en quoi la vie diffère de la littérature.
12
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« De la poésie polonaise » d’Auguste Lacaussade et Le cimetière du Père Lachaise de Juliusz Słowacki

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Pawłowska M.
Academic Journal of Modern Philology
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2022
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vol. Special Issue
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issue 17
131-139
EN
Auguste Lacaussade, in his article ‘De la poésie polonaise’, has identified the relevant features of Polish romantic poetry: the originality and harmony of the language, the favourite themes (silence, shadow, ghosts, and the tendency to rise above the real) and the fundamental dominants (mysticism, patriotism, suffering and the pain of expatriation). All of these elements can be found in the poem Le cimetière du Père Lachaise by Juliusz Slowacki. It is obvious that the French poet was able to reach a wider and more general point of view, but with a literary insight uncommon at the time.
13
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Pomiędzy występkiem a cnotą: trudna droga człowieka światowego w powieści Jean-Pierre Camusa Palombe, ou la femme honorable

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Pawłowska M.
Santander Art and Culture Law Review
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2018
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vol. 4
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issue 1
131-140
EN
Published in 1625, Palombe, ou la femme honorable, is a novel by Jean-Pierre Camus showing the model of a mondain, or worldly, Christian. With the example of count Fulgent, an immoral rake, who undergoes a spiritual transformation, Camus demonstrates that even a libertine courtesan can become a good Christian. However, such coexistence is possible only for those who have achieved spiritual maturity and who can distinguish vice from virtue, consciously renouncing immorality. Camus represents the marriage of mondains not as a source of pleasure or opportunity for a libertine lifestyle, but rather as a contract demanding certain commitments and renouncements. On entering marriage, Fulgent is not initially morally prepared for the social position and responsibilities that he must assume. He only becomes a good husband and Christian once he accepts the commitments of his social position, This is indeed how Camus defines virtue: as a conscious renouncement of licentiousness and a conscious acceptance of duties imposed by society. To turn back from the path of debauchery is a slow and difficult process, just as it is to learn to fulfil one’s moral duties.
PL
Palombe, ou la femme honorableto opublikowana w 1625 r. powieść Jean-Pierre Camusa, w której autor przedstawił model chrześcijanina światowca (mondain). Na przykładzie głównego bohatera, rozwiązłego hrabiego Fulgencia, Camus ukazuje, że nawet libertyn może stać się dobrym chrześcijaninem. Możliwość ta jest jednak dostępna dla osób dojrzałych psychicznie, które potrafią odróżnić występek od cnoty i świadomie z niego zrezygnować. Małżeństwo mondains nie powinno polegać na poszukiwaniu uciech i rozwiązłym trybie życia. Stanowi rodzaj kontraktu, wymagającego wyrzeczeń. Fulgencio nie jest do niego psychicznie przygotowany i dlatego cierpi, gdy po ślubie musi starać się być wierny żonie. Stanie się dobrym chrześcijaninem i mężem dopiero, gdy zrozumie, jakich wyrzeczeń wymaga jego eksponowana pozycja społeczna. Pozbywanie się libertyńskich nawyków to powolny proces, podobnie jak dojrzewanie do wypełniania obowiązków.
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Le topos « Bonus dormitat Homerus » et ses récurrences françaises au XVIIe siècle

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Pawłowska M.
Romanica Silesiana
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2019
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vol. 16
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issue 2
40-49
EN
The present paper outlines the main characteristic of the topos “the good Homer sometimes nods”, introduced in Horace’s Epistle to the Pisones, and its French late 16th and 17th-century recurrences.
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Comment cerner le roman au XVIIe siècle ?

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Pawłowska M.
Academic Journal of Modern Philology
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2024
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vol. Special Issue
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issue 21
201-209
EN
This study addresses the evolution of French seventeenth-century novel theory, with particular reference to the notion of imitation. The chosen research perspective focuses on a chronological overview of the most important French treatises by authors such as Honoré d’Urfé, Fancan, Jean-Pierre Camus, Georges de Scudéry, Pierre-Daniel Huet, Jean-Baptiste Trousset de Valincour, Jean-Antoine de Charnes and Du Plaisir. The evolution of the novel in the 17th century went hand in hand with the development of increasingly in-depth theoretical thought. Towards the end of the century, the short peritexts of the beginning of the century became autonomous treatises. However, whatever the form or length of the theoretical texts, part of the poetological reflection was regularly devoted to the problem of imitation. Critics attempted to reconcile the concept of fiction as imitation with the licence for invention specific to the novelistic genre. They found the answer by favouring a conception of imitation based on vraisemblance. On the other hand, the idea of imitating the Ancients, which had become one of the objectives of fictional creation towards the middle of the century, was gradually abandoned after the publication of The Princess of Cleves.
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Les anciens revus par Pierre de Deimier et René Rapin

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Pawłowska M.
Romanica Cracoviensia
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2018
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vol. 18
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issue 4
201-208
EN
In their treaties, Deimier and Rapin welcome novelty and individualism. But, if Deimier sees this creative freedom as synonymous with inventiveness, Rapin attaches it, paradoxically, to the imitation of classical antiquity. This is indeed because he is dissatisfied with the output of French writers. In his view, French letters fail to match the greatness and the sublime quality of Latin and Greek literature, which he recommends should be studied and imitated. In imitating Homer and his art, irregular but captivating and full of charm, contemporary poets can hope to create singular and incomparable works of literature.
17
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Comment parler d’Homère sans l’avoir lu : Artamène ou le Grand Cyrus de Mlle de Scudéry

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Pawłowska M.
Cahiers ERTA
|
2011
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issue 2
197-204
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