« Des contraires choses » : la fonction poétique de la citation et des exempla dans le Roman de la Rose de Jean de Meun

Littérature ◽  
1981 ◽  
Vol 41 (1) ◽  
pp. 62-81 ◽  
Author(s):  
Nancy Freeman Regalado
PMLA ◽  
1959 ◽  
Vol 74 (3) ◽  
pp. 178-183
Author(s):  
Ronald Sutherland

The Authorship of the Romaunt of the Rose, subject of ardent controversy for nearly a century, can at last be established beyond any significant measure of doubt, for there is a new and highly reliable kind of evidence to show that at least two men were responsible for the existing partial translation of the famed Roman de la rose into Middle English. More than 200 MSS of the original French poem, composed by Guillaume de Lorris and Jean de Meun in the thirteenth century, have been catalogued by the late Ernest Langlois. The French scholar divided these MSS into three main groups, I, II, and III, and into subgroups or families marked by capital letters; while individual MSS he designated by the family letter plus a lower-case letter, Ab, He, Ha, and so on. In consequence of Langlois' great work, scholars have been enabled to compare the ME Romaunt with the variant readings of the MSS of its French original, and as will be demonstrated below, such comparison throws revealing light upon the facts of the Romaunt's composition.


2021 ◽  
Author(s):  
Earl Jeffrey Richards

This chapter asks whether Jean de Meun’s references in the Roman de la Rose to relics as a euphemism for genitals actually allude to a much larger debate in Paris between 1250 and 1280 about significatio in general, and about the religious and political significance of relics in particular, a debate in which Thomas Aquinas played an important role. Scholars have noted the influence of Ovid and Alain de Lille upon the Roman de la Rose, but have not tended to consider Jean de Meun’s scholastic sources, particularly his deployment of the theology of Thomas Aquinas.


Reinardus ◽  
1996 ◽  
Vol 9 ◽  
pp. 87-108
Author(s):  
Meradith T. McMunn

Abstract The text of the Roman de la Rose by Guillaume de Lorris and Jean de Meun incorporates animal imagery drawn from many disparate sources including proverbs, the Bible, Ovid and other classical authors, histories, the Books of Beasts, and the Roman de Re-nart, especially in Jean de Meun's part of the poem. The illustrated Rose manuscripts reflect and extend these animal references in hundreds of framed miniatures and marginal drawings. Analysis of the animal imagery in the Rose text and of a generous sample of illustrations in Rose manuscripts demonstrates the distinctive textual and visual predilections and strategies of the Rose authors and illustrators and may also yield clues to the identity and tastes of the patrons of individual manuscripts.


2016 ◽  
Vol 7 (1) ◽  
pp. 38
Author(s):  
Irina Ridzuan

<p class="p1">Roman de la Rose is a French poem which chronicles the journey of a young man within a secluded garden setting (the Garden of Dèduit). The poem was initially written by Guillaume de Lorris in c.1230 and later completed by Jean de Meun in c.1270. However, the authors’ differing literary styles have resulted in debates surrounding the poem’s meaning. In this study, I address the central interpretative problem by focusing on the illustrated garden setting of Dèduit and its relation to the literary content. Ultimately, I attempt to answer the following questions: How did the medieval audience perceive the garden symbolism? Did the images make a difference in the medieval reader’s understanding of the garden? What are the possible ways in which the medieval reader could interpret this garden symbolism?</p><div> </div><p class="p1"><strong> </strong></p>


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