scholarly journals Le Roman de la Rose : représentations allégoriques et transformations iconographiques du manuscrit à l’imprimé. Étude du manuscrit Douce 195 et de l’incunable Rosenwald 3961

2012 ◽  
Vol 3 (1) ◽  
Author(s):  
Audrée Wilhelmy
Keyword(s):  
Jean De Meun ◽  
Roman De La Rose ◽  
Guillaume De Lorris

Cet article propose une étude des transformations iconographiques que subit Le Roman de la Rose de Guillaume de Lorris et de Jean de Meun lors de son passage du manuscrit à l’imprimé. Malgré une forte tradition picturale qui impose la récurrence de nombreuses figures, les divergences entre les documents étudiés (le manuscrit Douce 195 et l’incunable Rosenwald 396) sont nombreuses et témoignent de profonds changements dans le rapport entre l’image et le texte. Que ce soit à travers l’analyse des représentations allégoriques, celle du parcours iconographique ou celle de la composition des miniatures, cette étude se veut représentative d’un phénomène au coeur des bouleversements que connaît le livre au xve siècle.

The Romaunt of the Rose and Source Manuscripts

PMLA ◽  
1959 ◽  
Vol 74 (3) ◽  
pp. 178-183
Author(s):  
Ronald Sutherland
Keyword(s):  
Jean De Meun ◽  
Great Work ◽  
Roman De La Rose ◽  
Guillaume De Lorris ◽  
Lower Case Letter ◽  
Lower Case ◽  
The Family ◽  
Significant Measure ◽  
The Rose ◽  
Partial Translation

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.

Animal Imagery in the Text and Illustrations of the Roman de la Rose

Reinardus ◽  
1996 ◽  
Vol 9 ◽  
pp. 87-108
Author(s):  
Meradith T. McMunn
Keyword(s):  
Jean De Meun ◽  
Roman De La Rose ◽  
Guillaume De Lorris ◽  
De Re ◽  
The Bible ◽  
Animal Imagery ◽  
The Rose

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.

scholarly journals Discovering Dèduit: An examination of the garden setting in the Roman de la Rose

2016 ◽  
Vol 7 (1) ◽  
pp. 38
Author(s):  
Irina Ridzuan
Keyword(s):  
Jean De Meun ◽  
Roman De La Rose ◽  
Guillaume De Lorris

<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>

On the Date and Composition of Guillaume De Lorris' Roman de la Rose

PMLA ◽  
1908 ◽  
Vol 23 (2) ◽  
pp. 269-284
Author(s):  
F. M. Warren
Keyword(s):  
Jean De Meun ◽  
Roman De La Rose ◽  
Guillaume De Lorris ◽  
Positive Knowledge

Our positive knowledge concerning the date and authorship of the first part of the Roman de la Rose is wholly derived from the lines in which Jean de Meun refers to his predecessor, Guillaume de Lorris:Vés-ci Guillaume de Lorris,Cui Jalousie, sa contraire,Fait tant d'angoisse et de mal traire,Qu'il est en péril de morir. Michel's Edition, 11291-94.Ci se reposera Guillaume,Le cui tombel soit plains de baume. 11326, 11327.Car quant Guillaumes cesseraJehans le continueraApres sa mort, que ge ne mente,Ans trespassés plus de quarante. 11352-55.

Sign in / Sign up

Export Citation Format

Share Document