«Dans le corps de la mort, j’ai enfermé ma vie»: le motif du mort-vivant dans “Le Printemps” d’Agrippa d’Aubigné
Fiche du document
- 20.500.13089/13e0s
Ce document est lié à :
info:eu-repo/semantics/reference/issn/2421-5856
Ce document est lié à :
info:eu-repo/semantics/reference/issn/0039-2944
Ce document est lié à :
https://hdl.handle.net/20.500.13089/13e42
Ce document est lié à :
https://doi.org/10.4000/13e42
info:eu-repo/semantics/embargoedAccess , https://creativecommons.org/licenses/by-nc-nd/4.0/
Mots-clés
cœur arraché fantôme figure maternelle érotisme androgyne torn heart ghost mother figure eroticism androgynous cuore lacerato fantasma figura materna erotismo androginoSujets proches
Life--Philosophy Cadavers Remains, Human Corpses Human remains DeceasedCiter ce document
Marianne Closson, « «Dans le corps de la mort, j’ai enfermé ma vie»: le motif du mort-vivant dans “Le Printemps” d’Agrippa d’Aubigné », Studi Francesi
Partage / Export
Résumé
Readers will readily recall from Printemps, and especially from the Hécatombe à Diane and the Stances, the horrible image of the bloody chest of the lover whose heart has been torn out and offered as a holocaust to the cruel Diana. This metaphorical motif, inherited from Petrarchanism, is not, however, unrelated to the author’s convictions and life experiences. His interest in the occult sciences and, more generally, his acceptance, albeit suspicious and worried, of the irruption of the supernatural into real life, can be seen in his Lettres sur les divers points de science and in Sa vie à ses enfants. Agrippa d’Aubigné, through the obsessive figure of the living dead, with whom he identified, questioned the porosity of the boundaries between the worlds of the living and the dead.
