This ambitious and vivid study in six volumes explores the journey of a single, electrifying story, from its first incarnation in a medieval French poem through its prolific rebirth in the nineteenth and twentieth centuries The Juggler of Notre Dame tells how an entertainer abandons the world to join a monastery, but is suspected of blasphemy after dancing his devotion before a statue of the Madonna in the crypt; he is saved when the statue, delighted by his skill, miraculously comes to life Jan Ziolkowski tracks the poem from its medieval roots to its rediscovery in late nineteenth-century Paris, before its translation into English in Britain and the United States The visual influence of the tale on Gothic revivalism and vice versa in America is carefully documented with lavish and inventive illustrations, and Ziolkowski concludes with an examination of the explosion of interest in The Juggler of Notre Dame in the twentieth century and its place in mass culture today In this volume Jan Ziolkowski follows the juggler of Notre Dame as he cavorts through new media, including radio, television, and film, becoming closely associated with Christmas and embedded in children’s literature Presented with great clarity and simplicity, Ziolkowski's work is accessible to the general reader, while its many new discoveries will be valuable to academics in such fields and disciplines as medieval studies, medievalism, philology, literary history, art history, folklore, performance studies, and reception studies

The Juggler of Notre Dame and the Medievalizing of Modernity: Volume 5: Tumbling into the Twentieth Century

3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand corner of a iarge sheet and to continue from left to right in equal sections with small overlaps. I f necessary, sectioning is continued again-beginning below the first row and continuing on until complete.

Attitudes toward the Middle Ages in French literature from the age of Enlightenment through the Romantic movement

The centrality of fantasy to French literary culture has long been accepted by critics, but the sonorous dimensions of the mode and its wider implications for musical production have gone largely unexplored. In this book, Francesca Brittan invites us to listen to fantasy, attending both to literary descriptions of sound in otherworldly narratives, and to the wave of 'fantastique' musical works published in France through the middle decades of the nineteenth century, including Berlioz's 1830 Symphonie fantastique, and pieces by Liszt, Adam, Meyerbeer, and others. Following the musico-literary aesthetics of E. T. A. Hoffmann, they allowed waking and dreaming, reality and unreality to converge, yoking fairy sound to insect song, demonic noise to colonial 'babbling', and divine music to the strains of water and wind. Fantastic soundworlds disrupted France's native tradition of marvellous illusion, replacing it with a magical materialism inextricable from republican activism, theological heterodoxy, and the advent of 'radical' romanticism.

Music and Fantasy in the Age of Berlioz

Diabolic Deeds: Transgression and Corporeality in the Histoires tragiques

This doctoral thesis looks at the relationship between narrative space and Postmodern manifestations of the fantastic short story. The Fantastic is viewed here as distinct from other non-mimetic forms such as fantasy or science fiction, and understood as an incursion of an impossible element within a realistic frame shared by narrator and reader.

The importance of narrative space in the construction of textual verisimilitude has been recurrently emphasised, especially after the so-called Spatial Turn in literary studies. However, whereas this relation between space and mimetic effect has received considerable scholarly attention, the relation between space and fantastic effect has to date not been appropriately explored, neither within the emerging field of Geocriticism nor in theoretical and thematic studies on the Fantastic. This thesis fills the existing gap, through the exploration of how narrative space is employed to disrupt the realistic effect of the literary text, i.e. the fantastic transgression as a phenomenon arising from narrative space.

The frequently asked question of ‘Where does the supernatural take place?’ is substituted by those of ‘What fantastic event does space provoke? How is it rhetorically constructed? And what are its interpretations?’ To answer these questions and illustrate that this phenomenon is transnational, this study necessarily needs a comparative angle including texts from diverse socio-cultural traditions. Although textual precedents can be found, a central proposition here is that the unprecedented presence of this phenomenon is unique to the Postmodern Fantastic. Fourteen sample short stories written between 1974 and 2010 are presented as archetypical of this phenomenon and have been analysed under the light of literary theory, while also drawing from spatial theories developed in fields such as anthropology, sociology, physics and architecture.

This selected corpus serves as a model for systematising literary space as transgression, structured in four chapters: ‘body’, ‘boundary’, ‘hierarchy’ and ‘world’. Paralleling narrative with an architectural piece, these four suggested categories are four basic spatial ‘steps’ in the architectural configuration of any literary work. They are four spatial principles of any realistic text, which at the same time derive from the four fundamental phenomenological and philosophical aspects of human spatiality.

Pierre Georges Castex

Papers

Le conte fantastique en France de Nodier à Maupassant

Anthologie du conte fantastique français

Contes, avec des textes et des documents inédits

Manuel des études littéraires françaises

Albert Camus et "L'étranger"