By Floyd Gray
Floyd grey explores how the remedy of arguable topics in French Renaissance writing was once laid low with rhetorical conventions and the industrial standards of an increasing publishing undefined. concentrating on quite a lot of discourses on gender issues--misogynist, feminist, autobiographical, gay and medical--Gray unearths the level to which those marginalized texts replicate literary issues instead of social truth. His new readings of Rabelais, Montaigne, Louise Lab? and others, problem the inherent anachronism of feedback that fails to take account of the cultural context of the interval.
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Additional info for Gender, Rhetoric, and Print Culture in French Renaissance Writing
If male, that women have equally strong sexual fantasies and desires. Hence there is a lesson for both, grounded simultaneously in past and present history. In cross-writing and displacing themes and stories from the past, Jeanne Flore imagines a strange, new, ®ctional reality. There is something utopian, even dream-like, in her world, and it is precisely this quality which awakens and stimulates the reader of her rewriting of the myth of Echo and Narcissus. 16 In the ®rst place, it argues against the desire and pursuit of the unattainable.
What the author of these stories has assembled is a collection of the conventional situations and clicheÂs of earlier romances concerning rejected suitors. In this sense the work is also meta®ctional, commenting or re¯ecting upon other texts in a way which allows the reader to recognize the irony inherent in their rewriting and regendering. In any event, appropriation in the Comptes has a twofold dimension in that it introduces a semantic intention that is different from the original text. Sexual comportment for Jeanne Flore, contrary to Platonic or Petrarchan conventions, is dictated by nature rather than by social or cultural codes.
Juno takes pity on Dido in the Aeneid (iv 688±92), but Venus takes pity on Pyrance in the Comptes, and Meridienne replaces Aeneas in the comparison with an oak tree (Aeneid iv 445±6). Moreover, the story of Meridienne, as told by Andromeda, is a rewriting of the story of the mythological Andromeda. According to legend, Cassiopeia, Andromeda's mother, angered Poseidon by saying that her daughter (or possibly herself ) was more beautiful than the Nereids. To avenge himself of this insult, Poseidon sent a sea monster to lay waste to the country and was appeased only by the sacri®ce of Andromeda.