2006/10/05 by Rebecca Dixon · 1 citation
Arts and Humanities · #Renaissance Literature and Culture #Historical Studies and Socio-cultural Analysis #Medieval Literature and History #Allusion #Allegory #Intertextuality #Literature #CITES #Identity (music) #Plot (graphics) #History #National identity #Art #Philosophy #Art history #Politics #Law #Political science #Aesthetics
paper · doi:10.1093/frebul/ktl036
openalex publication_date 2006/10/05 · openalex created_date 2016/06/24 · openalex updated_date 2026/07/02
It is widely acknowledged that the literary output of the Burgundian court under Philip the Good is decisively shaped by processes of allusion and adaptation. Historical figures – Charlemagne, Alexander the Great – are cast as honorary Burgundians,1 while prior literary models are pressed into the service of new social and cultural patternings at court. Vital to the construction of a distinctively Burgundian ‘national’ identity and literary heritage was the phenomenon of the mise en prose, the reworking, at the level of language and often plot, of earlier Francophone texts into comprehensible Middle French prose for Philip and his circle.2 This process of cross-cultural transformation and allusion has received a measure of critical coverage;3 less closely studied, however, are intra-cultural allusions, where later Burgundian literature cites the works produced under Philip. The present article examines a hitherto unremarked instance of this process, in Jean Molinet's prosimetrum allegory Le Naufrage de la Pucelle (mid-1477).4