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Jacques Milets Destruction De Troie La Grant Reassessing French Theatre In The Late Medieval Period Phd Diss Lofton Leon Durham Iii by Lofton Leon Durham Iii instant download after payment.
Jacques Milet's nearly 30,000-line French mystery play, Istoire de la Destruction de Troie la Grant [Story of the Destruction of Troy the Great], written in 1450, has been marginalized by theatre historians despite its 13 manuscripts (some with extensive illustrations) and 13 print editions dating until the mid-sixteenth century. As a play that treated its non-religious subject seriously, Destruction de Troie neither fits precisely with the spectacular religious cycles, nor with late medieval moralities and comedies, all genres which grew in popularity during the late fifteenth and early sixteenth centuries.However, Destruction de Troie's subject, the "matter of Troy," situates the play in the mainstream of the fictional universes appropriated by a range of groups--including sovereigns and their courts, civic guilds, and artists and writers of all varieties--for social and political purposes. And, the long list of surviving copies demonstrates how effectively the play captured the spirit of its time. Consequently, this dissertation uses Destruction de Troie as a prism through which to view the connections among political, economic, and social events, performance varieties and practices, and circulating literary and ideological concepts. Although much of direct evidence for performance remains inconclusive, the strength of the correspondence between the performance forms, tastes, and customs near the places where Destruction de Troie originated and circulated, and the traces of those practices in the text and images of various extant copies, supports the idea that the play was much more representative of the broader performance and literary cultures dominant at the time. The play's particular attention to political matters as demonstrated in its Épître épilogative [Letter of Epilogue], as well as the ideological orientation of the play's Prologue, reinforce the important relationship of performance to power. Viewed from this vantage point, a more complete picture of
