C Edward Rathé
Biographic Data
| ID | 8480273 |
|---|---|
| NAME | C Edward Rathé |
| GIVEN NAMES | C Edward |
| FAMILY NAME | Rathé |
| SIGNATURE | RATHÉ C E |
| VERIFIED | No |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 3 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1969 |
| LATEST PUBLICATION YEAR | 1969 |
| H-INDEX | 0 |
Estienne Jodelle. Le Recueil Des Inscriptions. A Literary and Iconographical Exegesis
its causes {mutatis mutandis), and it is perhaps as an activist that we should think of her today, though certainly not as a radical.Her surviving literary corpus comprises a deal of poetry, some comédies (neither verse nor plays are read now by other than curiosity seekers), and a collection of seventy-two tales (presumably the original plan, cut short by death, called for one hundred) entitled
Montaigne's Deceits, The Art of Persuasion in the Essais
Defaux agrees that it is easy to see where Rabelais' sympathies lie, but this is not to say th Alcofrybas is Rabelais, any more than one can confuse Folly with Erasmus; and the paral is clearly indicated by the subtitle of this article: Sophista loquitur.This stress on the wo creative aspect seems somewhat to diminish certain of Defaux's arguments on the dating » Gargantua
Foundations of Modern Historical Scholarship
overloaded for ready comprehension, and the progression of thought hard to follow.The vocabulary tends towards jargon and pomposity: 'With the abolishment of these linear connections of grammar, emotions are left only with their vertical, Faustian projections' (p. 133).The fact that the author has chosen to give not footnotes but references at the back in an effort to evoke 'the liveliness of several voices contribut- ing to the argument' (x), do…
No prominent works on this page.
Estienne Jodelle. Le Recueil Des Inscriptions. A Literary and Iconographical Exegesis
its causes {mutatis mutandis), and it is perhaps as an activist that we should think of her today, though certainly not as a radical.Her surviving literary corpus comprises a deal of poetry, some comédies (neither verse nor plays are read now by other than curiosity seekers), and a collection of seventy-two tales (presumably the original plan, cut short by death, called for one hundred) entitled
Montaigne's Deceits, The Art of Persuasion in the Essais
Defaux agrees that it is easy to see where Rabelais' sympathies lie, but this is not to say th Alcofrybas is Rabelais, any more than one can confuse Folly with Erasmus; and the paral is clearly indicated by the subtitle of this article: Sophista loquitur.This stress on the wo creative aspect seems somewhat to diminish certain of Defaux's arguments on the dating » Gargantua
Foundations of Modern Historical Scholarship
overloaded for ready comprehension, and the progression of thought hard to follow.The vocabulary tends towards jargon and pomposity: 'With the abolishment of these linear connections of grammar, emotions are left only with their vertical, Faustian projections' (p. 133).The fact that the author has chosen to give not footnotes but references at the back in an effort to evoke 'the liveliness of several voices contribut- ing to the argument' (x), do…
Art (3 works) · Art history (2 works) · Literature (2 works) · Philosophy (2 works) · Classics (1 work) · Classics (1 work) · European Political History Analysis (1 work) · Exegesis (1 work) · French Literature and Criticism (1 work) · Historical Art and Culture Studies (1 work)