Jean de La Fontaine ( 1621-07-08 – 1695-04-13 ) is the most famous French fabulist and probably the most widely read French poet of the 17th century. Contents 1 Sourced 1.1 Fables (1668–1679) 2 Unsourced 3 External links // Sourced Fables...
The French poet and man of letters Jean de La Fontaine (1621-1695) was one of the great French classical authors. He preferred to work in relatively minor and unexploited genres, such as the fable and the verse tale. While he did not hesitate to borrow f...
Jean de La Fontaine (July 8, 1621 – April 13, 1695) was the most famous French fabulist and probably the most widely read French poet of the 17th century. According to Flaubert, he was the only French poet to understand and master the texture of the...
Français, de Michel Vigne, avec Lorànt Deutsch, Philippe Torreton, Sara Forestier, Jean-Claude Dreyfus. Premier long métrage sur le poète classique (1621-1695), cette réalisation somptueuse suit le double axe du biopic et de la fresque. Annoncé dans le titre, l'élément subversif de la poésie...
Reading Undercover: Audience and Authority in Jean de La Fontaine. By ANNE L. BIRBERICK. Lewisburg, PA: Bucknell University Press; London: Associated University Presses. 1998. 160 pp. 27 [pounds sterling]. Anne Birberick approaches La Fontaine from an interesting and original angle, classifying his work...
In the following essay, Gross asserts that the narrative remarks which frame La Fontaine's story Psyché are meant to draw the reader's attention to the powerful effects of both nature and art on human emotion.
In the following essay, Slater identifies some organizing principles that seem to govern the grouping of La Fontaine's poetic fables within each of his books, nevertheless concluding that this organization does not serve to underscore any calculated theme or intention.
In the following essay, Danner summarizes the evaluations of such La Fontaine scholars as de Mourgues, Runte, and Rubin regarding La Fontaine's use of irony in his Fables. Danner suggests that disagreements between the critical assessments are the result of differing—and not always precise—definitions of irony.
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