دانلود کتاب «En belle forme de livre»: Les métamorphoses de l’auteur à l’aube de la Renaissance

The starting point of this study is the acknowledgement that the literary field in the early Renaissance, subsequent to the development of the printing press, can be seen as a «laboratory» for new forms of writing, audience and authorial postures. I assert that Clement Marot, the most famous poet of the period, is the best illustration of this exploratory spirit I want to describe. He is the study case that helps me build a theory of the author in the early Renaissance. I argue that, though often described as a representantive of an essentially oral tradition disconnected from the book market (he was a court poet), he was in fact very active in the practice of editing texts (his own, his father's, Villon's), in the development of what critics call the paratext (titles, prefaces, epigraphs), and even in the establishment of modern typography. (At the same time, I show that he never ceased to be interested in more traditional forms of cultural practices such as manuscript edition.) In connection with the advance of the print culture, the religious context and the centralization of French politics and culture, I also underline Marot's role in the creation of a unified literary field, a prototype of what will be known as «la littérature française». What emerges from my work is a portrait of the author, Marot himself but also the Renaissance author in general, as mutable, constantly inventing himself, sometimes self-contradictory or ambiguous. I conclude that, although virtual in Marot's time, the aspects that will become prominent at the time of Ronsard, the author as an inspired, exceptional being, are already available in the early Renaissance laboratory.