FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W2915917812> ?p ?o ?g. }

• W2915917812 endingPage "379" @default.
• W2915917812 startingPage "369" @default.
• W2915917812 abstract "A Knight is Changed into a Bear:Metamorphosis and Creativity in the Roman de Perceforest Denyse Delcourt The issue of metamorphosis has preoccupied theologians throughout the Middle Ages. What metamorphosis represented for Ovid–a protean world in which men, animals and nature are transformed into and continued each other–was completely at odds with one of the principal Christian beliefs: that man was created in God's likeness. Medieval writers and theologians could not simply dismiss their classical heritage of which Ovid was an integral part but they could not take his stories of transformation literally either. In the City of God Saint Augustine discusses at length the theological questions raised by metamorphosis. Augustine does not categorically deny the possibility of metamorphosis of a man into an animal. It can certainly not occur in reality, according to him; however, it does occur in some immaterial reality or space located in the human mind, considered as a kind of theater for the expression of phantasms (Barkan 101; Harf-Lancner 210). It is here that demons can display their talents of illusionistes (from ludere, to play).1 This is exactly what they do when they stage metamorphoses that do not implicate God's own creature–a real human being–but rather what Augustine calls a phantasticus hominis (phantom of a man; 783).2 [End Page 369] While advancing the idea of a phantom to which demons succeed in giving the appearance of a man changed into a beast Augustine implicitly compares the demons' creative activity to that of the artists, or more precisely, a certain category of artists who produce what Plato, in the Sophist, calls phantastic art (236a). Phantastic art, which Plato opposes to icastic art, is an art founded upon subterfuge, artifice and illusion. The products of this kind of art are called simulacra (Allen 123-5). But to ponder simulacra is like leaning over an abyss. Both Plato and Augustine experience what Gilles Deleuze describes as the vertigo of the simulacrum, which manifests itself in their texts as a more and more tortuous dilemma as to what distinguishes fiction from reality (195). Starting with Boethius, Ovid's metamorphoses came to be defined in the Middle Ages as mutatio moralis, fictiva or metaphorical as opposed to mutatio realis or literally real. These rhetorical disctinctions helped make Ovid's stories of transformations of a man into an animal less threatening to the Christian dogma (Mora-Lebrun 287-8). It also generated a hermeneutic frenzy of which the fourteenth-century Ovide moralisé is a prime example.3 However, while metamorphosis became the vehicle for metaphor in the Middle Ages, the line between metaphor and metamorphosis nevertheless remained very thin (Barkan 102). In an article published in 1998, Dorothy Yamomoto discusses how the strict boundary-line between human beings and other species that theologians tried to establish in the Middle Ages never put an end to the debate about what it means to be a man. On the contrary, she writes, it encouraged it: The abundance of stories of metamorphosis in the Middle Ages attests to the fascination of both theologians and writers of imaginative literature [for] the possibilities of approaching the borderline between men and animals, or even crossing it (88). In this essay, I will consider a passage from the late medieval Roman de Perceforest in which a knight called Estonné is changed into a bear as yet another manifestation of the liminality or space in-between humanity and animality. I intend to show how the character's metamorphosis elicits an interrogation not only of the porousness of the human/animal distinction, but also of art, identity, and human perceptions. Estonné's transformation gives rise to two artistic creations, which puzzle the hero and the reader alike. Metamorphosis and the creative process, I will argue, mirror one another. The bear that has become Estonné and the artistic creations it inspires–including [End Page 370] the episode in the Perceforest that recounts it–both invite and defy interpretation. Several leading characters in the Perceforest are connected to animals either by way of metamorphosis, hybridity, or physical appearance. Estonné is changed into a bear, Le Tors into a nine-headed bull, Lyriope..." @default.
• W2915917812 created "2019-03-02" @default.
• W2915917812 creator A5080087171 @default.
• W2915917812 date "2018-01-01" @default.
• W2915917812 modified "2023-10-17" @default.
• W2915917812 title "A Knight is Changed into a Bear: Metamorphosis and Creativity in the Roman de Perceforest" @default.
• W2915917812 cites W1506308000 @default.
• W2915917812 cites W1506327820 @default.
• W2915917812 cites W152970240 @default.
• W2915917812 cites W1985216209 @default.
• W2915917812 cites W1994970404 @default.
• W2915917812 cites W2029243863 @default.
• W2915917812 cites W2063358195 @default.
• W2915917812 cites W2316602438 @default.
• W2915917812 cites W2321848657 @default.
• W2915917812 cites W2742510152 @default.
• W2915917812 cites W2798278362 @default.
• W2915917812 cites W575474207 @default.
• W2915917812 cites W639975009 @default.
• W2915917812 cites W647505707 @default.
• W2915917812 cites W650125302 @default.
• W2915917812 doi "https://doi.org/10.1353/rmc.2018.0034" @default.
• W2915917812 hasPublicationYear "2018" @default.
• W2915917812 type Work @default.
• W2915917812 sameAs 2915917812 @default.
• W2915917812 citedByCount "0" @default.
• W2915917812 crossrefType "journal-article" @default.
• W2915917812 hasAuthorship W2915917812A5080087171 @default.
• W2915917812 hasConcept C11012388 @default.
• W2915917812 hasConcept C121332964 @default.
• W2915917812 hasConcept C124952713 @default.
• W2915917812 hasConcept C1276947 @default.
• W2915917812 hasConcept C136197465 @default.
• W2915917812 hasConcept C136397037 @default.
• W2915917812 hasConcept C142362112 @default.
• W2915917812 hasConcept C154945302 @default.
• W2915917812 hasConcept C15744967 @default.
• W2915917812 hasConcept C161191863 @default.
• W2915917812 hasConcept C173758957 @default.
• W2915917812 hasConcept C2777855551 @default.
• W2915917812 hasConcept C41008148 @default.
• W2915917812 hasConcept C59822182 @default.
• W2915917812 hasConcept C71140485 @default.
• W2915917812 hasConcept C77805123 @default.
• W2915917812 hasConcept C86803240 @default.
• W2915917812 hasConcept C95457728 @default.
• W2915917812 hasConceptScore W2915917812C11012388 @default.
• W2915917812 hasConceptScore W2915917812C121332964 @default.
• W2915917812 hasConceptScore W2915917812C124952713 @default.
• W2915917812 hasConceptScore W2915917812C1276947 @default.
• W2915917812 hasConceptScore W2915917812C136197465 @default.
• W2915917812 hasConceptScore W2915917812C136397037 @default.
• W2915917812 hasConceptScore W2915917812C142362112 @default.
• W2915917812 hasConceptScore W2915917812C154945302 @default.
• W2915917812 hasConceptScore W2915917812C15744967 @default.
• W2915917812 hasConceptScore W2915917812C161191863 @default.
• W2915917812 hasConceptScore W2915917812C173758957 @default.
• W2915917812 hasConceptScore W2915917812C2777855551 @default.
• W2915917812 hasConceptScore W2915917812C41008148 @default.
• W2915917812 hasConceptScore W2915917812C59822182 @default.
• W2915917812 hasConceptScore W2915917812C71140485 @default.
• W2915917812 hasConceptScore W2915917812C77805123 @default.
• W2915917812 hasConceptScore W2915917812C86803240 @default.
• W2915917812 hasConceptScore W2915917812C95457728 @default.
• W2915917812 hasIssue "3" @default.
• W2915917812 hasLocation W29159178121 @default.
• W2915917812 hasOpenAccess W2915917812 @default.
• W2915917812 hasPrimaryLocation W29159178121 @default.
• W2915917812 hasRelatedWork W1531601525 @default.
• W2915917812 hasRelatedWork W2748952813 @default.
• W2915917812 hasRelatedWork W2758277628 @default.
• W2915917812 hasRelatedWork W2899084033 @default.
• W2915917812 hasRelatedWork W2935909890 @default.
• W2915917812 hasRelatedWork W2948807893 @default.
• W2915917812 hasRelatedWork W3173606202 @default.
• W2915917812 hasRelatedWork W3183948672 @default.
• W2915917812 hasRelatedWork W2778153218 @default.
• W2915917812 hasRelatedWork W3110381201 @default.
• W2915917812 hasVolume "58" @default.
• W2915917812 isParatext "false" @default.
• W2915917812 isRetracted "false" @default.
• W2915917812 magId "2915917812" @default.
• W2915917812 workType "article" @default.