Literary and Non-literary Pastimes in a Playful Genre: Self-image in the Seventeenth Century

dc.citation.epage46
dc.citation.spage35
dc.contributor.authorGodwin, Denise
dc.contributor.editorHouliston,Victor
dc.date.accessioned2019-09-03T12:13:21Z
dc.date.available2019-09-03T12:13:21Z
dc.date.created2000
dc.date.issued2000
dc.description.abstractThe French frame novel is considered to have its origins in Boccaccio’s Decameron (1352).1 Production continues strongly from the Cent Nouvelles nouvelles (anonymous) of 1456, through Marguerite de Navarre’s Heptaméron (1559), Jacques Yver’s Printemps (1572), Bénigne Poissenot’s Esté (1583), etc. until a slight reduction in productivity in the first half of the seventeenth century. Until then, all the frame novels, like Boccaccio’s, were a mixture of bawdy material strongly related to the fabliau tradition, and tragico-serious exemplary tales. The few frame novels that appear during the first half of the seventeenth century, like Charles Sorel’s Les Nouvelles Françaises (1623) abandon the serious tone and present only bawdy and amusing tales.
dc.description.librariannlewinen_ZA
dc.description.urihttps://sasmars.wordpress.com/sasmars-journal/
dc.identifier.issn1017-3455
dc.identifier.urihttps://www.sasmars.wordpress.com
dc.identifier.urihttps://hdl.handle.net/20.500.12430/549142
dc.journal.titleSouthern African Journal of Medieval and Renaissance Studies
dc.journal.volume10
dc.language.isoEnglish
dc.publisherThe Southern African Society for Medieval and Renaissance Studies (SASMARS)
dc.subjectMiddle Ages -- Periodicals.en_ZA
dc.subjectRenaissance -- Periodicals.
dc.subjectMiddle Ages.
dc.subjectRenaissance.
dc.titleLiterary and Non-literary Pastimes in a Playful Genre: Self-image in the Seventeenth Century
dc.typeJournal Article
local.PlaceUniversity of the Witwatersrand, Braamfontein , Johannesburg
local.dctitlejournal.AbbreviationSAJMRS
local.roman.epage46
local.roman.spage35
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