{"id":4235,"date":"2018-09-21T15:25:55","date_gmt":"2018-09-21T13:25:55","guid":{"rendered":"http:\/\/wp.unil.ch\/labelettres\/?p=4235"},"modified":"2024-05-24T16:35:25","modified_gmt":"2024-05-24T14:35:25","slug":"moliere-les-femmes-savantes","status":"publish","type":"post","link":"https:\/\/wp.unil.ch\/labelettres\/moliere-les-femmes-savantes\/","title":{"rendered":"Moli\u00e8re, Les Femmes savantes"},"content":{"rendered":"
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Nouvelle \u00e9dition des Femmes savantes<\/em> de Moli\u00e8re.<\/strong><\/p>\n

<\/p>\n

Philaminte, Armande et B\u00e9lise se complaisent dans les joies de l\u2019esprit. Cr\u00e9\u00e9e en 1672 alors que Moli\u00e8re est au sommet de sa gloire, la pi\u00e8ce n\u2019a rien perdu de son piquant. Car si les femmes grammairiennes ou astronomes ne pr\u00eatent plus \u00e0 rire aujourd’hui, le recours syst\u00e9matique et irr\u00e9fl\u00e9chi aux derni\u00e8res th\u00e9ories \u00e0 la mode reste risible. Raillant l\u2019\u00e9troitesse de vue des p\u00e9dantes,\u00a0Les Femmes savantes\u00a0<\/em>exprime en creux des valeurs profond\u00e9ment modernes : celles du jugement individuel, du plaisir et des droits du corps.<\/p>\n

Cette \u00e9dition critique de Lise Michel\u00a0(Section de fran\u00e7ais<\/a>) propose une nouvelle approche de ce texte. L’auteure met en lumi\u00e8re le tissage \u00e9troit op\u00e9r\u00e9 par Moli\u00e8re entre les canevas de la com\u00e9die et les d\u00e9bats philosophiques, litt\u00e9raires et linguistiques de son temps.<\/p>\n

Le dossier comprend quatre axes\u00a0:\u00a0la premi\u00e8re r\u00e9ception de la pi\u00e8ce\u00a0; femmes savantes, femmes p\u00e9dantes dans la litt\u00e9rature galante du XVIIe si\u00e8cle\u00a0; Descartes au pays des p\u00e9dantes\u00a0; ainsi que le tournant \u00ab\u00a0f\u00e9ministe\u00a0\u00bb dans les mises en sc\u00e8ne des\u00a0Femmes savantes<\/em>.<\/p>\n

Moli\u00e8re, Les Femmes savantes<\/em><\/a>, \u00e9d. Lise Michel, Paris, GF-Flammarion, 2018.<\/p>\n<\/div><\/div>\n

\"\"<\/p>\n<\/div><\/div>\n<\/div>\n
<\/div>\n
TOUTES LES NOTICES DE<\/strong><\/h6>\n

Lise Michel<\/strong><\/a><\/p>\n\n\n

\n\n\t\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

\u00c9crire pour elles. Dramaturges et spectatrices en Europe<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Retours sur Moli\u00e8re<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Crime et ch\u00e2timent : la mort de Don Juan (Moli\u00e8re et Mozart, 1965-2019)<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Moli\u00e8re, Le M\u00e9decin malgr\u00e9 lui<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Nouvelles recherches sur le th\u00e9\u00e2tre classique<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Faire \u0153uvre d’une r\u00e9ception: portraits de spectateurs de th\u00e9\u00e2tre (spectacles, textes, films, images) XVIe-XXIe si\u00e8cle<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Moli\u00e8re, Les Femmes savantes<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Naissance de la critique dramatique<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

L’id\u00e9e d’un th\u00e9\u00e2tre originaire dans la th\u00e9orie et la pratique dramatiques (XVII-XXIe si\u00e8cle)<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\n<\/div>\n\n
<\/div>\n","protected":false},"excerpt":{"rendered":"

Nouvelle \u00e9dition des Femmes savantes de Moli\u00e8re.<\/p>\n","protected":false},"author":1001615,"featured_media":4239,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_seopress_robots_primary_cat":"","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","footnotes":""},"categories":[3],"tags":[3345,1222,1014,1205,892,1192,1206,1212,151],"class_list":{"0":"post-4235","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-langues-litteratures","8":"tag-3345","9":"tag-centre-detudes-theatrales-cet","10":"tag-femmes","11":"tag-labelettres","12":"tag-lise-michel","13":"tag-moliere","14":"tag-newsletter-1","15":"tag-section-de-francais","16":"tag-theatre"},"_links":{"self":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts\/4235","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/users\/1001615"}],"replies":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/comments?post=4235"}],"version-history":[{"count":1,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts\/4235\/revisions"}],"predecessor-version":[{"id":13019,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts\/4235\/revisions\/13019"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/media\/4239"}],"wp:attachment":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/media?parent=4235"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/categories?post=4235"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/tags?post=4235"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}