obscenites renaissantes - ePrints Soton - University of Southampton

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io6 JEANICE BROOKS novel or Costeley's songbook reinforce Erasmus's mapping of this performance ideology onto elite culture. In relation to the emerging notion of obscenity, this becomes intensely problematic despite (or even because of) attempts to dislocate bodily response by attributing it to non-elites, or to defuse it through humour or other attempts to establish audience complicity. Torn from any licensing structure that may have characterized the real performance of sexually transgressive songs at court and launched into new contexts determined by print, such volumes fostered a connection between sophistication and sleaze that allowed obscenity to be conceived in anti-aulic terms, a problem that only intensified when charges of obscenity become a weapon of confessional dispute during the religious wars. This failure successfully to control readings of sexual imagery, once print had begun to disseminate accounts of court practice far beyond the court's own confines, may have served to motivate some of the reorientations of French court culture in the early seventeenth century. When the royal court began slowly to reformulate, after the paroxysms of the 1580s and 1590S, the concept of honnetete began to play a newly central role. The courtly artistic production of the previous century was regularly characterized as crude by seventeenthcentury actors; and though much sexually explicit material continued to be produced, it was often segregated into new kinds of publication such as the receuils satyriques discussed by Guillaume Peureux. Sexually transgressive songs largely disappeared from the volumes of secular vocal music so tellingly labelled airs de cour, and while court composers continued to exploit pastoral imagery in their songs, the highly sexualized rustic and more explicit corporeality of earlier music prints all but vanished. Within the officially sanctioned representional arena represented by the royal music printer, that is, courtly bodies begin to sing in new and different ways. Jeanice Brooks, University of Southampton
TABLE DES MATIERES / TABLE OF CONTENTS Acknowledgements 7 Preface 9 MICHEL JEANNERET Introduction 15 GUILLAUME PEUREUX, HUGH ROBERTS, LISE WAJEMAN Avertissement 14 I. LE MOT ET LA CHOSE Introduction 27 EMILY BUTTERWORTH I. Defining Obscenity 31 EMILY BUTTERWORTH z. From Latin to French Z.I Ovidian Obscenity in Renaissance France 39 WILLIAM McKENZIE 2.2 Obscenity and the /ex Catulliana: Uses and Abuses of Catullus 16 in French Renaissance Poetry 48 PHILIP FORD 3. Preliminaires a I'obscene : le Moyen Age « gaulois » 63 NELLY LABERE. HELEN SWIFT 4. From Word to Thing 4.1 'L'Obscene' in French Renaissance Texts 87 EMILY BUTTERWORTH, HUGH ROBERTS 4.2 Emblem Books • 93 HUGH ROBERTS 4.3 Erasmus 100 HUGH ROBERTS
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Page 25: TABLE DBS MATIERES 493 Le sexe du d

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