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In Spring 1530, Clément Marot inaugurated a new poetic form with the coq-à-l’âne epistle. Initially imagined as a mere amusing pastime to share with his best friend Lyon Jamet, this imagined exchange of non-linear and satirical missives on the latest news of the day would grow in importance – particularly after the Affair of the Placards in October 1534 would send both friends into exile. A year later, now banished from Ferrara and once again separated outside of the kingdom, Marot would take up the pen anew in Venice to compose more coq-à-l’âne epistles. However, these epistles, written over the summer and autumn of 1535, bear record to sadness, to homesickness, to anger and to a lack of friendship that are mitigated by the very act of writing. In this way, the coq-à-l’âne becomes a form of therapy for Marot, in which he adopts the pathos of gelodacria (or joco-seriosus), the paradoxical posture of the poet who laughs as he cries or who suffers joyously (which would make Marot a type of Triboulet in exile – another figure who appears in the coq-à-l’âne). This essay analyses the five coq-à-l’âne epistles attributed to Marot in order to demonstrate to what degree this poetic form allows the poet to minimize his suffering mimetically and offer himself solace through a friendly exchange.
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Joachim Du Bellay, founding member of the Pléiade, the « brigade » of poets who sought to renew the vernacular idiom through imitation of classical authors, fashioned a style and signature that called his talents in question. Often stating that he was « less than nothing, » he exalted himself in affected modesty. The style of denial, expressed in the frequent usage of Je ne [I do not}, betrays a phantasm of glory couched in facetiousness. Hence the « self » (le moi) is defined by its alterity. Contradiction and contrariety drive the poetic creation, the very subject and object of an oeuvre of remarkably modern temper.
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The paper aims to analyse the therapeutic effects of laughter, as they are developed in the representations of the street theatre troupe of the Girard brothers, better known as the Tabarin troupe, who had great success in Dauphine Square, near the Pont Neuf in Paris, at the beginning of the 17th century. The tabarinades, beyond their mercantile feature (their initial and main goal was to sell false remedies, the Girard brothers being thus charlatans), had also an important facetious feature, trying to heal the troubled soul of people living difficult times.
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Poetry by Stijepo Mijović Kočan: Drevni i lijepi jeziče Hrvata
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Poetry by Vlado Puljić: "Bosanski lonac"; "Putni nalog IV."; "Aforizmi".
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Poetry by Tomislav Marijan Bilosnić: " Alhambra ili sve je bilo čega danas nema".
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Poetry by Tomislav Domović: "Ljubavni molitvenik"; "Urod"; "Humus"; "Mahovina"; "Sol";"Kiša"; "Katedrala".
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Poetry by Miljenko Buljac: "Moje ditinjstvo"; "Tuđina, nemir ili smirenje".
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Poetry by Nikša Krpetić: "Ladica puna svjetla"; "U vrelištu ljubavi"; "U vrelištu ljubavi"; "Koliko si puta"; "Još smo pod prismotrom"; "Čije si tragove slijedio"; "Ponekad kad gradelajem"; "Jezik na popravku.
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Poetry by Mate Buljubašić: "Zvonimiru Bušiću"; "Anki Petričević, časnoj sestri Mariji od Presvetog Srca".
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Poems by Tamás Vasas: "tükörszelfim", "az ördöghagyma filozófiája", "pezsgő és tabletta", "édesebb a tortánál (fokhagymás verzió)", "a rezes banda", "hétfő délután".
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