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<dc:title xml:lang="fr">Le caché et le révélé dans 'Minerva Britanna' (1612) de Henry Peacham</dc:title>
<dcterms:alternative xml:lang="en">The hidden and the revealed in Henry Peacham's "Minerva Britanna" (1612)</dcterms:alternative>
<dc:subject xml:lang="fr">Emblèmes</dc:subject>
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<dc:subject xml:lang="fr">Méditation</dc:subject>
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<dc:subject xml:lang="en">Emblems</dc:subject>
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<tef:elementdEntree autoriteExterne="029080630" autoriteSource="Sudoc">Littérature anglaise -- 17e siècle</tef:elementdEntree>
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<dcterms:abstract xml:lang="fr">Ce travail s’intéresse au recueil d’emblèmes "Minerva Britanna" (1612) de Henry Peacham et a pour objet de montrer l’unité thématique, structurelle et artistique de l’ouvrage par le prisme de la dialectique du caché et du révélé. En adoptant cette perspective inédite, notre travail se penche tant sur le mode de composition des emblèmes qui repose sur le cryptage symbolique des images, que sur la démarche herméneutique du lecteur en quête du ou des sens. Nous montrons ainsi que les techniques de voilement et du dévoilement constituent le pivot de tout le recueil et déterminent un mode de lecture en anamorphose. Nous montrons également que les stratégies d’occultation et de distorsion du sens sont souvent mises au service de l’émancipation de la voix poétique de l’emblémiste.</dcterms:abstract>
<dcterms:abstract xml:lang="en">This PhD dissertation devoted to Henry Peacham’s emblem book Minerva Britanna (1612) aims at showing the thematic, structural and artistic unity of the collection through the lens of the dialectic of the hiding and revealing. By adopting this new perspective, this work attempts to tackle the mode of composition of the emblems which consists in the symbolical encrypting of images. It also questions the hermeneutical process that enables the reader to search for the meaning(s). This research shows that the veiling and unveiling techniques at play are pivotal and allow for an anamorphic mode of reading of the emblems. This dissertation also shows that the strategies of occultation and distortion of meaning are often used as tools for the emancipation of the emblematist’s poetic voice.</dcterms:abstract>
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