By Hugh Roberts
Sound asleep tough, having intercourse in public and insulting the main strong males on the earth earned the traditional Cynic or 'dog' philosophers reputation and infamy in antiquity and past. This ebook finds that French Renaissance texts characteristic a wealthy and sundry set of responses to the canines, together with specifically Diogenes of Sinope (4th century B.C.), whose existence was once a subversive functionality combining knowledge and wisecracks. Cynicism is a unique case within the renewal of curiosity in historical philosophy at present, because of its transmission via jokes and anecdotes. The Cynics' curious mixture of seduction and sedition is going far to account for either the thrill and the stress that they generate in Renaissance texts. Responses to the extraordinary and intentionally marginal philosophical stance of the canines solid mild again at the mainstream, revealing cultural attitudes, tensions and uncertainties. exceptionally, representations of Cynicism represent a domain for the exploration of wierd and paradoxical principles in playful and funny methods. this is often precise of either significant writers, together with Erasmus, Rabelais and Montaigne, and of dozens of alternative much less recognized yet attention-grabbing figures. This e-book may be of curiosity to scholars and students of highbrow and literary heritage.
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Additional resources for Dog's Tales: Representations of Ancient Cynicism in French Renaissance Texts (Faux Titre 279) (Faux Titre)
Dionis chrysostomi orationes LXXX (Venice: F. Turrisanum, 1551), Dionis Chrysostomi […] orationes octoginta in latinum conversae […] Thoma Naogeorgo […] (Basel: J. Oporinum, 1555). Lucien de Samosate et le lucianisme en France au XVIe siècle, pp. 343-421. 21 Erasmus and More collaborated on a Latin translation, published in 1506. 24 This is why Jean Le Masle attempts to idealize Diogenes and Cynic poverty in his verse translation of Dialogues of the Dead, 13, in his Nouvelles récréations poétiques (1580).
56 This illustrated life of Diogenes – the Cynic is pictured in the clothes of a poor man of the Renaissance – is heavily influenced by Protestantism, hence not only are stories of shamelessness expunged, but in the prologue the author argues that while there was some wickedness in the Cynic’s life, it is still possible to extract what was good, turning him into an exemplar of asceticism and wisdom who is both useful and entertaining (pp. 100-03). Diogenes is also often the subject of songs by Hans Sachs, the Protestant folk poet and carnival performer from Nuremberg (pp.
13). Rather, it is one view among many of the Dogs. Nevertheless, Clément builds up a sense of what Renaissance neo-Cynicism would have been by arguing by associa40 I am in broad agreement with the passing comments on Diogenes in Patricia Eichel-Lojkine, Excentricité et humanisme: parodie, dérision, et détournement des codes à la Renaissance, Les seuils de la modernité, 6 (Geneva: Droz, 2002), pp. 100-03, which argues that in the Renaissance Cynicism was “une attitude pittoresque, dévolue à un personnage ambivalent” and that humanists adapted figures like Diogenes and Democritus to their own ends.