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            <title xml:lang="fr">De Loxias à Phoibos, portrait d’un Apollon en clair-obscur dans Les Troyennes d’Euripide et ses traductions (latines et française) du XVIe siècle</title>
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                <term xml:lang="fr">Apollo</term>
                <term xml:lang="fr">Tragédie française‎ - 16e siècle</term>
                <term xml:lang="fr">Apollo Proper Name Tragedy Translation Reception λθέ μάκαρ Παιάν Τιτυοκτόνε Ἐ</term>
                <term xml:lang="fr">Reception</term>
                <term xml:lang="fr">Proper Name</term>
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                <term xml:lang="fr">Tragédie grecque</term>
                <term xml:lang="fr">Traduction -- France -- 16e siècle</term>
                <term xml:lang="fr">Réception</term>
                <term xml:lang="fr">Tragédie</term>
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                <term xml:lang="fr">Apollon</term>
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              <p>Phoibos, Loxias : both of these designations refer to the god known under the generic name Apollo, but they are no mere synonyms. This article intends to study the poetic and dramatic potentialities of the god’s proper names as it is reactivated in a given literary setting. When he composed his tragedy The Trojan Women, Euripides cannot himself craft the proper names for characters inherited from the mythological tradition, which does not mean that he does not play with their connotations. Thus, the numerous designations of the divine founder of Troy aim to shed light on the opposite dimensions of Apollo’s identity. The exploration of the poetic potentialities of the god’s proper name was carried into the 16th century through the Latin and French translations of the play. The proper name, through its variations, redefined the god and offered a glimpse into the reinterpretation by their authors of an ambiguous religious figure and in its integration into their literary project.</p>
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              <p>Phoibos, Loxias : ces deux appellations se réfèrent à la divinité connue sous le nom générique d’Apollon sans pour autant en être d’exacts synonymes. Cet article propose d’étudier les potentialités poétiques et dramaturgiques des noms propres d’une divinité remotivés par un cadre littéraire. Dans sa tragédie Les Troyennes, Euripide ne peut modifier les noms de personnages hérités de la tradition mythologique, ce qui ne l’empêche pas de faire œuvre poétique en jouant sur les connotations variées associées aux noms du dieu fondateur de Troie. Aussi ces diverses appellations visent-elles à mettre en lumière les différentes facettes d’Apollon. Ces interrogations sur les potentialités poétiques du nom propre du dieu se prolongent dans la réception de cette tragédie au XVIe siècle, au travers des traductions latines et françaises. Le nom propre, par ses variations, redéfinit le dieu et devient l’indice de l’interprétation par les auteurs d’une figure religieuse complexe et de son intégration à leur projet littéraire.</p>
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