Abstract When Bertrand Tavernier discussed his project to make a film adaptation of Madame de Lafayette’s novel La Princesse de Montpensier, he explained the contradictory nature of his project. On the one hand, he wanted to attempt a true account of both the events and the exotic nature of France in the 1550s, but on the other hand, he then added a potentially contradictory challenge to his project, proposing that his camera become ‘contemporary’ to the historical events and feelings depicted while at the same time convincing us that these historical events could be taking place in today’s Paris, and seem completely modern. This ‘chronological contradiction’ between what can be termed the exotic flavour of the Renaissance versus an injection of a flavour of contemporaneity – the endotic – will be examined in the way Tavernier develops the portrayal of the spirit of the Renaissance in language that is particularly resonant with the very terms that both Du Bellay and Ronsard employed to capture the epistemology of their times. This exotic level of the film will then be contrasted with the way Tavernier manages to give us an endotic representation of the Paris of the twenty-first century.

中文翻译：

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蒙彼西埃公主殿堂：塔弗尼尔对拉斐特夫人的改编

摘要当贝特朗·塔弗尼尔（Bertrand Tavernier）讨论他的电影改编德拉法耶特夫人的小说《蒙彼西埃公主》的项目时，他解释了该项目的矛盾性。一方面，他想对1550年代法国发生的事件和异国情调进行真实的描述，但另一方面，他又对他的项目提出了潜在的自相矛盾的挑战，建议他的相机成为“当代的”。 ”所描述的历史事件和感受，同时又使我们确信这些历史事件可能发生在当今的巴黎，而且看起来完全是现代的。在所谓的文艺复兴时期的异国情调与注入同时代的味道（内生性）之间的这种“时间上的矛盾”将以塔弗尼尔用特别令人共鸣的语言发展文艺复兴时期精神的刻画来检验。 Du Bellay和Ronsard都使用了这些术语来捕捉他们时代的认识论。然后，将电影的异国情调与塔弗尼尔（Tavernier）设法为我们提供二十一世纪巴黎的内在表现方式进行对比。