Dès les années 1990, les gros pavés, en particulier en Amérique, prennent de l'importance : les thrillers ont une tendance marquée. Après les thrillers médicaux de l'Américain Robin Cook – à ne surtout pas confondre avec son homonyme londonien, pourfendeur de la société britannique – ou les thrillers psychologiques toujours présents, vont apparaître les thrillers technologiques de Tom Clancy, Eric van Lustbader ou Michael DiMercurio, qui relèvent plutôt du roman d'espionnage et frôlent parfois la politique-fiction ou même la science-fiction.
Parallèlement, l'édition française permettra enfin de mettre en évidence que le roman policier n'est pas exclusivement anglo-saxon ou français. Après les Italiens Giorgio Scerbanenco (À tous les râteliers, 1968), Fruterro et Lucentini (la Femme du dimanche, 1972), les Suédois Sjöwall et Wahlöo (Roseanna, 1967), les Espagnols Manuel Vasquez Montalban – avec son Pepe Carvalho –, Juan Madrid, Gonzales Ledesma et Arturo Pérez-Reverte, on voit les éditeurs s'intéresser aux Allemands comme –ky (Du feu pour le Grand Dragon, 1986), Peter Schmidt (On travaille dans le génie, 1988), Karr et Wehner (le Printemps du vautour, 1996), Pieke Biermann (Violetta, 1993), Frank Goyke (le Petit Parisien, 1996), Alfred Komarek (les Larmes de Polt, 2002). Tout démontre que la littérature policière est en pleine expansion.
Politien (Angelo Ambrogini, dit il Poliziano, appelé en fr. Ange)
Protégé de Laurent de Médicis et disciple de Marsile Ficin, il laissa une œuvre d'humaniste et de philologue, contenue dans les 12 livres de ses épîtres latines et dans les recueils de ses leçons universitaires (Mélanges, 1489). Il est l'auteur de vers en grec (56 épigrammes) et en latin – dans les Sylves en hexamètres – et d'une célèbre élégie en italien à la mémoire d'Albiera degli Albizzi, morte à 14 ans pour avoir pris froid en dansant. Si ses poésies de jeunesse en langue vulgaire oscillent entre l'alexandrinisme et la tradition populaire florentine, il excelle à transfigurer en mythe l'actualité courtisane dans deux chefs-d'œuvre. Les Stances pour le tournoi (1475-1478) célèbrent la victoire de Julien de Médicis, frère de Laurent, au tournoi de janvier 1475, et, au-delà de celle-ci, les mythes humanistes de l'amour, de la beauté et de la gloire. La mort violente de Julien dans le complot des Pazzi (26 avril 1478) décida Politien à interrompre son œuvre à l'octave 46 du livre II. La Fable d'Orphée (1480), qui prolonge, pour la dépasser, la tradition des Représentations sacrées du XVe s., est le premier exemple de théâtre de cour d'argument profane. Ses lettres en langue vulgaire ainsi que sa correspondance latine sont un précieux témoignage sur la famille des Médicis à son apogée.
Politis (Kosmas)
Écrivain grec (Smyrne 1888 – Athènes 1974).
Il met à profit les innovations du roman moderniste pour évoquer de manière très sensuelle la vie de la jeunesse dorée à Smyrne et en Grèce (le Bois de citronniers, 1930 ; Eroïca, 1938).
Politis (Nikolaos)
Folkloriste grec (Kalamata 1852 – Athènes 1921).
Créateur de la science du folklore (laographie), il a exercé une influence déterminante sur la génération de 1880 en l'orientant vers l'évocation des coutumes et traditions populaires. Il insiste sur les survivances antiques dans les mœurs modernes (Étude sur la vie des Grecs modernes, 1871).
Polo (Marco)
Voyageur et écrivain italien (Venise 1254 – id. 1324).
Parti de Venise en 1271 pour effectuer un voyage en Chine en qualité d'ambassadeur de Grégoire X auprès de Kubilay Khan, il résida seize ans en Extrême-Orient au service du souverain avant de regagner sa patrie en 1295. Fait prisonnier à la bataille de Curzola (1298), il dicta le récit de ses voyages à son ami Rustichello da Pisa dans un français mêlé de vénitien : le Devisement du monde, dit encore le Million ou le Livre des merveilles du monde. Ce document, le premier et le plus exceptionnel, à travers lequel l'Occident pouvait enfin se représenter l'Orient, inspira les explorations de Vasco de Gama et de Christophe Colomb. Malgré un récit lacunaire, souvent embelli, on ne peut toutefois manquer d'être frappé par l'esprit critique avec lequel Marco Polo cite les sources qu'il consulte sur les événements, les mœurs et les contrées qu'il n'a pu connaître directement. L'ampleur de ses informations tient, autant qu'à l'exceptionnelle durée de son séjour, aux fréquentes missions qu'il eut l'occasion d'effectuer à l'intérieur de la Chine pour le compte de l'empereur mongol.
Pologne
En 966, Mieszko Ier se convertit au christianisme. Les tribus slaves qui l'ont choisi pour chef ignorent l'écriture, mais possèdent un patrimoine artistique développé, une littérature orale polonaise, empruntant souvent la forme du récitatif (consignée dans les documents religieux plus tardifs comme cantus paganici). Les moines bénédictins et cisterciens, venus souvent de France, introduisent le latin, apportent des livres religieux, mais aussi ceux des auteurs de l'Antiquité, créent des écoles autour des cathédrales où ils alphabétisent des cercles de plus en plus vastes de la population et forment le fleuron des érudits polonais (litterati). Une prière, l'Hymne à la mère de Dieu, est le plus ancien texte connu en vers de langue polonaise. Il est conservé dans un manuscrit de 1407, mais sa composition daterait de la fin du Xe s. À partir de 1350, il devient l'hymne dynastique des Jagellons avant de devenir le « carmen patrium » au XVe s. Au moment de son entrée dans l'Europe chrétienne, le premier prince des Polanes fait rédiger le Dagome iudex, une description du territoire qu'il confie à la protection de la papauté. Ce premier écrit en latin conçu en Pologne avant 992 est conservé au Vatican. Les Sermons de Sainte-Croix (XIVe s.) et les Sermons de Gniezno (XVe s.) sont les plus anciens textes polonais en prose. Les traductions de la Bible (le Psautier du monastère de Saint-Florian et la Bible de la reine Sophie, XIVe-XVe s.), la Légende de saint Alexis (XVe s.), un poème didactique témoignant des aspirations à la sainteté des hommes du Moyen Âge, la Conversation de Maître Policarpe avec la Mort, un dialogue du XVe s., constituent les ouvrages de référence sur la naissance d'une littérature de langue polonaise à la recherche de son expression par rapport au latin. Des satires comme Sur les paysans paresseux, Sur les prêtres ou De la manière de se tenir à table sont l'expression d'une littérature laïque qui, par ailleurs, développe amplement en langue vernaculaire les chants d'amour et les frivolités. Les plus belles œuvres latines précoces sont rédigées par des moines étrangers : les Annales de Jordan (fin du Xe s.), écrites sur le modèle des Annales de Fulda, sont attribuées au premier évêque venu en Pologne ; un moine bénédictin, originaire du couvent de Saint-Gilles en Provence, élève de Hildeberg de Lavardin, connu comme « Gall anonim » [le Gaulois anonyme], compose les Chroniques (XIIe s.). Les trois livres relatent l'histoire de son pays d'adoption : des débuts mythiques, en passant par l'ascendance de Mieszko, jusqu'à l'époque qui lui est contemporaine et s'arrêtent en 1113. Wincenty Kadłubek est le premier auteur polonais de langue latine dont l'œuvre soit parvenue jusqu'à nous. Après des études à Cracovie, il parfait sa formation à Paris. Il rédige sa Chronique polonaise de 1190 à 1205 (l'histoire de la Pologne de ses débuts à 1202) avec une immense érudition méthodologique et dans un style parfait (ornatus difficilis). Le premier à être considéré comme un historien est Jan Długosz (1415-1480), auteur des Annales seu Regni Poloniae (1455-1480), qui envisagent l'histoire polonaise jusqu'en 1480. Poésies de circonstances, épitaphes, pièces de théâtres, vies de saints, récits amusants et satiriques d'étudiants circulent pendant toute l'époque médiévale. Parmi les chants, le plus ancien est le Gaude Mater Polonia, écrit en latin par Vincent de Kielce pour la canonisation de saint Stanislas (XIII).
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