Publicat dempús deth manuscrit unic de Carcassona.
Editat per J. Delpech en 1865.
Le roman de Flamenca
0,00 €
0,00 €
Publicat dempús deth manuscrit unic de Carcassona.
Editat per J. Delpech en 1865.
| book-author | |
|---|---|
| format |
There are no reviews yet.
The medieval troubadours of the South of France profoundly influenced European literature for many centuries. This book is the first full-length study of the first-person subject position adopted by many of them in its relation to language and society. Using modern theoretical approaches, Sarah Kay discusses to what extent this first person is a “self” or “character,” and how far it is self-determining. Kay draws on a wide range of troubadour texts, providing many close readings and translating all medieval quotations into English. Her book will be of interest both to scholars of medieval literature, and to anyone investigating subjectivity in lyric poetry.
Ce Dictionnaire comprend donc les 37,000 mots de Littré, plus 2,200 termes recueillis de part et d’autre. Il eût été facile d’en augmenter le volume en y faisant place aux proverbes dont la langue d’Oc est si pittoresquement émaillée, à l’explication des us et coutumes qui surnagent encore dans l’envahissement de l’uniformité désespérante où se monotonise l’univers entier, à la description de nos vieilles cités, à la généalogie des hommes qui ont illustré notre patrie ensoleillée ; mais, outre que ces données ont été déjà consignées ailleurs, le plan du présent livre devait le maintenir en un cadre restreint, dans un format accessible au grand nombre ; il ne comporte pas de développements historiques ni géographiques : il ne vise que la Unguistique, le lecteur n’y trouvera rien d’inutile. Nous avons néanmoins la confiance qu’il y rencontrera tout ce que l’état actuel des sciences et des lettres lui donne le droit d’y chercher: les idiotismes particuliers à notre Midi, l’expression propre qui échappe parfois, lorsque deux langues se côtoient, le mot pittoresque qui n’apparaît pas au moment désiré, l’abondance variée que l’éclatante floraison du Félibrige réclame de ses amoureux.
Manual simple e eficaç per debutar un aprendissatge de l’occitan (var. lengadocian).
Joan Rigosta (en francés Jean Rigouste, Senalhac del Causse, 25 de novembre de 1938) es un pedagòg e lingüista occitan especializat en toponimia. Foguèt ensenhaire de letras als licèus d’Agen, de Merinhac e de Brageirac. Trabalhèt tanben a l’IUFM d’Aquitània e a l’Universitat de Bordèu III.
The chansonnier Paris, Bibliotheque nationale, f. fr. 22543 (known as “R”) has been recognized for over 200 years as a precious repository of the literature of the medieval troubadours of southern France. It transmits almost 950 lyric poems and 160 melodies, along with many other important writings in the Occitan language, many of which are unica.
The paleography, decoration, and dialect of the manuscript are described thoroughly, and their distinctive features are seen to support the hypothesis that R was compiled in northern Languedoc or western Provence around 1300. While most of the texts of R were copied by one scribe, the relatively few melodies it contains were probably notated by at least four different copyists. Over eighty percent of the poems were never supplied with their melodies, even though musical staves were provided; these staves were left empty. The notation is in the style of the so-called Notre Dame school of Paris, and the rhythms of the notes are not apparent, although a few seem to be in rudimentary mensural notation.
The manuscript contains some works of the troubadours of the early twelfth century, and also a large number of works by late thirteenth-century poets. By examining internal paleographical data and making comparisons with other extant codices, it is possible to offer suggestions on the nature of the exemplars of this heterogeneous collection. The problems of determining how the texts and melodies were transmitted are investigated, including the issues of oral transmission, the lack of extant autographs, the disparity in the origins of the surviving manuscripts, and the variant attributions. The musical transmission is especially problematic, since only three other sources containing music survive. The forty-five concordances that R shares with these other codices are discussed.
A review of the modern history of the manuscript shows that the earliest known owner was the Marquise d’Urfe of the early eighteenth century. The commonly accepted belief that R was in the library of her ancestor the poet Honore d’Urfe in the seventeenth century is found to be unsupported by the available evidence.
Er Estatut d’Autonomia hè oficiau era lengua occitana en Catalonha. Se concrète en Art 6.5.: Era lengua occitana, nomentada aranés en Aran, ei era lengua pròpria d’aguest territòri e ei oficiau en Catalonha, cossent damb çò qu’establissen aguest Estatut e es leis de normalizacion lingüistica. Ua des responsabilitat qu’a d’assumir era institucion, ei a dí- der era Generalitat e eth Conselh Generau d’Aran, en procès de metuda era practica dera oficialitat dera lengua occitana, ei era sua referéncia lingüistica. Ua lengua a de besonh uns referents clars entà mostrar ua coeréncia normatiua.
S’era lengua ei ua, era occitana, ua a d’èster era nòrma de referéncia maugrat que pòden èster diuèrses es interpretacions e aplicacions.
Era aplicacion der Estatut hè de besonh era contínua relacion damb aguesta nòrma referent e damb era sua forma l’aplicacion. En cas der aranés aguesta nòrma occitana se concrète enes Nòrmes ortografiques der aranés que ja an mès de vint-e-cinc ans d’emplec sociau (escòla, administracion, …).
Es elements fonamentaus d’aguesta nòrma referent son longaments acceptats en tot eth territòri lingüistic, mès mos cau concretar e èster eth maxim de rigorosi, donques qu’era sua gestion non ei tostemp clara e evidenta. Sense aguest rigor es decisions non serien competentes e serioses. Ei plan per açò que, per manca d’ua autoritat normatiua de tot eth territòri lingüistic, era Secretaria de Politica Lingüistica s’a dotat der assessorament d’un Grop de Lingüistica Occitana (GLO) format per setze persones prestigioses en estudi dera lengua occitana, qu’amasse fòrça des sen- sibilitats existentes. Entre es compausants deth Grop i a tres membres der Institut d’Estudis Aranesi que garantissen eth respècte per aguesta varietat.
Mès, eth GLO non ei era autoritat, non cree nòrma, sonque l’ administre e assessore ara SPL ena sua aplicacion. Trabalhe ena perspectiva dera unitat lingüistica, e eth respècte dera varietat aranesa, sense hèr nòrma.
Ath torn der ahèr aranés-occitan s’a produsit un debat, en fòrça escadences rei- teratiu, sus er ensemblatge dera varietat aranesa e dera sua nòrma damb era varietat generau (hugim de denominacions coma estandard o referenciaus entà non entrar en competéncies pròpries dera autoritat lingüistica). Aguesta varietat generau a estat denominada d’ues autes formes per diuèrsi autors: occitan larg, occitan comun, neolanguedocian, occitan ortopedic, occitan referenciau,…
Eth trabalh que ven a contunhacion ei ua contribucion ad aguest debat. Es sòns autors son professionaus dera lengua, boni coneishedors dera varietat aranesa e dera varietat generau dera lengua occitana. Damb eri eth debat non s’acabe, ne s’inície, sonque se contunhe.
“Singing to another tune” is from Las Leys d’amors (The Laws of Love), a poetic treatise compiled by Guilhem Molinier in the first half of the fourteenth century. Guilhem’s phrase pertains to a compositional technique known to modern scholars as contrafacture, in which the troubadour fashions new lyrics after the poetic structure of a preexistent song, thereby allowing his work to be sung to the earlier melody. The technique of contrafacture is documented not only by Guilhem and contemporaneous theorists but also by the troubadours themselves, who on a number of occasions acknowledge composing a poem “el so de,” or “to the tune of” another composer. Both theory and practice demonstrate that structural imitation came to be most closely associated with several specific genres, including the sirventes (moralizing piece), tenso (debate song), coblas (song of few strophes), and planh (lament), their poetic structures commonly modeled after those of the canso, the dominant genre of troubadour composition. Despite abundant structural indications of contrafacture within the troubadour repertoire, melodic traces of the practice are surprisingly scant. Confirmation of melodic borrowing depends upon the preservation of a model and its contrafactum with their concordant musical readings, yet the small proportion of surviving troubadour melodies (with only one in ten lyric texts transmitted with its tune) poses a significant impediment to melodic corroboration. Only three sirventes have been preserved with melodies that duplicate those of preexistent cansos. In the remaining instances in which a sirventes, tenso, or other imitative type is preserved with a melodic unicum, scholars of troubadour song have tended to maintain that, absent melodic corroboration, the tune must be presumed original rather than borrowed. In view of the sparseness of the musical record, however, one should give consideration to an alternate interpretation, namely that the tune preserved exclusively with a given troubadour’s sirventes and thereafter transmitted as his invention may actually have been borrowed from a preexistent canso whose melody is no longer extant in its original setting. Isolating viable structural models for such suspected contrafacta allows the possibility of reascribing potentially borrowed melodies to their original composers. The study of contrafacture can thus lead us to question the received attributions of a number of tunes, thereby posing a challenge to the readily made assumption that the manuscript rubrics consistently pertain to both text and melody. By examining several suspected cases of contrafacture within a web of relevant indices– e.g., generic norms, intertextual correlations, socio-historic context, rhetorical motivation, transmission, and melodic style– we gain greater insight into a compositional technique that indelibly marked the art of the troubadours.
This major reference work is the fourth volume in the series “Arthurian Literature in the Middle Ages”. Its intention is to update the French and Occitan chapters in R.S. Loomis’ “Arthurian Literature in the Middle Ages: A Collaborative History” (Oxford, 1959) and to provide a volume which will serve the needs of students and scholars of Arthurian literature. The principal focus is the production, dissemination and evolution of Arthurian material in French and Occitan from the twelfth to the fifteenth century. Beginning with a substantial overview of Arthurian manuscripts, the volume covers writing in both verse (Wace, the Tristan legend, Chretien de Troyes and the Grail Continuations, Marie de France and the anonymous lays, the lesser known romances) and prose (the Vulgate Cycle, the prose Tristan, the Post-Vulgate Roman du Graal, etc.).
Be the first to review “Le roman de Flamenca”
You must be logged in to post a review.