Publicat peth Centre d’Estudis Occitans en Montpelhièr, 1976.
Gramatica occitana segon los parlars lengadocians
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Publicat peth Centre d’Estudis Occitans en Montpelhièr, 1976.
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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.
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.
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.
An Introduction to Old Occitan is the only textbook in print for learning the language used by the troubadours in southern France during the Middle Ages. Each of the thirty-two chapters discusses a subject in the study of the language (e.g., stressed vowels, subjunctive mood) and includes an exercise based on a reading of an Occitan text that has been edited afresh for this volume. An essential glossary analyzes every occurrence of every word in the readings and gives cognates in other Romance languages as well as the source of each word in Latin or other languages. The book also contains a list of prefixes, infixes, and suffixes and a dictionary of proper names. An accompanying compact disc includes discussion of the pronunciation of the language, with illustrations from the texts in the book, and musical performances by Elizabeth Aubrey, of the University of Iowa.
En 1944, Manuel Abizanda e Broto deth Servicio de Defensa del Patrimonio Artístico Nacional publique era transcripcion e studi d’un manscrit titolat Índice Privilegios. Abizanda conde que dit manuscrit siguec amagat tà liurar-le deth perilh des “hodas rojas y marxistas” pendent era epòca Republicana e Guèrra Civila.
En 1938, un còp liberada era Val d’Aran pes nacionaus, er avocat Jaume Sala entreguèc dit manuscrit ath Servicio. Abizanda qu’ère agent d’aguest servici hec er estudi comentat adès.
En sòn trabalh ditz qu’un còp estudiat, eth manuscrit serà restituït entar Archiu Notariau, mès non especifique s’ei er archiu notariau deth districte de Vielha o parle d’un aute districte. Actuaument se desconeish a on se trape dit manuscrit e sonque auem notícies d’eth pera publicacion de 1944.
Pera descripcion hèta per Abizanda sabem qu’et manuscrit cònste de 50 fuelhs escrits e 40 fuelhs en blanc. Ei enquadernat en pergamin e mesure 14x10cm.
This book offers a general introduction to the world of the troubadours. Its sixteen chapters, newly commissioned from leading scholars in Britain, the United States, France, Italy and Spain, trace the development of troubadour song (including music), engage with the main trends in troubadour scholarship, and examine the reception of troubadour poetry in manuscripts and in Northern French romance. A series of appendices offer an invaluable guide to more than fifty troubadours, to technical vocabulary, to research tools and to surviving manuscripts.
An edition and translation of some 30 poems by the trobairditz, a remarkable group of women poets from the 12th and 13th centuries, who composed in the style and language of the troubadours.
Aguest seriós estudi qu’auetz enes mans ei ua campanada ena nòsta cultura, que mos enlumene sus un des aspèctes mès desconeishuts dera nòsta istòria. Ei damb gòi que guardam es campanaus lheuar-se orhulhosi ath miei des nòsti pòbles. Son eth referent paisagistic e visuau… e damb eth sòn penetrant tapatge mos enlumènen tanben en nòste moviment.
Ena nòsta vida diària i son presentes es campanes, i an estat des de hè molt… des de tostemp, e ena nòsta petita literatura ne parlen diuèrsi autors. Auíem de besonh aguest estudi, mos calie articular damb rigor un discors que mos permetesse explicar que tanben ath torn d’aqueres majestuoses tors s’a gestat era nòsta identitat.
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