Ua publicacion especiau dera Societé des Langues romanes de Montpellier (MCMXXIX).
Les troubadours et les Bretons
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Joseph Anglade siguec professor ena Universitat de Tolosa.
L’idée du présent travail date de plus de vingt-cinq ans..
0,00 €
Joseph Anglade siguec professor ena Universitat de Tolosa.
L’idée du présent travail date de plus de vingt-cinq ans..
Ua publicacion especiau dera Societé des Langues romanes de Montpellier (MCMXXIX).
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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.
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.
Some of medieval culture’s most arresting images and stories inextricably associate love and death. Thus the troubadour Jaufre Rudel dies in the arms of the countess of Tripoli, having loved her from afar without ever having seen her. Or in Marie de France’s Chevrefoil, Tristan and Iseult’s fatal love is hauntingly symbolized by the fatally entwined honeysuckle and hazel. And who could forget the ethereal spectacle of the Damoisele of Escalot’s body carried to Camelot on a supernatural funerary boat with a letter on her breast explaining how her unrequited love for Lancelot killed her? Medieval literature is fascinated with the idea that love may be a fatal affliction. Indeed, it is frequently suggested that true love requires sacrifice, that you must be ready to die for, from, and in love. Love, in other words, is represented, sometimes explicitly, as a form of martyrdom, a notion that is repeatedly reinforced by courtly literature’s borrowing of religious vocabulary and imagery. The paradigm of the martyr to love has of course remained compelling in the early modern and modern period.
This book seeks to explore what is at stake in medieval literature’s preoccupation with love’s martyrdom. Informed by modern theoretical approaches, particularly Lacanian psychoanalysis and Jacques Derrida’s work on ethics, it offers new readings of a wide range of French and Occitan courtly texts from the twelfth and thirteenth centuries, and argues that a new secular ethics of desire emerges from courtly literature because of its fascination with death. This book also examines the interplay between lyric and romance in courtly literary culture and shows how courtly literature’s predilection for sacrificial desire imposes a repressive sex-gender system that may then be subverted by fictional women and queers who either fail to die on cue, or who die in troublesome and disruptive ways.
This is the first twentieth-century study of the women troubadours who flourished in Southern France between 1150 and 1250 — the great period of troubadour poetry. The book is comprised of a full-length essay on women in the Middle Ages, twenty-three poems by the women troubadours themselves in the original Provencal with translations on facing pages, a capsule biography of each poet, notes, and reading list.
Montaillou: un petit village de montagnards et de bergers en haute Auriège, à 1 300 mètres d’altitude. En 1320, Jacques Fournier, évêque de Pamiers, plus tard pape d’Avignon, y déploie ses talents d’inquisiteur. Il finit par déterrer tous les secrets du village.
Rien n’échappe à cet évêque fureteur, ni les vies intimes, ni les drames de l’existence quotidienne.
En s’appuyant sur cet extraordinaire document de Jacques Fournier, sorte de roman vrai du petit peuple du XIV siècle, Emmanuel Le Roy Ladurie ressuscite, en utilisant les méthodes historiques et ethnographiques les plus actuelles, la réalité occitane et cathare d’il y a six cent cinquante ans.
El Valle de Arán, tan caracterizado geográficamente por sus verdes praderas, sus tupidos bosques, sus arriscadas cimas, tiene también un habla que lo define: el aranés, que, como se nos dice en la introducción de este libro, no es propiamente un dialecto catalán, sino que está emparentado con el gascón, que se conserva todavía vivo entre las gentes del pueblo de los lugares del sur de Francia, que constituyen las históricas tierras de la Gascuña.
Casimiro Ademá, el autor de este estudio, aparte de poseer unos conocimientos poco comunes en la materia –aún no siendo un especialista en filología–, nos da de este fenómeno lingüístico un testimonio vivo y directo adquirido esencialmente en las conversaciones y convivencia con las gentes de su tierra.
It was out of medieval Provence – Proensa – that the ethos of courtly love emerged, and it was in the poetry of the Provençal troubadours that it found its perfect expression. Their poetry was also a central inspiration for Dante and his Italian contemporaries, propagators of the modern vernacular lyric, and seven centuries later it was no less important to the modernist Ezra Pound. These poems, a source to which poetry has returned again and again in search of renewal, are subtle, startling, earthy, erotic, and supremely musical.
The poet Paul Blackburn studied and translated the troubadours for twenty years, and the result of that long commitment is ‘Proensa’, an anthology of thirty poets of the eleventh through thirteenth centuries, which has since established itself not only as a powerful and faithful work of translation but as a work of poetry in its own right. Blackburn’s ‘Proensa’, George Economou writes, “will take its place among Gavin Douglas’ ‘Aeneid’, Golding’s ‘Metamorphoses’, the Homer of Chapman, Pope, and Lattimore, Waley’s Japanese, and Pound’s Chinese, Italian, and Old English.”
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