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Chronicles the events surrounding the capture and release of King Richard I during the twelfth-century Third Crusade, describing the ransom delivered by Eleanor of Aquitaine that represented one quarter of England’s wealth and the subsequent legend that evolved about the singing troubadour, Blondel. By the author of The Sum of Our Discontent.
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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.
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.
Damb eth Born Centre Culturau daurís un des equipaments culturaus mès importants dera ciutat. Se guardam entà darrèr, entara discussion qu’aucupèc gran espaci mediatic e politic sus se calie preservar es rèstes arqueologiques o arrasar-les, sus s’es pèires poderein convíuer damb es libres –o es libres damb es pèires– i auie un hons enterrat –intangible, emocionau, sentimentau– que non ère cap d’aute que s’era ciutat auie eth dret o non d’arrecuperar era sua memòria.
Ath delà dera recuperacion dera magnifica estructura deth mercat ancian e des espacis a còta de carrèr que configuren es scenaris principaus dera activitat cul- turau quotidiana d’aguest nau espaci, çò que da singularitat ath recinte, çò que hè que quan i entram era emocion mos troble, ei, sense cap de dobte, era enòrma fòrça e poténcia qu’ací aquerís eth relat des hèts de 1714. Ara reabilitacion patrimoniau –plan evidenta as uelhs de toti–, i cau ahíger era grana excavacion arqueologica urbana –quauqui 8.000 mètres quarradi– e eth trabalh de recèrca –precisa, meticulosa, exaustiva– que mos a permetut de conéisher a hons era societat barcelonesa e catalana des ans que van entre es sègles XVII e XVIII.
Quan era istòria ges des libres o des referéncies mès o mens grèves e generiques de çò que se passèc en un periòde determinat e passe a hèr part deth nòste païsatge de cada dia passam de «saber-la» a «senter-la».
Aran ath long dera sua millenària existéncia a anat configurant ua simbologia pròpia, uns senhaus d’identitat, ua istòria e un patrimòni d’identificacion collectiua.
Auem er escut qu’ei reflèxe e expression dea nòsta istòria. Sintèssis de toti es elements: Lengua, Istòria, Art, Territòri e Volentat collectiua; Diuersitat e convivéncia. Er escut sintetise toti aguesti element d’arraötz popular e eth pòble les identifique coma pròpis.
Angel Claveria a sabut articular tot eth contengut simbolic en aguestes quate planes, Mos cau emplegar e mantier es simbèus entà permanéisher coma pòble.
La langue d’oc ou occitan représente, à coté du catalan, du français, du francoprovencal, du castillan, [.] une des grandes langues romanes ou néo-latines qui se sont développées a partir d’une symbiose entre le latin populaire.
Pierre Bec ei professeur à l’Université de Poitiers, ancien Président de l’Institut d’Etudes Occitanes, ancien Directeur du Centre d’Etudes Supérieures de Civilisation Médiévale.
The poetry of the troubadours was famous throughout the middle ages, but the difficulty and diversity of the original languages have been obstacles to its appreciation by a wider audience. This collection aims to redress the situation, presenting English verse translations in contemporary idiom and a highly readable form. It includes some 125 poems, with a strong representation of those composed by women, and goes beyond traditional limits in time to feature a sampling of the earliest texts in the Occitan language, written in the tenth and eleventh centuries, and later works from the early fourteenth. Though most poems translated in the book were written in Occitan, the vernacular of southern France, there are also a few translations of poems written in the same place and time but in other languages, including Latin, Hebrew, Norse, Catalan, and Italian. Genres include love songs, satires, invectives, pastourelles, debates, laments, and religious songs. A comprehensive introduction places the troubadours in their historical context and traces the development of their art; headnotes introduce each poet, and the book ends with a bibliography and suggestions for further reading.
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