After showing that the editio princeps of Joanot Martorell's Tirant lo Blanc (Valencia: Nicolau S... more After showing that the editio princeps of Joanot Martorell's Tirant lo Blanc (Valencia: Nicolau Spindeler, 1490) was printed by formes, this article illustrates how the hand press introduced errors in the transmission of the romance. Particular attention is paid to the order in which formes were printed within a quire, the characteristics of the printer's copy, and the division of the work into chapters.
This essay comments on a universal literary theme, the deceitful dream as an expression of sorrow... more This essay comments on a universal literary theme, the deceitful dream as an expression of sorrow caused by absence and exile as it appears in Homer, Ovid, and Ausiàs March. Whereas dreams of the absent beloved or the distant home and friends can be sweet, they may as well sour, increase sadness, and turn consolation into grief. Such topics are also appropriate for consolatory letters, like Pere Torroella's consolatory letter for María López de Biu--which draws on Ausiàs March's Poem 1.
Dream and love lyric, exile, sorrow caused by absence, the remoteness of one's home, friends, wife
Aquest treball repassa el motiu literari universal del somni enganyós com a expressió del dolor de l’absència i de l’exili en Homer, Ovidi i Ausiàs March. Si somiar l’amada absent o els amics i la llar llunyans és un somni dolç, el dolor pot convertir-lo en un somni amarg, agusar la tristesa i convertir el consol en desconsol. Aquests elements també han fet el motiu apte per a la carta consolatòria, de manera que Pere Torroella cita el poema 1 d’Ausiàs March en la lletra consolatòria a María López de Biu.
Mots clau: somni i cançó amorosa; exili; dolor de l’absència; llunyania de
la llar; els amics; l’esposa
Tirant: Butlletí informatiu i bibliogràfic de literatura de cavalleries, Dec 19, 2018
Aquest treball contradiu la proposta d’Abel Soler segons la qual l’autor de Curial e Guelfa , in... more Aquest treball contradiu la proposta d’Abel Soler segons la qual l’autor de Curial e Guelfa , inspirat en la lletra De amore de Barzizza adrecada a Ramon de Riu-sec alias Francesc Gilabert de Centelles amb data el 4 de marc de 1439, concebe la idea d’escriure una novel·la d’armes i d’amors amb el proposit de conduir l’amor cortes al matrimoni. Aixi mateix, contradiu que l’anonim autor, seguint Barzizza, dediques el Curial al mateix destinatari de la lletra de Barzizza: Francesc Gilabert de Centelles per apartar-lo de l’amor deli-table i conduir-lo a l’amor conjugal. Els arguments son historics, literaris i de procediment. Francesc Gilabert de Centelles no era un solter d’edat empesa ni l’any 1439 ni els anys 1446-1448 que Soler suposa per a la redaccio del Curial , sino un home casat. La lletra De amore Barzizza no es un tractat sobre l’amor, ni tampoc sobre l’amor conjugal, sino una reprobatio amoris. No te sentit construir una hipotesi sobre una dedicatoria que no conservem i que no sabem si mai existi.
Digital Philology: A Journal of Medieval Cultures, 2014
This article illustrates an important while comparably unattended
role played by the making of d... more This article illustrates an important while comparably unattended
role played by the making of digital databases in our contemporary
philological study of medieval poetry. By presenting a case
study devoted to the figure of Mossèn Avinyó, a fifteenth-century
Catalan nobleman and poet, the authors of this essay exemplify
the need for a rigorous perusal of the material evidence that is
being archived in digital projects. With paleographical, codicological,
and literary evidence, the authors show with great probability
that Avinyó himself compiled two manuscripts currently held by
the Hispanic Society of America: the Cancionero de Vindel and the
Cançoner llemosí del siglo XV. In doing so, the authors also show
that these two manuscripts contain the entirety of Avinyó’s lyric
production, along with a sampling of the poetry produced by those
who traveled in Avinyó’s cultural circles.
Doctor en Filologia Catalana i professor de la UdG des de 1994. S'ha dedicat a l'estudi d... more Doctor en Filologia Catalana i professor de la UdG des de 1994. S'ha dedicat a l'estudi de la literatura catalana medieval dels segles XIV i XV i de l'humanisme a la Corona d'Aragó. Ha editat l'obra completa de Romeu Llull (Barcino, Els Nostres Clàssics, 1996), l’obra de Lluís de Requesens, Bernat Miquel, Martí Garcia, Rodrigo Dies, Lluís de Vilarasa & Francesc Sunyer amb Sis poetes del regnat d’Alfons el Magnànim (Barcino, Els Nostres Clàssics, 2009) i, en col·laboració amb Lola Badia, la novel·la Curial e Güelfa (Quaderns Crema, 2011), i diversos treballs sobre Bernat Metge, la novel·la Curial e Güelfa , Joanot Martorell, Joan Roís de Corella, Jaume Roig, Francesc Alegre, Ausiàs March, la transmissió textual de lírica, la novel·la de cavalleries i la poesia en la cort en un període que comprèn des del regnat de Joan I d’Aragó fins a la mort de Joan II. Ha col·laborat en diversos d’aquestes treballs amb Lluís Cabré, Rafael Ramos, Francisco Javier Rodríguez Risqu...
On the 28 th of November 2016 Abel Soler defended his PhD dissertation entitled La cort napolitan... more On the 28 th of November 2016 Abel Soler defended his PhD dissertation entitled La cort napolitana d’Alfons el Magnànim: el context de “Curial e Güelfa” in the Departament of Catalan at the Universitat de València. Soler’s work was supervised by Antoni Ferrando Francés, who holds a Chair at the Universitat de València and is a member of the Institut d’Estudis Catalans (hereafter IEC). The journal Tirant included a brief summary of Soler’s dissertation (no. 19, 301-302) and this was followed by a public event held in Valencia in which the results of the aforementioned PhD thesis were announced before both academic and political authorities, and the press. Soler’s dissertation remains, however, unpublished, and –beyond the remarkably broad interest shown by the media– it is hoped that scholars will be able to assess its quality when Soler’s research is finally brought to the press. Soler’s conclusions have nonetheless already been disseminated in his article “Enyego d’Àvalos, autor de...
This article discusses Abel Soler’s proposal to read the anonymous Catalan romance Curial e Guelf... more This article discusses Abel Soler’s proposal to read the anonymous Catalan romance Curial e Guelfa as a product of “chivalric” humanism and identify its author with Íñigo d’Ávalos, a steward of Filippo Maria Visconti (d. 1447) and, from 1449 on, Great Chamberlain of Alfonso the Magnanimous. The author of this article examines the concept of “chivalric” humanism as Ruggero M. Ruggieri developed it in two books from 1955 and 1962. Ruggieri’s “chivalric humanism” was a proposal for literary history than run parallel to the concept of “classical” humanism, and had nothing to do with humanism, and even less so with Soler’s idea of “humanistic chivalry.” Although scientific criteria may take different forms according to particular disciplines, this article also argues that Soler’s hypothesis does not meet three basic criteria to make a scientific claim, namely, that it be verifiable, exclude arbitrariness, and guarantee rationality. This article exemplifies several of such shortcomings of Soler’s work: how the hypothesis of Curial’s origin rests on a dedicatory that has not come down to us—and may not have existed—; how historical and interpretive errors underlay Soler’s assumptions on the life of Francesc Gilabert de Centelles; how errors pervade Soler’s onomastic, toponymic, heraldic, and numismatic interpretations; and, especially, how Soler often failed to check the sources and bibliography he cites.
El Curial e Güelfa va ser escrit a la quarta dècada del segle XV en un ambient cortesà catalanoar... more El Curial e Güelfa va ser escrit a la quarta dècada del segle XV en un ambient cortesà catalanoaragonès de marcada projecció internacional. Ho demostren el marc geogràfic de la ficció i l’estímul creativament elaborat de les fonts literàries: aquesta contribució ensenya que es poden afegir encara molts matisos al que s’ha esbrinat fins ara. Les conseqüències que se’n poden treure pel que fa a la resolució de l’enigma de l’autoria, el lloc de composició i el destinatari són nul·les perquè continua mancant-hi la documentació. Per contra, aportacions com les que s’ofereixen aquí confirmen que el text de l’anònim pertany a un horitzó lingüístic volgudament internacional i supradialectal, fruit de la vigència del català administratiu de la cancelleria dels temps d’Alfons IV el Magnànim. S’explica i s’argumenta a Badia & Torró (2014) i a Badia (2013-2015: II , 105-116). Ho abona la proposta d’una variant dialectal de transició entre català i valència per al Curial que es defensa a Colon & Perea & Ueda (2012), que no difereix gaire del «comun llenguatge català».
Digital Philology. A Journal of Medieval Cultures., 2014
This article illustrates an important while comparably unattended
role played by the making of di... more This article illustrates an important while comparably unattended role played by the making of digital databases in our contemporary philological study of medieval poetry. By presenting a case study devoted to the figure of Mossèn Avinyó, a fifteenth-century Catalan nobleman and poet, the authors of this essay exemplify the need for a rigorous perusal of the material evidence that is being archived in digital projects. With paleographical, codicological, and literary evidence, the authors show with great probability that Avinyó himself compiled two manuscripts currently held by the Hispanic Society of America: the Cancionero de Vindel and the Cançoner llemosí del siglo XV. In doing so, the authors also show that these two manuscripts contain the entirety of Avinyó’s lyric production, along with a sampling of the poetry produced by those who traveled in Avinyó’s cultural circles.
The Romanç d'Evast e Blaquerna is assumed to have been written between 1276 and 1283, and the nam... more The Romanç d'Evast e Blaquerna is assumed to have been written between 1276 and 1283, and the name of the protagonist already appears in the last chapter of the Doc-trina pueril, written between 1274 and 1276. This article explores the various paths by which the name of Blaquerna could have come to Llull's knowledge during that period on the assumption of the name having originated in a toponym of Constantino-ple. Based on Byzantine documentation and verifications in situ, the author describes the Marian iconography linked to the toponym 'Blaquerna', paying special attention to the dedication of the cult to the despotate of Epirus and to possible connections of this cult with the House of Anjou.
This article makes three contributions to the study of Ausiàs March's poetry. First, it identifie... more This article makes three contributions to the study of Ausiàs March's poetry. First, it identifies and documents with unedited archival material the lady to whom March dedicated poem 23, his eulogy 'Lleixant a part l'estil dels trobadors'. The 'dona Teresa' addressed in the eulogy was a noblewoman, Teresa d'Híxar. Second, the article argues that Teresa d'Híxar is actually the dedicatee of the entire poetic cycle addressed to 'Llir entre cards'. Thereby, the poetic cycle can be dated between 1425 and ca. 1442. Last, this article studies the reception of poem 23, which as early as 1451 became a model of laus to several courtly poets, including Lleonard de Sos and Hugo de Urriés.
After showing that the editio princeps of Joanot Martorell's Tirant lo Blanc (Valencia: Nicolau S... more After showing that the editio princeps of Joanot Martorell's Tirant lo Blanc (Valencia: Nicolau Spindeler, 1490) was printed by formes, this article illustrates how the hand press introduced errors in the transmission of the romance. Particular attention is paid to the order in which formes were printed within a quire, the characteristics of the printer's copy, and the division of the work into chapters.
This essay comments on a universal literary theme, the deceitful dream as an expression of sorrow... more This essay comments on a universal literary theme, the deceitful dream as an expression of sorrow caused by absence and exile as it appears in Homer, Ovid, and Ausiàs March. Whereas dreams of the absent beloved or the distant home and friends can be sweet, they may as well sour, increase sadness, and turn consolation into grief. Such topics are also appropriate for consolatory letters, like Pere Torroella's consolatory letter for María López de Biu--which draws on Ausiàs March's Poem 1.
Dream and love lyric, exile, sorrow caused by absence, the remoteness of one's home, friends, wife
Aquest treball repassa el motiu literari universal del somni enganyós com a expressió del dolor de l’absència i de l’exili en Homer, Ovidi i Ausiàs March. Si somiar l’amada absent o els amics i la llar llunyans és un somni dolç, el dolor pot convertir-lo en un somni amarg, agusar la tristesa i convertir el consol en desconsol. Aquests elements també han fet el motiu apte per a la carta consolatòria, de manera que Pere Torroella cita el poema 1 d’Ausiàs March en la lletra consolatòria a María López de Biu.
Mots clau: somni i cançó amorosa; exili; dolor de l’absència; llunyania de
la llar; els amics; l’esposa
Tirant: Butlletí informatiu i bibliogràfic de literatura de cavalleries, Dec 19, 2018
Aquest treball contradiu la proposta d’Abel Soler segons la qual l’autor de Curial e Guelfa , in... more Aquest treball contradiu la proposta d’Abel Soler segons la qual l’autor de Curial e Guelfa , inspirat en la lletra De amore de Barzizza adrecada a Ramon de Riu-sec alias Francesc Gilabert de Centelles amb data el 4 de marc de 1439, concebe la idea d’escriure una novel·la d’armes i d’amors amb el proposit de conduir l’amor cortes al matrimoni. Aixi mateix, contradiu que l’anonim autor, seguint Barzizza, dediques el Curial al mateix destinatari de la lletra de Barzizza: Francesc Gilabert de Centelles per apartar-lo de l’amor deli-table i conduir-lo a l’amor conjugal. Els arguments son historics, literaris i de procediment. Francesc Gilabert de Centelles no era un solter d’edat empesa ni l’any 1439 ni els anys 1446-1448 que Soler suposa per a la redaccio del Curial , sino un home casat. La lletra De amore Barzizza no es un tractat sobre l’amor, ni tampoc sobre l’amor conjugal, sino una reprobatio amoris. No te sentit construir una hipotesi sobre una dedicatoria que no conservem i que no sabem si mai existi.
Digital Philology: A Journal of Medieval Cultures, 2014
This article illustrates an important while comparably unattended
role played by the making of d... more This article illustrates an important while comparably unattended
role played by the making of digital databases in our contemporary
philological study of medieval poetry. By presenting a case
study devoted to the figure of Mossèn Avinyó, a fifteenth-century
Catalan nobleman and poet, the authors of this essay exemplify
the need for a rigorous perusal of the material evidence that is
being archived in digital projects. With paleographical, codicological,
and literary evidence, the authors show with great probability
that Avinyó himself compiled two manuscripts currently held by
the Hispanic Society of America: the Cancionero de Vindel and the
Cançoner llemosí del siglo XV. In doing so, the authors also show
that these two manuscripts contain the entirety of Avinyó’s lyric
production, along with a sampling of the poetry produced by those
who traveled in Avinyó’s cultural circles.
Doctor en Filologia Catalana i professor de la UdG des de 1994. S'ha dedicat a l'estudi d... more Doctor en Filologia Catalana i professor de la UdG des de 1994. S'ha dedicat a l'estudi de la literatura catalana medieval dels segles XIV i XV i de l'humanisme a la Corona d'Aragó. Ha editat l'obra completa de Romeu Llull (Barcino, Els Nostres Clàssics, 1996), l’obra de Lluís de Requesens, Bernat Miquel, Martí Garcia, Rodrigo Dies, Lluís de Vilarasa & Francesc Sunyer amb Sis poetes del regnat d’Alfons el Magnànim (Barcino, Els Nostres Clàssics, 2009) i, en col·laboració amb Lola Badia, la novel·la Curial e Güelfa (Quaderns Crema, 2011), i diversos treballs sobre Bernat Metge, la novel·la Curial e Güelfa , Joanot Martorell, Joan Roís de Corella, Jaume Roig, Francesc Alegre, Ausiàs March, la transmissió textual de lírica, la novel·la de cavalleries i la poesia en la cort en un període que comprèn des del regnat de Joan I d’Aragó fins a la mort de Joan II. Ha col·laborat en diversos d’aquestes treballs amb Lluís Cabré, Rafael Ramos, Francisco Javier Rodríguez Risqu...
On the 28 th of November 2016 Abel Soler defended his PhD dissertation entitled La cort napolitan... more On the 28 th of November 2016 Abel Soler defended his PhD dissertation entitled La cort napolitana d’Alfons el Magnànim: el context de “Curial e Güelfa” in the Departament of Catalan at the Universitat de València. Soler’s work was supervised by Antoni Ferrando Francés, who holds a Chair at the Universitat de València and is a member of the Institut d’Estudis Catalans (hereafter IEC). The journal Tirant included a brief summary of Soler’s dissertation (no. 19, 301-302) and this was followed by a public event held in Valencia in which the results of the aforementioned PhD thesis were announced before both academic and political authorities, and the press. Soler’s dissertation remains, however, unpublished, and –beyond the remarkably broad interest shown by the media– it is hoped that scholars will be able to assess its quality when Soler’s research is finally brought to the press. Soler’s conclusions have nonetheless already been disseminated in his article “Enyego d’Àvalos, autor de...
This article discusses Abel Soler’s proposal to read the anonymous Catalan romance Curial e Guelf... more This article discusses Abel Soler’s proposal to read the anonymous Catalan romance Curial e Guelfa as a product of “chivalric” humanism and identify its author with Íñigo d’Ávalos, a steward of Filippo Maria Visconti (d. 1447) and, from 1449 on, Great Chamberlain of Alfonso the Magnanimous. The author of this article examines the concept of “chivalric” humanism as Ruggero M. Ruggieri developed it in two books from 1955 and 1962. Ruggieri’s “chivalric humanism” was a proposal for literary history than run parallel to the concept of “classical” humanism, and had nothing to do with humanism, and even less so with Soler’s idea of “humanistic chivalry.” Although scientific criteria may take different forms according to particular disciplines, this article also argues that Soler’s hypothesis does not meet three basic criteria to make a scientific claim, namely, that it be verifiable, exclude arbitrariness, and guarantee rationality. This article exemplifies several of such shortcomings of Soler’s work: how the hypothesis of Curial’s origin rests on a dedicatory that has not come down to us—and may not have existed—; how historical and interpretive errors underlay Soler’s assumptions on the life of Francesc Gilabert de Centelles; how errors pervade Soler’s onomastic, toponymic, heraldic, and numismatic interpretations; and, especially, how Soler often failed to check the sources and bibliography he cites.
El Curial e Güelfa va ser escrit a la quarta dècada del segle XV en un ambient cortesà catalanoar... more El Curial e Güelfa va ser escrit a la quarta dècada del segle XV en un ambient cortesà catalanoaragonès de marcada projecció internacional. Ho demostren el marc geogràfic de la ficció i l’estímul creativament elaborat de les fonts literàries: aquesta contribució ensenya que es poden afegir encara molts matisos al que s’ha esbrinat fins ara. Les conseqüències que se’n poden treure pel que fa a la resolució de l’enigma de l’autoria, el lloc de composició i el destinatari són nul·les perquè continua mancant-hi la documentació. Per contra, aportacions com les que s’ofereixen aquí confirmen que el text de l’anònim pertany a un horitzó lingüístic volgudament internacional i supradialectal, fruit de la vigència del català administratiu de la cancelleria dels temps d’Alfons IV el Magnànim. S’explica i s’argumenta a Badia & Torró (2014) i a Badia (2013-2015: II , 105-116). Ho abona la proposta d’una variant dialectal de transició entre català i valència per al Curial que es defensa a Colon & Perea & Ueda (2012), que no difereix gaire del «comun llenguatge català».
Digital Philology. A Journal of Medieval Cultures., 2014
This article illustrates an important while comparably unattended
role played by the making of di... more This article illustrates an important while comparably unattended role played by the making of digital databases in our contemporary philological study of medieval poetry. By presenting a case study devoted to the figure of Mossèn Avinyó, a fifteenth-century Catalan nobleman and poet, the authors of this essay exemplify the need for a rigorous perusal of the material evidence that is being archived in digital projects. With paleographical, codicological, and literary evidence, the authors show with great probability that Avinyó himself compiled two manuscripts currently held by the Hispanic Society of America: the Cancionero de Vindel and the Cançoner llemosí del siglo XV. In doing so, the authors also show that these two manuscripts contain the entirety of Avinyó’s lyric production, along with a sampling of the poetry produced by those who traveled in Avinyó’s cultural circles.
The Romanç d'Evast e Blaquerna is assumed to have been written between 1276 and 1283, and the nam... more The Romanç d'Evast e Blaquerna is assumed to have been written between 1276 and 1283, and the name of the protagonist already appears in the last chapter of the Doc-trina pueril, written between 1274 and 1276. This article explores the various paths by which the name of Blaquerna could have come to Llull's knowledge during that period on the assumption of the name having originated in a toponym of Constantino-ple. Based on Byzantine documentation and verifications in situ, the author describes the Marian iconography linked to the toponym 'Blaquerna', paying special attention to the dedication of the cult to the despotate of Epirus and to possible connections of this cult with the House of Anjou.
This article makes three contributions to the study of Ausiàs March's poetry. First, it identifie... more This article makes three contributions to the study of Ausiàs March's poetry. First, it identifies and documents with unedited archival material the lady to whom March dedicated poem 23, his eulogy 'Lleixant a part l'estil dels trobadors'. The 'dona Teresa' addressed in the eulogy was a noblewoman, Teresa d'Híxar. Second, the article argues that Teresa d'Híxar is actually the dedicatee of the entire poetic cycle addressed to 'Llir entre cards'. Thereby, the poetic cycle can be dated between 1425 and ca. 1442. Last, this article studies the reception of poem 23, which as early as 1451 became a model of laus to several courtly poets, including Lleonard de Sos and Hugo de Urriés.
A cura di Fulvio Delle Donne e Jaume Torró Torrent. Alfonso d’Aragona il Magnanimo (1394-1458) fu... more A cura di Fulvio Delle Donne e Jaume Torró Torrent. Alfonso d’Aragona il Magnanimo (1394-1458) fu il sovrano che, conquistando il Regno di Napoli (1442), portò a compimento l’espansione mediterranea avviata dai suoi predecessori. Fu colui che, per circa mezzo secolo –un periodo breve, ma che ha lasciato il segno nella storia europea – trasformò il Mediterraneo occidentale in un «lago catalano». La sua corte, dove si parlavano catalano, volgare italiano e latino, fu un importantissimo crocevia della cultura medievale e umanistica e un centro propulsivo dell’arte tardogotica e rinascimentale. Tuttavia raramente sono stati indagati i rapporti tra i due principali poli culturali e istituzionali del suo Regno, quello catalano e quello italiano. A questa mancanza si intende sopperire con questo volume, che raccoglie i contributi di studiosi che hanno provenienza e approcci disciplinari diversi. With the conquest of Naples in 1442 Alfonso IV the Magnanimous (1394-1458) achieved the Mediterranean expansion of the Crown of Aragon that kings James I and Peter II the Great had started. For about half a century Alfonso transformed the Western Mediterranean in a «Catalan Sea». This period of time, however short, marked European history. Alfonso’s court, where Catalan, Italian and Latin were spoken, was an important crossroads of Medieval and Humanistic culture, and a center of Late Gothic and Renaissance art. Scholarship has rarely examined the cultural and institutional relationships between both the Catalan and the Italian poles of Alfonso’s reign. To address this deficeny this volume offers a variety of contributions by scholars of diverse origin and disciplinary focus.
Estudis en honor del professor Rafael Alemany Ferrer, Universitat d'Alacant, 2023
Aquest article mostra la importància de conèixer amb precisió els itineraris marítims per editar... more Aquest article mostra la importància de conèixer amb precisió els itineraris marítims per editar i anotar el Tirant. El coneixement físic dels llocs citats a la novel·la ajuda l’autor a copsar la fusió dels esquemes narratius amb les fonts literàries i el coneixement personal de Martorell en l’episodi trencament del setge de Rodes; li permet també d’introduir dues esmenes textuals que restauren sengles passatges geogràficament incoherents.
Estudis de filologia catalana. Dotze anys de l'Institut de Llengua i Cultura Catalanes, secció Francesc Eiximenis, ed. Pep Valsalobre et August Rafanell, Barcelona, Publicacions Abadia de Montserrat (Biblioteca Abat Oliba, 219), 1999
L'immagine di Alfonso il Magnanimo tra letteratura e storia, tra Corona d'Aragona e Italia/ La imatge d'Alfons el Magnànim en la literatura i la historiografia entre la Corona d'Aragó i Itàlia,, 2016
This essay identifies the features that singularize the two greatest chivalric romances written i... more This essay identifies the features that singularize the two greatest chivalric romances written in Catalan – Curial e Güelfa, of unknown author, and Tirant lo Blanc, by Joan Martorell – within the cultural context of Alfonso the Magnanimous’s court. In this intellectual milieu, men educated in Medieval Latin and vernacular letters lived side by side with others trained in the studia humanitatis. Mostly following in the footsteps of Boccaccio, the author of Curial e Güelfa transformed the tradition of French (especially Angevin and Burgundian) chivalric romances of the late fourteenth century, and a good part of the fifteenth, into a high poetic product in imitation of both modern writers (the troubadours, Bernat Desclot, Dante, and Petrarch) and ancient authors (Homer, Virgil). Joanot Martorell, on the other hand, in correspondence with Cicero’s famous definition of historia as magistra vitae (De oratore II 36), favored a conception of his writing as opus oratorium that turned Tirant lo Blanc into an exhibition of rhetoric registers and literary genres.
This article sheds new light on the poetry of Andreu Febrer (1374-1440/44). Firstly, it establish... more This article sheds new light on the poetry of Andreu Febrer (1374-1440/44). Firstly, it establishes afresh the chronology of his poems and his biography —from birth up to Febrer’s service to Martin the Younger, King of Sicily. Secondly, it analyses the author’s acquaintance with Occitan, French, and Italian poetry, and stresses the influence of Arnaut Daniel’s poetry and Dante’s rime petrose, as well as that of several French lyrics—including Guillaume de Machaut’s poems on an absent lover. Thirdly, it suggests that Febrer’s fifteen extant poems make up a collection dedicated to Queen Mary of Sicily by 1401. Finally, this article reassesses Febrer’s place in the history of medieval Catalan poetry on account of both his creativity and his influence on fifteenth-century Catalan poets.
This article studies the Cançoner de Saragossa, a miscellaneous collection of poetry copied betwe... more This article studies the Cançoner de Saragossa, a miscellaneous collection of poetry copied between November 1461 and July 1462, and related to the entourage of Charles of Aragon, Prince of Viana. This culturalmilieu included the poet Pere Torroella, and other courtiers who had recently returned from Naples. After examining the mise-en-page of the manuscript,and the ordering of its contents, this article reconstructs the quire structure of the Cançoner de Saragossa showing that the codex started as a collection of poetry containing about 90 love pieces by Ausiàs March. Only 66 of those poems remain in the present form of the manuscript. The original collection of March's poetry began with poems 1-8 and ended with a post mortem section that followed after the rubric of poem 92 («mossèn Ausiàs March per la mort de sa muller e sa enamorada»). Later on, as more of March's poems became available to the copist, a second section of March's poetry was added.
In Joanot Martorell's Tirant lo Blanc, some Italian noblemen join the Christian army that fights ... more In Joanot Martorell's Tirant lo Blanc, some Italian noblemen join the Christian army that fights for the Greek Empire, while others side with the Turkish army and are thus regarded as traitors. Constantine Marinescu's Nouvelles recherches sur Tirant lo Blanch (Boletín de la Real Academia de Buenas Letras de Barcelona, 1959) shed light on this issue: the names of the Italian traitors closely match those of noblemen who rebelled against Ferrante at the death of his father King Alfonso the Magnanimous; conversely, the names of those who defended the Greel empire are found amongst the noblemen who remained loyal to King Ferrante. In Martorell's fiction, the enemies of Ferrante were identified with the enemies of the Greek Emperor's army commanded by Tirant. In this essay I intend to prove that, in a similar fashion, the fictional episode dealing with the siege of Rhodes (including the stratagem of the `shrewd seaman´) dwelled on the siege of Bonifacio (1420-21).
El conreu i la promoció de la lírica d'arrel trobadoresca és un dels principis culturals que assu... more El conreu i la promoció de la lírica d'arrel trobadoresca és un dels principis culturals que assumeix el llinatge dels Trastàmara quan arriba a la Corona d'Aragó. Intel·lectuals i poetes castellans es documenten en la cort de Ferran I (Enric de Villena, Íñigo López de Mendoza, Alfonso Enríquez, Diego Gómez de Sandoval) i després en la del seu fill el príncep Alfons, després rei. A la cort d'Alfons IV el Magnànim s'incorporen cavallers i poetes catalans: Jordi de sant Jordi, Ausiàs March, Lluís de Requesens, Bernat Miquel, Joan de Vilagut, Lluís Icart entre d'altres. Una vegada la cort del Magnànim es trasllada a Nàpols, a la Península es mantenen les corts literàries dels infants d'Aragó, Joan, Enric i Pere, germans d'Alfons. A la cort de l'infant Joan, futur Joan II, escriuen Lluís de Vilarasa, Francesc Ferrer, Bernat Hug de Rocabertí, Pere de Torroella, mossèn Avinyó. Ausiàs March es mou en l'òrbita d'Alfons el Magnànim i dels infants d'Aragó, els quals feren llargues estades a la ciutat de València. Mentrestant la cort napolitana també era un nucli cultural important i lloc de producció d'importants cançoners. La plataforma cortesana és, doncs, el lloc ideal per al conreu d'una poesia lírica que ja ha abandonat l'occità i, també un lloc d'intercanvi amb poetes castellans.
RESUMEN: El Espill de Jaume Roig, narración en verso de cuatro sílabas, es presentado en este tra... more RESUMEN: El Espill de Jaume Roig, narración en verso de cuatro sílabas, es presentado en este trabajo como un tratado contra el amor en forma de carta relación enviado como electuario por el ficticio Jaume Roig al caballero Joan Fabra. El punto de vista singular del protagonista, un antihéroe que cuenta su vida desde la vejez alejado de la corrección moral, permite al autor hacer un retrato satírico de la sociedad de su tiempo, y relaciona el Espill con la novela picaresca. Ésta, y también el género de la sátira y el electuario, solían escribirse como el Espill en forma epistolar. ABSTRACT: The Espill by Jaume Roig, a verse narrative written in quatrosyllabic lines, is presented in this article as a treatise against love in the form of a letter sent by the fictitious Jaume Roig as an electuary to the knight Joan Fabra. The first person perspective of the protagonist, an antihero who is recounting his life story from old age with little regard for moral niceties, enables the author to satirize contemporary society and establishes a link with the picaresque novel. This literary genre, as well as satire and electuaries, was often written in the epistolary format that Roig employs for the Espill.
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Papers by Jaume Torró
Dream and love lyric, exile, sorrow caused by absence, the remoteness of one's home, friends, wife
Aquest treball repassa el motiu literari universal del somni enganyós com a expressió del dolor de l’absència i de l’exili en Homer, Ovidi i Ausiàs March. Si somiar l’amada absent o els amics i la llar llunyans és un somni dolç, el dolor pot convertir-lo en un somni amarg, agusar la tristesa i convertir el consol en desconsol. Aquests elements també han fet el motiu apte per a la carta consolatòria, de manera que Pere Torroella cita el poema 1 d’Ausiàs March en la lletra consolatòria a María López de Biu.
Mots clau: somni i cançó amorosa; exili; dolor de l’absència; llunyania de
la llar; els amics; l’esposa
role played by the making of digital databases in our contemporary
philological study of medieval poetry. By presenting a case
study devoted to the figure of Mossèn Avinyó, a fifteenth-century
Catalan nobleman and poet, the authors of this essay exemplify
the need for a rigorous perusal of the material evidence that is
being archived in digital projects. With paleographical, codicological,
and literary evidence, the authors show with great probability
that Avinyó himself compiled two manuscripts currently held by
the Hispanic Society of America: the Cancionero de Vindel and the
Cançoner llemosí del siglo XV. In doing so, the authors also show
that these two manuscripts contain the entirety of Avinyó’s lyric
production, along with a sampling of the poetry produced by those
who traveled in Avinyó’s cultural circles.
nul·les perquè continua mancant-hi la documentació. Per contra, aportacions com les que s’ofereixen aquí confirmen que el text de l’anònim pertany a un horitzó lingüístic volgudament internacional i supradialectal, fruit de la vigència del català administratiu de la cancelleria dels temps d’Alfons IV el Magnànim. S’explica i s’argumenta a Badia & Torró (2014) i a Badia (2013-2015: II , 105-116). Ho abona la proposta d’una variant dialectal de transició entre català i valència
per al Curial que es defensa a Colon & Perea & Ueda (2012), que no difereix gaire del «comun llenguatge català».
role played by the making of digital databases in our contemporary
philological study of medieval poetry. By presenting a case
study devoted to the figure of Mossèn Avinyó, a fifteenth-century
Catalan nobleman and poet, the authors of this essay exemplify
the need for a rigorous perusal of the material evidence that is
being archived in digital projects. With paleographical, codicological,
and literary evidence, the authors show with great probability
that Avinyó himself compiled two manuscripts currently held by
the Hispanic Society of America: the Cancionero de Vindel and the
Cançoner llemosí del siglo XV. In doing so, the authors also show
that these two manuscripts contain the entirety of Avinyó’s lyric
production, along with a sampling of the poetry produced by those
who traveled in Avinyó’s cultural circles.
Dream and love lyric, exile, sorrow caused by absence, the remoteness of one's home, friends, wife
Aquest treball repassa el motiu literari universal del somni enganyós com a expressió del dolor de l’absència i de l’exili en Homer, Ovidi i Ausiàs March. Si somiar l’amada absent o els amics i la llar llunyans és un somni dolç, el dolor pot convertir-lo en un somni amarg, agusar la tristesa i convertir el consol en desconsol. Aquests elements també han fet el motiu apte per a la carta consolatòria, de manera que Pere Torroella cita el poema 1 d’Ausiàs March en la lletra consolatòria a María López de Biu.
Mots clau: somni i cançó amorosa; exili; dolor de l’absència; llunyania de
la llar; els amics; l’esposa
role played by the making of digital databases in our contemporary
philological study of medieval poetry. By presenting a case
study devoted to the figure of Mossèn Avinyó, a fifteenth-century
Catalan nobleman and poet, the authors of this essay exemplify
the need for a rigorous perusal of the material evidence that is
being archived in digital projects. With paleographical, codicological,
and literary evidence, the authors show with great probability
that Avinyó himself compiled two manuscripts currently held by
the Hispanic Society of America: the Cancionero de Vindel and the
Cançoner llemosí del siglo XV. In doing so, the authors also show
that these two manuscripts contain the entirety of Avinyó’s lyric
production, along with a sampling of the poetry produced by those
who traveled in Avinyó’s cultural circles.
nul·les perquè continua mancant-hi la documentació. Per contra, aportacions com les que s’ofereixen aquí confirmen que el text de l’anònim pertany a un horitzó lingüístic volgudament internacional i supradialectal, fruit de la vigència del català administratiu de la cancelleria dels temps d’Alfons IV el Magnànim. S’explica i s’argumenta a Badia & Torró (2014) i a Badia (2013-2015: II , 105-116). Ho abona la proposta d’una variant dialectal de transició entre català i valència
per al Curial que es defensa a Colon & Perea & Ueda (2012), que no difereix gaire del «comun llenguatge català».
role played by the making of digital databases in our contemporary
philological study of medieval poetry. By presenting a case
study devoted to the figure of Mossèn Avinyó, a fifteenth-century
Catalan nobleman and poet, the authors of this essay exemplify
the need for a rigorous perusal of the material evidence that is
being archived in digital projects. With paleographical, codicological,
and literary evidence, the authors show with great probability
that Avinyó himself compiled two manuscripts currently held by
the Hispanic Society of America: the Cancionero de Vindel and the
Cançoner llemosí del siglo XV. In doing so, the authors also show
that these two manuscripts contain the entirety of Avinyó’s lyric
production, along with a sampling of the poetry produced by those
who traveled in Avinyó’s cultural circles.
With the conquest of Naples in 1442 Alfonso IV the Magnanimous (1394-1458) achieved the Mediterranean expansion of the Crown of Aragon that kings James I and Peter II the Great had started. For about half a century Alfonso transformed the Western Mediterranean in a «Catalan Sea». This period of time, however short, marked European history. Alfonso’s court, where Catalan, Italian and Latin were spoken, was an important crossroads of Medieval and Humanistic culture, and a
center of Late Gothic and Renaissance art. Scholarship has rarely examined the cultural and institutional relationships between both the Catalan and the Italian poles of Alfonso’s reign. To address this deficeny this volume offers a variety of contributions by scholars of diverse origin and disciplinary focus.