Troubadours/Trobairitz

(Fr) : Cette étude vise  à  analyser  la  prise  de  conscience  de  l’existence  d’une tradition littéraire des troubadours de la première moitié du XVIe  siècle en France. On ne trouve, parmi les traités de ce temps, que des allusions mineures au passé des troubadours, même dans les œuvres relativement bien connues et influentes. Nous tenterons d’esquisser un panorama de ces passages qui, si bref soit-il, pourrait bien illustrer le climat culturel dans lequel intervint Jehan de Nostredame avec ses Vies.

A review of several origin myths relating to the creation of medieval Occitan lyric poetry. We see a preference for a “great man theory” of origins, though the “great man” may be a fictional woman. Medieval and Renaissance Occitan authors, including Uc de Saint Circ, Guilhem Molinier, and Jean de Nostredame, used differing origin myths to validate literature in a language that was perceived not to carry the prestige of twelfth- and thirteenth-century Latin or fifteenth- and
sixteenth-century French.

Con questo lavoro ci proponiamo di fare ordine nel 'mare magnum' di considerazioni e studi più o meno approfonditi che riguardano la problematica figura di Bieiris de Romans e della sua unica 'canso' a noi pervenuta. Nel primo capitolo tenteremo di mostrare la difficoltà di delimitare in maniera definitiva il corpus delle 'trobairitz' e come vari autori abbiano interpretato diversamente l’inclusione o meno di alcuni testi e personalità. Nel secondo capitolo tratteremo nello specifico di Bieiris de Romans, ovvero il fatto di essere l’unica 'trobairitz' dell’intera produzione lirica in lingua d’oc a indirizzare una 'canso' a un’altra donna; esporremo, dunque, le teorie degli studiosi che appoggiano la sua effettiva esistenza e autorialità e quelli che vi si oppongono; infine, proporremo una nostra opinione sulla questione. Nel terzo capitolo esporremo il testo originale, una traduzione e un’analisi critica.

Este trabajo presta atención al valor e importancia que adquiere el conselh en la Edad Media, particularmente en las composiciones líricas dialogadas de las trobairitz: "Bona domna, tan vos ai fin coratge" (PC 461,56), "Dompna N’Almucs, si·us plages" (PC 20,2) y "Na Carenza al bèl còrs avenenz" (PC 12,1). En todas ellas se recurre como tema principal al consejo amoroso, ya sea ofrecido por parte de una dama experimentada a una joven carente de experiencia, o bien por una intermediaria ajena a la relación amorosa.

Este traballo presta atención ao valor e importancia que adquire o  conselh na Idade Media, particularmente nas composicións líricas dialogadas das  trobairitz: "Bona  domna, tan vos ai fin coratge" (PC 461,56), "Dompna  N’ Almucs, se· us  plages" (PC 20,2) e "Na  Carenza al bèl còrs avenenz" (PC 12,1). En todas elas recórrese como tema principal ao consello amoroso, xa sexa ofrecido por parte dunha dama experimentada a unha moza carente de experiencia, ou ben por unha intermediaria allea á relación amorosa.

This project pays attention to the study on the value and the importance that the conselh acquires during the Middle Ages, particularly in the trobairitz’s converse lyric compositions: "Bona domna, tan vos ai fin coratge" (PC 461,56), "Dompna N’Almucs, si·us plages" (PC 20,2) y "Na Carenza al bèl còrs avenenz" (PC 12,1). In all of them, the main topic is the love advice, either offered by an experimented woman to a young girl without experience, or by an external intermediary to the relationship.

Peire de la Mula è stato a lungo considerato un trovatore di origine italiana, soprattutto a causa dei riferimenti alla penisola presenti nella sua "vida". Tuttavia, recenti studi documentari hanno portato alla luce nuove informazioni biografiche che hanno reso necessaria una nuova edizione dei suoi testi, a lungo accantonati dai critici proprio per i pochi riferimenti interni che avrebbero potuto condurre a una più profonda conoscenza della loro storia autoriale.

Es galt lange Zeit als ausgemacht, dass die Epoche Trobadorlyrik mit dem "letzten Trobador" Guiraut de Riquier am Ende des 13. Jahrhunderts endete. Mittlerweile setzt sich aber die Einsicht durch, dass die Trobadorlyrik auf dem Gebiet der Aragonesischen Krone noch fast anderthalb Jahrhunderte fortbestand - in okzitanischer Sprache und unter Bewahrung der stilistischen und inhaltlichen Merkmale dieser Dichtungstradition.

Der Valencianer Jordi de Sant Jordi (* vor 1400, 1424) ist der letzte große Vertreter dieser Trobadortradition außerhalb Okzitaniens und kann daher für sich in Anspruch nehmen, der eigentliche "letzte Trobador" gewesen zu sein. Seine Dichtung und seine Sprache sind einerseits tief im trobadoresken Kanon verwurzelt, andererseits aber doch so sehr für zeitgenössische Einflüsse offen, dass das Ergebnis keineswegs den Eindruck einer Revival-Lyrik vermittelt, sondern als lebendige Trobadorlyrik des 15. Jahrhunderts betrachtet werden kann.

Das Buch liefert eine Einführung in das Leben und die zeitgeschichtlichen Umstände des Autors sowie das überlieferte Gesamtwerk im okzitanischen Original und einer als Lesehilfe konzipierten Prosaübersetzung.

Jehan de Nostredame, author of paraphrases of the “Vies” of troubadours (1575), showed his literary interests also in historiography of his native region. The following lines would like to study to what extent the “Vies” could have been premeditated by him also as a parallel history of Provence. The precision and consistency of his approach lead us to the conviction that this strategy was employed intentionally.

In a document dated 1214, among the companions of Ramon III of Mévouillon, a W. de Sancto Gregorio appears, which the analysis leads to identify with the troubadour.  The article also identifies the coms d'Uzes cited by Guilhem de Saint Gregori in BdT 233.4, with Rainieri III d'Uzès, husband of Garsenda, the mother of the Count Raimon Berenguer V of Provence, and recognises  William of Sabran in the Sabran cited there. The analysis of Auzir cugei lo chant e-l crit e-l glat (BdT 231.1), leads us to recognise in the Sanguiniers there cited with the same Ramon III of Mévouillon.  The land of Sanguin mentioned in Guilhem Rainol, Auzir cugei lo chant e-l crit e-l glat (BdT 231.1), would therefore be the territory over which the Mevouillons had jurisdiction and at the centre of which rises Mont Ventoux, known for the massive presence of Cornus Sanguinea, a plant called sanguin in Occitan.The troubadour may have been born near Gap, and between 1210 and 1216 attended the courts of the Durenza valley. In the early 13th century, and in any case before 1218, Guilhem de Saint Gregori was a guest of the Counts of Valence to whom he dedicated Ben grans avolesa intra (BdT 233.2).

Presented for Prof. Hans Ulrich Gumbrecht seminar on Troubadour Poetry, this reading of Peires Vidal "Ajostar e lassar" raises five points: the absence of irony and other tropes in medieval literature, the religious dimension of the attraction to the lady and the exile, the tremendous power of the female figure, equated to the divine, the cumulative imagery, and the micro-politics presented in the text.

A review of several origin myths relating to the creation of medieval Occitan lyric poetry. We see a preference for a “great man theory” of origins, though the “great man” may be a fictional woman. Medieval and early Renaissance Occitan authors, including Uc de Saint Circ, Guilhem Molinier, and Jean de Nostredame, used differing origin myths to validate literature in a language that was perceived not to carry the prestige of twelfth- and thirteenth-century Latin or fifteen- and sixteenth-century French.

This article offers a new edition, based on Occitan Chansonnier R, of the canso-sirventes Si·l gen cors d’estieu es remas by the troubadour Guillem Godi. Moving from a textual and documentary analysis, as well as a material-philological perspective, the lectura proposes a later date for the composition (late 13th - early 14th century); moreover, a possible identification of the author with the cardinal Guillem de Peire Godin (1260-1336) is cautiously suggested.

WHEN THE TROOPS OF THE CALAMITOUS 4th CRUSADE arrived at the territory that was then known as Romania—a term used to describe the Byzantine Empire—there were already several important poets in their entourage. They were the French trouvère Conon de Béthune, who subsequently became a high-ranking official of the Frankish court following the fall of Constantinople, and two troubadours from Provence, Raimbaut de Vaqueiras and Elias Cairel who were courtiers in the newly established Kingdom of Thessalonica under Boniface of Montferrat.  The aim of the present book and CD has been to promote greater familiarity with the latter two poetcomposersʼ work and with the times of the Kindgdom of Thessalonica at its inception. The historical as well as the cultural allusions in the poems of Raimbaut de Vaqueiras and Elias Cairel, beside the more general political context of the period between 1204-1208, have been treated as relevant data to this study. Without the aid of the disciplines of palaeography, musicology and comparative literature this study could not have been pursued or concluded.

"The most insightful study of the functioning of proverbs in any medieval literature ... Demonstrates the importance of proverbs in the troubadour lyric...A significant contribution to the current debate on medieval literacy and medieval mindsets ..., interdisciplinary in its impact."

"Cette méthode d’occitan donne à voir toutes les variétés (ou dialectes) d’occitan. La première partie de l’ouvrage présente le languedocien standard – une variété qui permet de comprendre assez aisément la plupart des autres dialectes occitans puisque l’aire languedocienne occupe le centre géographique de l’espace occitan. La méthode revient ensuite sur les six principaux dialectes de l’aire occitane (auvergnat, gascon, languedocien, limousin, provençal, vivaro-alpin) parlés dans trois pays (France, Espagne, Italie) et donne également accès à l’occitan médiéval sur une série de leçons. Les acteurs locaux, très actifs dans la promotion de leur langue, ont été partie intégrante de cet ouvrage à la fois par le biais des relectures et des enregistrements.
Cet ouvrage a été publié avec le soutien de la Direction Générale de la Langue Française et des Langues de France (Ministère de la Culture) et de l’Union Latine. "

Le non-dit as the inexpressible and unexpressed corresponds to a feminine non-expression of literary silence, with familiar implications of non-existence. Luce Irigaray proposes one solution: “Mais si l’objet se mettait à parler?” (Speculum. De l’autre femme). This paper moves her question to a 13th-century context, looking at Flamenca’s contribution of alternatives or successors to a dominant, culturally-privileged highest mode of expression.

An earlier enquiry into the problem is offered by Ovid’s Heroides through its presentation of other sides, alternatives to masculine and monolithic expression: feminine first-person voice lyric; response by the Muse that instigates dialogue; and the dialogue writ large that is the contextualization of a single work within a larger œuvre. It is not by accident that the Heroides and the Occitan tenso are amongst the materials alluded to by and woven into the very fabric of Flamenca, a densely allusive super-romance that draws on several literary traditions and courtly cultures and deals with matters associated with the non-dit in a novel way.

Flamenca plays out the invention and reinvention of language, courtliness, and a language (Occitan) of courtliness: touching delicately on contemporary affairs, including linguistic politics. The narrative moves from wordless communication to a poetic composition that is the finding–or rather, the rediscovery–of poetic language; whilst playing with language through an ingenious derivative creativity that brings together feminine speech and the very lexis of cortesia itself, best exemplified in the word trobairitz, coined by women in dialogue.

[NB: as with most other papers on here, this is the talk version; it is rough and raw; the blog post will change with rewriting in coming months.]

Full text online at: http://metametamedieval.com/2014/10/01/le-non-dit-in-flamenca-language-courtliness-and-languages-of-courtliness/