Us publicacion dera Société d’Édition Occitane en 1921.
Canti Còrsi
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Us publicacion dera Société d’Édition Occitane en 1921.
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This major reference work is the fourth volume in the series “Arthurian Literature in the Middle Ages”. Its intention is to update the French and Occitan chapters in R.S. Loomis’ “Arthurian Literature in the Middle Ages: A Collaborative History” (Oxford, 1959) and to provide a volume which will serve the needs of students and scholars of Arthurian literature. The principal focus is the production, dissemination and evolution of Arthurian material in French and Occitan from the twelfth to the fifteenth century. Beginning with a substantial overview of Arthurian manuscripts, the volume covers writing in both verse (Wace, the Tristan legend, Chretien de Troyes and the Grail Continuations, Marie de France and the anonymous lays, the lesser known romances) and prose (the Vulgate Cycle, the prose Tristan, the Post-Vulgate Roman du Graal, etc.).
Manual simple e eficaç per debutar un aprendissatge de l’occitan (var. lengadocian).
Joan Rigosta (en francés Jean Rigouste, Senalhac del Causse, 25 de novembre de 1938) es un pedagòg e lingüista occitan especializat en toponimia. Foguèt ensenhaire de letras als licèus d’Agen, de Merinhac e de Brageirac. Trabalhèt tanben a l’IUFM d’Aquitània e a l’Universitat de Bordèu III.
From Petrarch and Dante to Pound and Eliot, the influence of the troubadours on European poetry has been profound. They have rightly stimulated a vast amount of critical writing, but the majority of modern critics see the troubadour tradition as a corpus of earnestly serious and confessional love poetry, with little or no humour. Troubadours and Irony re-examines the work offiveearly troubadours, namely Marcabru, Bernart Marti, Peire d’Alvernha, Raimbaut d’Aurenga and Giraut de Borneil, to argue that the courtly poetry of Southern France in the twelfth century was permeated with irony and that many troubadour songs were playful, laced with humorous sexual innuendo and far from serious; attention is also drawn to the large corpus of texts that are not love poems, but comic or satirical songs. New interpretations of many problematic troubadour poems are offered; in some cases the received view of a troubadour’s work is questioned. New perspectives on the tradition as a whole are suggested, and consequently on courtly culture in general. The author addresses the philological problems, by no means negligible, posed by the texts in question, and several poems are re-edited from the manuscripts.
Dins del domini gascó, i alhora reflectint la situació occitana general, hi ha una variació interna notòria entre les diferents varietats que omplen el territori. En aquest sentit, el comengès, que enclavem en el gascó pirinenc oriental (subdialecte que abasta una zona que comprèn la Vall d’Aran, l’àrea de La Varossa, el Comenge meridional i el Coserans), es diferencia d’una manera prou evident d’altres variants més occidentals, justament per la seua condició de parlar fronterer, situat en una zona interferencial, en paraules de Bèc (1968), entre el gascó i el llenguadocià. El treball que prossegueix mira de fer una descripció d’alguns aspectes fonètics i lexicals d’un dels municipis de parla comengesa, Era Barta d’Arribèra, localitzada estratègicament a pocs quilòmetres de Sent Gaudenç, capital històrica del Comenge i de l’antiga comarca del Nebosan.
A quiet renaissance has been unfolding in certain parts of Europe – a renaissance of literature written in minority languages. In this book, William Calin explores the renaissance through an examination of twentieth-century works in Scots, Breton, and Occitan minority languages flourishing inside the borders of the United Kingdom and France.
For each of the three bodies of literature Calin considers major authors whose works include novels, poetry and plays, and shows that all three literatures have evolved in a like manner, repudiating their romantic folk heritage and turning instead to modern and postmodern concerns. Drawing on current critical theories in periodization, postcolonialism and cultural studies, Calin raises a range of comparative questions: Is there a common form of narrative prevalent in minority cultures that is neither realism nor metafiction? Is the minority-language theatre limited to plots treating past history and the rural present? What is the relationship between the minority literature and literature in the national language? What kind of history should be written on the literatures of Scotland, Brittany and the South of France, manifest in their several languages?
Calin’s pioneering study is the first comparative scrutiny of these minority literatures and the first to bring all three together into the mainstream of present-day criticism. His work demonstrates the intrinsic importance in their twentieth-century renewal, as well as their contribution to global culture, in both aesthetic and broadly human terms.
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