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El Valle de Arán
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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.
The chansonnier Paris, Bibliotheque nationale, f. fr. 22543 (known as “R”) has been recognized for over 200 years as a precious repository of the literature of the medieval troubadours of southern France. It transmits almost 950 lyric poems and 160 melodies, along with many other important writings in the Occitan language, many of which are unica.
The paleography, decoration, and dialect of the manuscript are described thoroughly, and their distinctive features are seen to support the hypothesis that R was compiled in northern Languedoc or western Provence around 1300. While most of the texts of R were copied by one scribe, the relatively few melodies it contains were probably notated by at least four different copyists. Over eighty percent of the poems were never supplied with their melodies, even though musical staves were provided; these staves were left empty. The notation is in the style of the so-called Notre Dame school of Paris, and the rhythms of the notes are not apparent, although a few seem to be in rudimentary mensural notation.
The manuscript contains some works of the troubadours of the early twelfth century, and also a large number of works by late thirteenth-century poets. By examining internal paleographical data and making comparisons with other extant codices, it is possible to offer suggestions on the nature of the exemplars of this heterogeneous collection. The problems of determining how the texts and melodies were transmitted are investigated, including the issues of oral transmission, the lack of extant autographs, the disparity in the origins of the surviving manuscripts, and the variant attributions. The musical transmission is especially problematic, since only three other sources containing music survive. The forty-five concordances that R shares with these other codices are discussed.
A review of the modern history of the manuscript shows that the earliest known owner was the Marquise d’Urfe of the early eighteenth century. The commonly accepted belief that R was in the library of her ancestor the poet Honore d’Urfe in the seventeenth century is found to be unsupported by the available evidence.
I a pògues causes en lenguatge que donguen tanta escadença ara creativitat com era toponímia. Es colors, es formes, era vegetacion deth territòri; es nòms o es maunòms des sòns estatjants; ua istòria, un avodament, ua legenda o un equipament… quina causa que sigue barrejada damb er engenh dera gent servís entà generar un toponim.
Pr’amor d’açò, es nòms de lòc mos diden plen de causes sus es abitants, sus es origines o sus era natura de cada endret e son capables de crear un trincadís de colors plan variats que balhe personalitat a cada cornèr deth país.
Mès es toponims son tanben informacion, descripcion precisa, coordenada exacta enes mapes, nomenclators urbans, bases de donades o guides. Son un element indispensable de guidatge e de referéncia sus un territòri plen de persones en movement.
Aguesti dus aspèctes son es qu’an encoratjat ara Comission de Toponímia de Catalonha tà aufrir as municipis e tà toti es qu’agen de trabalhar damb nòms de lòc, uns Critèris que mos an de perméter preservar plan viua era riquesa culturau qu’era toponímia represente e adobar-la entà hèr-la utila.
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.
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.
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.
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