0,00 €
Un article de Jordi Serra-Cobo, deth Departament de Biologica Evolutiva, Ecologia i Ciències Ambientals dera Facultat de Biologia dera Universitat de Barcelona.
Institut de Recerca de la Biodiversitat (IRBIO).
| book-author | |
|---|---|
| format |
There are no reviews yet.
De A autant d’argent que de pesolhs à Virar coma un baciu fagord, ce sont plus de 1000 expressions et dictons occitans, enracinés au plus profond de notre quotidien, qui sont réunis et expliqués dans cet ouvrage. A leur source, l’observation et l’imagination pour les unes : Aimable coma una mosca d’ase ; Aver d’argent coma un chin de nièras ; Aver un cuol coma un amolaire ; Cargat coma un muol; Curios coma un pet ; Dormir coma una missara. la musicalité et la rime qui facilitent la mémorisation pour les autres : Al mes d’abriu, Io cocut canta, mort o viu ; Auba roja, vent o ploja ; Cada topin troba sa cabucèla ; Es lo matin que la jornada se pèrd o se ganha ; Grèc, pluèja al bec ; La raça raceja. Tous ont été choisis par l’auteur à partir d’enquêtes et de lectures personnelles.
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.
Aguest seriós estudi qu’auetz enes mans ei ua campanada ena nòsta cultura, que mos enlumene sus un des aspèctes mès desconeishuts dera nòsta istòria. Ei damb gòi que guardam es campanaus lheuar-se orhulhosi ath miei des nòsti pòbles. Son eth referent paisagistic e visuau… e damb eth sòn penetrant tapatge mos enlumènen tanben en nòste moviment.
Ena nòsta vida diària i son presentes es campanes, i an estat des de hè molt… des de tostemp, e ena nòsta petita literatura ne parlen diuèrsi autors. Auíem de besonh aguest estudi, mos calie articular damb rigor un discors que mos permetesse explicar que tanben ath torn d’aqueres majestuoses tors s’a gestat era nòsta identitat.
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.
In 1209 Simon of Montfort led a war against the Cathars of Languedoc after Pope Innocent III preached a crusade condemning them as heretics. The suppression of heresy became a pretext for a vicious war that remains largely unstudied as a military conflict. Laurence Marvin here examines the Albigensian Crusade as military and political history rather than religious history, and traces these dimensions of the conflict through to Montfort’s death in 1218. He shows how Montfort experienced military success in spite of a hostile populace, impossible military targets, armies that dissolved every forty days, and a pope who often failed to support the crusade morally or financially. He also discusses the supposed brutality of the war, why the inhabitants were for so long unsuccessful at defending themselves against it, and its impact on Occitania. This original account will appeal to scholars of medieval France, the Crusades, and medieval military history.
LAURENCE W. MARVIN is Associate Professor of History at the Evans School of Humanities, Berry College, Georgia.
This is the first twentieth-century study of the women troubadours who flourished in Southern France between 1150 and 1250 — the great period of troubadour poetry. The book is comprised of a full-length essay on women in the Middle Ages, twenty-three poems by the women troubadours themselves in the original Provencal with translations on facing pages, a capsule biography of each poet, notes, and reading list.
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.
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.
Select at least 2 products
to compare
Be the first to review “Es arrates-caudes dera Val d’Aran”
You must be logged in to post a review.