EN XII CHANTS. Texte provençat et traduction française.
Le Poème du Rhône
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EN XII CHANTS. Texte provençat et traduction française.
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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.
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.
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.
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