Ua publicacion dera Librairie Honoré Champion, publicat en 1967.
Les chansons de Guillaume IX duc d’Aquitaine (1071-1127)
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Ua publicacion dera Librairie Honoré Champion, publicat en 1967.
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Es nòms que designes es lòcs d’un territòri an ua foncion tecnica e culturau ath madesih temps. Tecnica perqué les referéncien geograficament, e culturau perqué veïculen ifnromacion sus era cultura, era lengua o es costums d’aqueri que les meteren eth nòm. En aguest sens, era toponímia aranesa ei un patrimòni collectiu que cau sauvagardar com a par der auviatge lingüistic e culturau dera Val d’Aran.
En 1944, Manuel Abizanda e Broto deth Servicio de Defensa del Patrimonio Artístico Nacional publique era transcripcion e studi d’un manscrit titolat Índice Privilegios. Abizanda conde que dit manuscrit siguec amagat tà liurar-le deth perilh des “hodas rojas y marxistas” pendent era epòca Republicana e Guèrra Civila.
En 1938, un còp liberada era Val d’Aran pes nacionaus, er avocat Jaume Sala entreguèc dit manuscrit ath Servicio. Abizanda qu’ère agent d’aguest servici hec er estudi comentat adès.
En sòn trabalh ditz qu’un còp estudiat, eth manuscrit serà restituït entar Archiu Notariau, mès non especifique s’ei er archiu notariau deth districte de Vielha o parle d’un aute districte. Actuaument se desconeish a on se trape dit manuscrit e sonque auem notícies d’eth pera publicacion de 1944.
Pera descripcion hèta per Abizanda sabem qu’et manuscrit cònste de 50 fuelhs escrits e 40 fuelhs en blanc. Ei enquadernat en pergamin e mesure 14x10cm.
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.
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.
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.
The medieval troubadours of the South of France profoundly influenced European literature for many centuries. This book is the first full-length study of the first-person subject position adopted by many of them in its relation to language and society. Using modern theoretical approaches, Sarah Kay discusses to what extent this first person is a “self” or “character,” and how far it is self-determining. Kay draws on a wide range of troubadour texts, providing many close readings and translating all medieval quotations into English. Her book will be of interest both to scholars of medieval literature, and to anyone investigating subjectivity in lyric poetry.
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.
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.
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