Recueil de poésies provençales.
Les Olivades
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Recueil de poésies provençales.
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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.
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.).
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.
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.
This dissertation compares the works of select troubadours with three mystical tracts in order to present the similarities found in these two literary traditions. Mystical writings have a far longer history reaching into antiquity and continuing until the present day. The traces in the manuscript traditions situate in the late eleventh century a new poetic form in Occitan with a focus on earthly love. The love as it is described in the songs of the composers who write or sing about it comes to be called bon amors or fin’ amors, the term we use today to name the love of the troubadour tradition. The period of lyrical production in Occitan by troubadours speaking of fin’ amors does not endure more than three centuries if we begin our count with Guilhem IX (1071-1126) and close with the poet so often called the last of the troubadours, Guiraut Riquier (1254-1292). These two traditions of love literature are thus distinguished by the nature of their literary histories and also by the loves they describe. Despite this, the shape of the loves they discuss as well as the language used to speak about love are not so different.
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