204 Occitan Studies

LITERATURE By Catherine Le´ glu, Lecturer in French, University of Bristol

1. Medieval Period William E. Burgwinkle, Love for Sale: A Materialist Reading of the Razo Corpus (The New Middle Ages, 5), NY, Garland, 1997, 346 pp. B. reads the razo corpus as a construction of a cultural fantasy, ascribing this to Uc de Saint-Circ. He explores the effects on cultural production of the nascent capitalist economy of Northern Italy, and suggests that the troubadour corpus functioned as a promotion of this. B.’s book works well with Saverio Guida, Primi approcci a Uc de Saint Circ, Soveria Manelli, Rubbettino, 1996, 254 pp., which collects articles published in 1990–95, plus two new studies, proposing Uc’s authorship of most of the vidas and razos (75–144) and of a song collection in MS H (171–213). New editions: La de Sainte Foi: texte occitan du XIe sie`cle, ed. Robert Lafont (TLF), 185 pp. Le Breviari d’Amor de Matfre Ermengaud, vol. iii (8880T–16783), ed. Peter T. Ricketts, with the assistance of Cyril P. Hershon (Publications de l’AIEO, 5), London, AIEO, xiii + 479 pp., brings the Breviari edition to its third volume. Michael Routledge, ‘La Vie de Sainte Marie Madeleine du manuscrit de Bertran Boysset (q): Texte et traduction’, FL, 125, 1997:9–89. Garin Lo Brun, L’‘ensegnamen alla dama’, ed. Laura Regina Bruno, Rome, Archivio Guido Izzi, 1996, 235 pp. Frede Jensen, The : A Bilingual Anthology (StH, 39), NY, Lang, xiii + 593 pp., provides a good selection of poems with clear translations. See also the excellent Songs of the Troubadours and Trouve`res: An Anthology of Poems and Melodies, ed. Samuel N. Rosenberg, Margaret Switten, and Ge´rard Le Vot (GRLH, 1740), xi + 378 pp., with CD. William D. Paden, An Introduction to Old Occitan, NY, MLA, xxvi + 610 pp., with CD featuring readings and sung performances. Ge´rard Lomenec’h, *Alie´nor d’Aquitaine et les troubadours, Bordeaux, Sud-Ouest, 189 pp. Nadine Henrard, Le The´aˆtre religieux me´die´val en langue d’Oc (BFPLUL, 243), Geneva, Droz, 639 pp., examines the extant corpus of plays and staged works from the 11th to the 16th c., through MSS, stage directions and versification. Robert Lafont, Histoire et anthologie de la litte´rature occitane, volume 1: L’Age classique, 1000–1520, Montpellier, Les Presses du Languedoc, 1997, 274 pp., is an introduction to the poetry of the troubadours, the Jeux Floraux and the Rhe´toriqueurs, which emphasizes the continuity of Occitan literature beyond 1300. Alvaro Galme´s de Fuentes, El amor corte´senla lı´rica arabe y en la lı´rica provenzal, Madrid, Ca´tedra, 1996, 158 pp., continues the heated debate on the intertextual relationships between Literature 205 Iberian and Occitan literature. Articles: G. Sigal, ‘Courted in the country: women’s precarious place in the troubadours’ lyric land- scape’, Tomasch and Gilles, Text and Territory, 185–206, analyses the treatment of gender, class, and hybridity in the pastorela, focusing on Marcabru, and suggests this genre may reinforce the inhuman representation of the canso domna; a companion piece to S.’s mono- graph, Erotic Dawn-Songs of the Middle Ages: Voicing the Lyric Lady, Gainsville, Florida U.P., 1996, xii + 241 pp. S. discusses the alba as a challenge to feminist readings of the courtly domna. The study is comparative, and places the alba alongside the Tageliet and aube. S. Kay, ‘Text(s) and meaning(s) in the alba of Giraut de Bornelh’, Coleman Vol., 1–10, reads the text as a play on religious and erotic discourse. A. Deyermond, ‘Lust in Babel: bilingual man-woman dialogues in the medieval lyric’, Dutton Vol., 199–221, locates ana- logues for Raimbaut de Vaqueiras’s bilingual in Iberian and British (Welsh/English) multilingual poetry. C. Le´glu, ‘Identifying the Toza in Medieval Occitan Pastorela and Old French Pastourelle’,FS, 52:129–41, analyses how the texts identify their object in social and familial terms. Also by L., ‘Images of exile and the Albigensian Crusade’, NRe, 4:7–22, examines the political agendas in the vidas, and their relation to representations of modern Occitania. N. Klassen, ‘Self-reflexiveness and the category of the will in early troubadour poetry of fin’amors’, FMLS, 34:29–42, examines Guilhem IX and in terms of theories of subjectivity. S. Gaunt, ‘Discourse desired: desire, subjectivity and mouvance in ‘‘Can vei la lauzeta mover’’ ’, Paxton, Desiring Discourse, 89–110, proposes a new reading of the song, based on the stanza-order in MSS rather than on Appel’s critical edition. Atti (Palermo), vi, contains: L. Borghi Cedrini, ‘Osservazioni sulla tradizione manoscritta di Peire Milo’ (37–45), which attempts to establish the status of this ‘minor’ poet; M. S. Corradini Bozzi, ‘Per l’edizione della versione occitanica del Thesaurus Pauperum’ (87–93); I. Hardy, ‘Mayres de Dieu: contrafactum occitan d’une chanson de ’ (225–34), which identifies the song by Arnaut Vidal de Castelnaudary (1324)asa contrafactum from OF and suggests this contributed to its success; C. Lee, ‘Le canzoni di Riccardo Cuor di Leone’ (243–50), places the rotrouenge (PC 420, 2) in OF tradition, and the exchange with Dalfin d’Auvergne (PC 420, 1/ 119, 8) in the Occ. repertoire; P. T. Ricketts, ‘Le proble`me du ms. H du Breviari d’Amor’ (439–44), examines an instance of mouvance; D. Billy, ‘Une canso en queˆte d’auteur: ja non agr’obs qe mei oill trichador (PC 217, 4b)’ (543–56), studies contrafacta of a chanson by the Chaˆtelain de Coucy and relates this song to an unicum in MS a attributed to Guilhem Figueira; C. Phan, ‘Les et la technique du contrafactum’ (693–702), reconsiders the definition of