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A Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature
A Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Robert A. Taylor RESEARCH IN MEDIEVAL CULTURE Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Medieval Institute Publications is a program of The Medieval Institute, College of Arts and Sciences Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Robert A. Taylor MEDIEVAL INSTITUTE PUBLICATIONS Western Michigan University Kalamazoo Copyright © 2015 by the Board of Trustees of Western Michigan University All rights reserved Manufactured in the United States of America This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Taylor, Robert A. (Robert Allen), 1937- Bibliographical guide to the study of the troubadours and old Occitan literature / Robert A. Taylor. pages cm Includes index. Summary: "This volume provides offers an annotated listing of over two thousand recent books and articles that treat all categories of Occitan literature from the earli- est enigmatic texts to the works of Jordi de Sant Jordi, an Occitano-Catalan poet who died young in 1424. The works chosen for inclusion are intended to provide a rational introduction to the many thousands of studies that have appeared over the last thirty-five years. The listings provide descriptive comments about each contri- bution, with occasional remarks on striking or controversial content and numerous cross-references to identify complementary studies or differing opinions" -- Pro- vided by publisher. ISBN 978-1-58044-207-7 (Paperback : alk. paper) 1. Provençal literature--Bibliography. 2. Occitan literature--Bibliography. 3. Troubadours--Bibliography. 4. Civilization, Medieval, in literature--Bibliography. -
Read Program
KAIJA SAARIAHO l’amour de loin conductor Opera in five acts Susanna Mälkki Libretto by Amin Maalouf production Robert Lepage Saturday, December 10, 2016 PM associate director 1:00–3:35 Sybille Wilson New Production set and costume designer Michael Curry lighting designer Kevin Adams lightscape image designer Lionel Arnould The production of L’Amour de Loin was made sound designer Mark Grey possible by a generous gift from the Francis Goelet Trusts Additional funding for this production was received from The H.M. Agnes Hsu-Tang, PhD. and Oscar Tang Endowment Fund general manager Peter Gelb music director emeritus James Levine Co-production of the Metropolitan Opera and L’Opéra de Québec principal conductor Fabio Luisi In collaboration with Ex Machina 2016–17 SEASON The 3rd Metropolitan Opera performance of KAIJA SAARIAHO’S This performance l’amour is being broadcast live over The Toll Brothers– de loin Metropolitan Opera International Radio Network, sponsored conductor by Toll Brothers, Susanna Mälkki America’s luxury ® in order of vocal appearance homebuilder , with generous long-term jaufré rudel support from Eric Owens The Annenberg Foundation, The the pilgrim Neubauer Family Tamara Mumford* Foundation, the Vincent A. Stabile clémence Endowment for Susanna Phillips Broadcast Media, and contributions from listeners worldwide. There is no Toll Brothers– Metropolitan Opera Quiz in List Hall today. This performance is also being broadcast live on Metropolitan Opera Radio on SiriusXM channel 74. Saturday, December 10, 2016, 1:00–3:35PM This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, The Neubauer Family Foundation. -
IMAGES of WOMEN in the TROBAIRITZ1 POETRY (Vocabulary and Imagery)
Olaru Laura Emanuela IMAGES OF WOMEN IN THE TROBAIRITZ1 POETRY (Vocabulary and Imagery) M. A. Thesis in Medieval Studies CEU eTD Collection The Central European University Budapest June 1998 I, the undersigned, Laura Emanuela OLARU, candidate for the M. A. degree in Medieval Studies declare herewith that the present thesis is exclusively my own work, based on my research and only such external information as properly credited in notes and bibliography. I declare that no unidentified and illegitimate use was made of the work of others, and no part of the thesis infringes on any person's or institution's copyright. I also declare that no part of the thesis has been submitted in this form to any other institution of higher education for an academic degree. Budapest, 15 June 1998 Signature CEU eTD Collection Images of Women in the Trobairitz Poetry (Vocabulary and Imagery) by Laura Emanuela Olaru (Romania) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Medieval Studies Accepted in conformance with the standards of the CEU Chair, Exarffination Comittee External Examiner /\/ Examiffgp/^''^ Budapest June 1998 CEU eTD Collection Images of Women in the Trobairitz' Poetry (Vocabulary and Imagery) ABSTRACT The present study has focused on the poetry of the trobairitz, who wrote during 1180-1260 in Occitania, in the environment of the court. Its purpose is to extract the images of women as depicted in and through the vocabulary and the imagery. The study of vocabulary and imagery seemed the best way to understand the significance and the richness of the types of women depicted in the poems: the conscious woman, the authoritative figure, the fighter, the lover, the beloved, the uncourtly woman. -
New Oxford History of Music Volume Ii
NEW OXFORD HISTORY OF MUSIC VOLUME II EDITORIAL BOARD J. A. WESTRUP (Chairman) GERALD ABRAHAM (Secretary) EDWARD J. DENT DOM ANSELM'HUGHES BOON WELLESZ THE VOLUMES OF THE NEW OXFORD HISTORY OF MUSIC I. Ancient and Oriental Music ii. Early Medieval Music up to 1300 in. Ars Nova and the Renaissance (c. 1300-1540) iv. The Age of Humanism (1540-1630) v. Opera and Church Music (1630-1750) vi. The Growth of Instrumental Music (1630-1750) vn. The Symphonic Outlook (1745-1790) VIIL The Age of Beethoven (1790-1830) ix. Romanticism (1830-1890) x. Modern Music (1890-1950) XL Chronological Tables and General Index ' - - SACRED AND PROFANE MUSIC (St. John's College, MS. B. Cambridge, 18.) Twelfth century EARLY MEDIEVAL MUSIC UP TO BOO EDITED BY DOM ANSELM HUGHES GEOFFREY CUMBERLEGE OXFORD UNIVERSITY PRESS LONDON NEWYORK TORONTO 1954 Oxford University Press, Amen House, London E.C.4 GLASGOW NEW YORK TORONTO MELBOURNE WELLINGTON BOMBAY CALCUTTA MADRAS KARACHI CAPE TOWN IBADAN Geoffrey Cumberlege, Publisher to the University PRINTED IN GREAT BRITAIN GENERAL INTRODUCTION THE present work is designed to replace the Oxford History of Music, first published in six volumes under the general editorship of Sir Henry Hadow between 1901 and 1905. Five authors contributed to that ambitious publication the first of its kind to appear in English. The first two volumes, dealing with the Middle Ages and the sixteenth century, were the work of H. E. Wooldridge. In the third Sir Hubert Parry examined the music of the seventeenth century. The fourth, by J. A. Fuller-Maitland, was devoted to the age of Bach and Handel; the fifth, by Hadow himself, to the period bounded by C. -
Troubadours NEW GROVE
Troubadours, trouvères. Lyric poets or poet-musicians of France in the 12th and 13th centuries. It is customary to describe as troubadours those poets who worked in the south of France and wrote in Provençal, the langue d’oc , whereas the trouvères worked in the north of France and wrote in French, the langue d’oil . I. Troubadour poetry 1. Introduction. The troubadours were the earliest and most significant exponents of the arts of music and poetry in medieval Western vernacular culture. Their influence spread throughout the Middle Ages and beyond into French (the trouvères, see §II below), German, Italian, Spanish, English and other European languages. The first centre of troubadour song seems to have been Poitiers, but the main area extended from the Atlantic coast south of Bordeaux in the west, to the Alps bordering on Italy in the east. There were also ‘schools’ of troubadours in northern Italy itself and in Catalonia. Their influence, of course, spread much more widely. Pillet and Carstens (1933) named 460 troubadours; about 2600 of their poems survive, with melodies for roughly one in ten. The principal troubadours include AIMERIC DE PEGUILHAN ( c1190–c1221), ARNAUT DANIEL ( fl c1180–95), ARNAUT DE MAREUIL ( fl c1195), BERNART DE VENTADORN ( fl c1147–70), BERTRAN DE BORN ( fl c1159–95; d 1215), Cerveri de Girona ( fl c1259–85), FOLQUET DE MARSEILLE ( fl c1178–95; d 1231), GAUCELM FAIDIT ( fl c1172–1203), GUILLAUME IX , Duke of Aquitaine (1071–1126), GIRAUT DE BORNELH ( fl c1162–99), GUIRAUT RIQUIER ( fl c1254–92), JAUFRE RUDEL ( fl c1125–48), MARCABRU ( fl c1130–49), PEIRE D ’ALVERNHE ( fl c1149–68; d 1215), PEIRE CARDENAL ( fl c1205–72), PEIRE VIDAL ( fl c1183–c1204), PEIROL ( c1188–c1222), RAIMBAUT D ’AURENGA ( c1147–73), RAIMBAUT DE VAQEIRAS ( fl c1180–1205), RAIMON DE MIRAVAL ( fl c1191–c1229) and Sordello ( fl c1220–69; d 1269). -
Levitsky Dissertation
The Song from the Singer: Personification, Embodiment, and Anthropomorphization in Troubadour Lyric Anne Levitsky Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 Anne Levitsky All rights reserved ABSTRACT The Song from the Singer: Personification, Embodiment, and Anthropomorphization in Troubadour Lyric Anne Levitsky This dissertation explores the relationship of the act of singing to being a human in the lyric poetry of the troubadours, traveling poet-musicians who frequented the courts of contemporary southern France in the twelfth and early thirteenth centuries. In my dissertation, I demonstrate that the troubadours surpass traditionally-held perceptions of their corpus as one entirely engaged with themes of courtly romance and society, and argue that their lyric poetry instead both displays the influence of philosophical conceptions of sound, and critiques notions of personhood and sexuality privileged by grammarians, philosophers, and theologians. I examine a poetic device within troubadour songs that I term ‘personified song’—an occurrence in the lyric tradition where a performer turns toward the song he/she is about to finish singing and directly addresses it. This act lends the song the human capabilities of speech, motion, and agency. It is through the lens of the ‘personified song’ that I analyze this understudied facet of troubadour song. Chapter One argues that the location of personification in the poetic text interacts with the song’s melodic structure to affect the type of personification the song undergoes, while exploring the ways in which singing facilitates the creation of a body for the song. -
Si Bé, Fortuna, Has Dat Lo Torn
Foundations and Foundation Myths of the Troubadours Wendy Pfeffer University of Louisville / University of Pennsylvania [email protected] https://orcid.org/0000-0002-9902-4031 Received 22/04/2019; accepted 02/07/2019 DOI: https://doi.org/10.7203/MCLM.6.14815 Abstract A review of several origin myths relating to the creation of medieval Occitan lyric poetry. We see a preference for a “great man theory” of origins, though the “great man” may be a fictional woman. Medieval and Renaissance Occitan authors, including Uc de Saint Circ, Guilhem Molinier, and Jean de Nostredame, used differing origin myths to validate literature in a language that was perceived not to carry the prestige of twelfth- and thirteenth-century Latin or fifteenth- and sixteenth-century French. Keywords troubadours; Occitan literature; charter myths; foundation myths; Guilhem IX de Peitieus; Uc de Saint Circ; Jean de Nostredame; Guilhem Molinier; Consistori de gaia sciensa; Eble II de Ventadorn; Clémence Isaure resum Revisió d’alguns mites d’origen referits a la creació de la poesia lírica occitana medieval. Hi veiem una preferència per una “teoria del gran home” d’origen, tot i que el “gran home” també podria ser una dona de ficció. Autors medievals i renaixentistes, incloent-hi Uc de Sant Circ, Guilhme Molinier i Jean de Nostredame, van emprar mites d’origen divergents per a validar la literatura en una llengua que es percebia que no comportava el prestigi del llatí dels segles xii i xiii, o el del francès dels segles xiv i xv. paraules clau trobadors; literatura Occitana; mites justificadors; mites fundacionals; Guilhem IX de Peitieu; Uc de Sant Circ; Jean de Nostredame; Guilhem Molinier; Consistori de la Gaia Ciència; Eble II de Ventadorn; Clémence Isaure Magnificat Cultura i Literatura Medievals 6, 2019, 185-205. -
Evaluating the Troubadour Crusade Corpus Joan Curbet
TWO-FACED ELOQUENCE. A BRIEF NOTE TOWARDS RE-EVALUATING THE TROUBADOUR CRUSADE CORPUS, 1187-1200 Joan Curbet Universitat Autònoma de Barcelona [email protected] For the inhabitants of the very late twelfth century “Plantagenet space” (for the purposes of this brief text let us say around 1187-1200, from the fall of Jerusalem until the last years of Richard I´s reign, which ended with his unexpected death in 1999), crusading propaganda was part of the immediate cultural climate. Beyond the ecclesiastical discourse on the subject, more unusual questions might reach one´s ears; certainly the ears more than the eyes, through the sound of music. Among them, one key question, or at lest the most shocking: does it make any sense at all to go on crusade? And related to this one, several others could likewise be voiced. Is it better to go to the defence of Outremer, or one will do better to stay in the arms of a lover? More extravagantly: being too fat is an advantage or a disadvantage in the fight against the infidel? Is the person who follows the call of God an unmitigated fool? Are eating and drinking abundantly better or worse than fighting for Christ? All of these questions are voiced by several of the trouba- dours writing in Occitan at the heyday of crusade recruitment; in my opinion, no thorough consideration of the evolution of crusading ideology is possible without taking this into account. The historical place and function of the troubadour “crusade songs” is still taken, to a large extent, as a given: a material that is ritually quoted, occasionally commented in one or another aspect of its iterations, but also one that is left under-analysed as an evolving phenomenon. -
THE TROUBADOURS an Introduction
THE TROUBADOURS An Introduction EDITED BY SIMON GAUNT AND SARAH KAY PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, Trumpington Street, Cambridge CB21RP, United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, Cambridge, CB22RU,UK http://www.cup.cam.ac.uk 40 West 20th Street, New York, NY 10011-4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia Cambridge University Press 1999 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 1999 Printed in the United Kingdom at the University Press, Cambridge Typeset in Baskerville 11/12.5 pt [WV] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication data Gaunt, Simon. The troubadours: an introduction / Simon Gaunt and Sarah Kay. p. cm. Includes bibliographical references and index. ISBN 0 521 57388 2 (hardback) – ISBN 0 521 574730 (paperback) 1. Troubadours. 2. Provenc¸al poetry – History and criticism. 3. Civilization, Medieval, in literature. 4. Courtly love in literature. 5. Love in literature. 6. Provenc¸al poetry. 7. Love poetry, Provenc¸al. I. Kay, Sarah. II. Title. PC3304.G37 1999 849′.1009–dc21 98–11652 CIP ISBN 0 521 573882 hardback ISBN 0 521 574730 paperback Contents List of contributors page vii Preface xi Map of Occitania and neighbouring Catalonia xiii Introduction Simon Gaunt and Sarah Kay 1 1 Courtly culture in medieval Occitania Ruth Harvey 8 2 Fin’amor and the development of the courtly canso Linda Paterson 28 3 Moral and satirical poetry Catherine Le´glu 47 4 The early troubadours: Guilhem IX to Bernart de Ventadorn Stephen G. -
Mille Ans De Musique En Occident 550-A14/BD4-VL
Daniel Mille ans de musique en Occident 550-A14/BD4-VL 550-A14/BD4-VL • Mille ans de musique en occident A1. Classification historique : un survol 1 Classification historique : un survol Époque Moderne (1900-1950) Le Néo-classicisme (1920-1960) Post-Moderne A1 3 Classification historique : un survol A1 4 2 Classification historique : un survol Un changement de période artistique coïncide en général avec l’évolution de l’un ou de plusieurs de ses éléments de langage (grammaire, vocabulaire, effets de style, modes d’expression, etc.). En musique dite « sérieuse », la succession de périodes artistiques se joue parfois en termes de dizaines d’années seulement (ex: Classique); en musique pop, ces temps s’avèrent encore plus réduits. De plus, il arrive que certaines de ces périodes se chevauchent au lieu de se succéder. À partir du Romantisme, des sous-périodes se greffent aux périodes principales afin de mieux expliciter les tangentes esthétiques complémentaires - voire contradictoires ! -, de celles-ci. A1 5 Classification historique : un survol Ces périodes artistiques s’enchaînent souvent, chez les créateurs qui y participent, selon des principes de réaction : naturel vs artificiel; complexité vs simplicité; émotivité vs rationalité, etc. Théorie de la double pente linéaire croisée : Depuis mille ans, on assiste à la complexification ou la montée en importance des paramètres du langage musical, de la musique profane, de l’utilisation d’instruments de musique, de la présence des femmes dans les activités musicales, des formes et durées des œuvres musicales, ainsi que de leur diffusion et pénétration au sein de la population au détriment de la musique sacrée, de l’utilisation de la voix, de la présence nettement majoritaire des hommes, du symbolisme et et des métalangages musicaux. -
A Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature
A Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Robert A. Taylor RESEARCH IN MEDIEVAL CULTURE Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Medieval Institute Publications is a program of The Medieval Institute, College of Arts and Sciences Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Robert A. Taylor MEDIEVAL INSTITUTE PUBLICATIONS Western Michigan University Kalamazoo Copyright © 2015 by the Board of Trustees of Western Michigan University All rights reserved Manufactured in the United States of America This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Taylor, Robert A. (Robert Allen), 1937- Bibliographical guide to the study of the troubadours and old Occitan literature / Robert A. Taylor. pages cm Includes index. Summary: "This volume provides offers an annotated listing of over two thousand recent books and articles that treat all categories of Occitan literature from the earli- est enigmatic texts to the works of Jordi de Sant Jordi, an Occitano-Catalan poet who died young in 1424. The works chosen for inclusion are intended to provide a rational introduction to the many thousands of studies that have appeared over the last thirty-five years. The listings provide descriptive comments about each contri- bution, with occasional remarks on striking or controversial content and numerous cross-references to identify complementary studies or differing opinions" -- Pro- vided by publisher. ISBN 978-1-58044-207-7 (Paperback : alk. paper) 1. Provençal literature--Bibliography. 2. Occitan literature--Bibliography. 3. Troubadours--Bibliography. 4. Civilization, Medieval, in literature--Bibliography. -
CURRICULUM VITAE Sarah Spence Distinguished Research Professor
CURRICULUM VITAE Sarah Spence Distinguished Research Professor Emerita of Classics and Comparative Literature, University of Georgia January 2020 992 Memorial Drive Apt. 605 Cambridge, MA 02138 [email protected] Education 1981 Ph.D., Committee on Comparative Literature, Columbia University (with distinction) 1977 MA, Dept. of French and Romance Philology, Columbia University 1976 BA (honors), Dept. of Comparative Literature, Brown University Languages: Latin, Italian, French, Occitan Fellowships and Awards 2011; 1993 Resident Scholar, The Rockefeller Foundation Study and Conference Center. Bellagio, Italy. 2010 -12 NEH Collaborative Research Award (with Elizabeth Wright, Romance Languages, UGA) 2010 Michael Research Award, UGA 2009, 2007, 2005, 2003, 2001, 1998, 1997, 1995, 1993, 1991Senior Faculty Research Grant, UGA 2009 Franklin Research Grant, American Philosophical Society ($3000). 2008 Albert Christ-Janer Creative Research Award ($2500). 1989 Humanities Center Fellowship, UGA 2013, 2005 UGA President’s Venture Fund ($5000). 1994 State of the Art Conference award, Office of the Senior Vice President for Academic Affairs and Provost, UGA ($15,000). 1992-93 Bunting Fellow, Mary Ingraham Bunting Institute, Radcliffe College 1989-90 Sarah Moss Traveling Grant, UGA ------- Junior Faculty Research Grant, UGA 1984-85 Mellon Faculty Fellow in Comparative Literature, Harvard University 1981-82 Rome Prize Fellow in Post-Classical Humanistic Studies, American Academy in Rome 1981 Justin O'Brien dissertation award 1979-80 Whiting Fellow (for dissertation research) 1977 Centre d'Etudes Supérieures de Civilisation Médiévale (summer session) Poitiers, France 1977-78 Research Assistant for Michael Riffaterre, Columbia University 1976-77; 1978-79 President's Fellowship Teaching Experience 2009-2013 Distinguished Research Professor of Classics and Comparative Literature, University of Georgia 1997- 2009 Professor, Dept.