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BORJA CAUQUI QUIRÓS Tutores TRABAJO DE FIN DE GRADO «LA COMTESSA DE DIA EN EL CONTEXTO TROVADORESCO» Autor: BORJA CAUQUI QUIRÓS Tutores: ANTONIA VÍÑEZ SÁNCHEZ Y JUAN SÁEZ DURÁN GRADO EN FILOLOGÍA HISPÁNICA Curso Académico 2018-2019 Fecha de presentación 27/05/2019 FACULTAD DE FILOSOFÍA Y LETRAS ÍNDICE RESUMEN .......................................................................................................................... 4 1. INTRODUCCIÓN .............................................................................................................. 6 1.1. OBJETIVO ................................................................................................................ 6 1.2. METODOLOGÍA Y ESTRUCTURA ............................................................................... 7 2. LA MUJER EN EL CONTEXTO HISTÓRICO DE LA EDAD MEDIA ......................................... 8 3. AMOR CORTÉS ............................................................................................................. 23 4. TÓPICOS ....................................................................................................................... 31 4.1. ANÁLISIS DE LOS PRINCIPALES TÓPICOS CORTESES ............................................... 31 4.1.1. El dios Amor .................................................................................................. 32 4.1.2. Amor como enfermedad ................................................................................ 33 4.1.3. La queja amorosa .......................................................................................... 33 4.1.4. La dama inaccesible o dama como hielo ...................................................... 33 4.1.5. La comunicación frustrada ........................................................................... 34 4.1.6. El secreto amoroso ........................................................................................ 34 4.1.7. Amor como prisión ........................................................................................ 35 4.1.8. Amor muerte .................................................................................................. 35 4.1.9. Amor-guerra .................................................................................................. 36 4.1.10. Amor-fuego .................................................................................................. 36 4.1.11. Amor-vista ................................................................................................... 36 4.1.12. Preludio primaveral .................................................................................... 37 5. LA COMTESSA DE DIA: VIDA Y OBRA .......................................................................... 39 5.1. VIDA ..................................................................................................................... 39 5.2. OBRA .................................................................................................................... 41 5.2.2. PARTITURA Y MINIATURAS CONSERVADAS ..................................................... 41 2 6. ANÁLISIS DE LA OBRA DE LA COMTESSA DE DIA ......................................................... 46 6.1. ANÁLISIS DE LAS CANSÓS ...................................................................................... 46 6.1.1. Cansó 1: «AB JOI ET AB JOVEN M‟APAIS» ............................................ 47 6.1.2. Cansó 2: «FIN JOI ME DON‟ALEGRANSSA» .......................................... 51 6.1.3. Cansó 3: «ESTAT AI EN GREU COSSIRIER» .......................................... 53 6.1.4. Cansó 4: «A CHANTAR M‟ER DE SO Q‟IEU NO VOLRIA» .................. 59 6.2. ANÁLISIS DEL OCCITANO....................................................................................... 62 6.2.1. RESEÑA HISTÓRICA ........................................................................................ 62 6.2.2. EL ARTÍCULO .................................................................................................. 63 6.2.3. EL SUSTANTIVO .............................................................................................. 64 6.2.4. EL ADJETIVO ................................................................................................... 65 6.2.5. LOS PRONOMBRES PERSONALES ..................................................................... 65 6.2.6. RELATIVOS E INTERROGATIVOS ...................................................................... 66 6.2.7. EL VERBO ....................................................................................................... 67 7. CONCLUSIONES ............................................................................................................ 69 8. REFERENCIAS BIBLIOGRÁFICAS.................................................................................... 70 9. ANEXOS Y APÉNDICES .................................................................................................. 76 9.1. CANSÓS ................................................................................................................. 76 9.2. IMÁGENES DE LA COMTESSA DE DIA EN LOS CANCIONEROS ................................. 82 3 RESUMEN La situación de la mujer fue muy complicada puesto que se pensaba que estas pertenecían a un género inferior al de los hombres: el femenino. Pero el amor cortés supuso una auténtica revolución en el siglo XII, ya que entraron los ideales de la caballería y la religión al ámbito amoroso, creándose así un amor a la vez noble y sofisticado. En él existían una serie de requisitos para alcanzar el amor de su amante. Estos enamorados eran los llamados trovadores en el caso de los hombres, y trobairitz en el de las mujeres; personajes que, a modo de ocio, escribían cansós con el objetivo de alcanzar el amor. Una de las integrantes de las trobairitz fue La Comtessa de Dia, una admirable poeta provenzal conocida por su sinceridad poética y su breve Vida. Como el objetivo principal es realzar el papel de la mujer y comentar las bases sobre las que se asienta la poesía de la misma, llegaremos a analizar las distintas cansós que de esta se conservan. Además, analizaremos la lengua en la que escribió la trobairiz: el occitano o langue d‟oc, uno de los idiomas más importantes de la Edad Media. Palabras claves: La Comtessa de Dia, trobairitz, mujer, amor cortés. RÉSUMÉ La situation de la femme était très compliquée car on pensait qu‟elles appartenaient à un genre inférieur à celui des hommes: le féminin. Mais l‟amour courtois a représenté une authentique révolution au XIIéme siècle. En effet, les idéaux chevaleresques et religieux contaminérent le domaine amoreux, creánt ainsi un amour à la fois noble et sophistiqué. L‟amour courtois avait un certain nombre de conditions pour obtenir l‟amour de son amant. Ces amoreux étaient appelés troubadors dans le cas des hommes, et trobairitz, dans le cas des femmes; personnages qui, pendant leur temps libre, écrivaient des chansons dans le but de gagner l‟amour de son amant. L‟une des membres du groupe trobairitz était La Comtesse de Die, une admirable poète provençale connue por sa sincérité poétique et sa courte Vida. Comme l‟objectif principal est, dans un premier temps, mettre en valeur le rol de la femme et expliquer les bases sur lesquelles s‟appuie la poésie de La Comtesse, nous verrons l‟analyse de ses 4 chansons conservées. De plus, nous analyserons la langue employée par la trobairitz: l‟occitan ou langue d‟oc, l‟une des langues les plus importantes au Moyen-Âge. Mots clés: Comtesse de Die, trobairitz, femme, amour courtois. ABSTRACT The situation of the woman was very complicated because it was thought that they belonged to a lower gender that men: the female gender. But courtly love supposed a great revolution in the 12th century, since chivalry and religious ideals were transferred to the love field, creating this way a sophisticated and noble love, where lovers had to reach a lot of requirements with the aim of winning lover‟s affection. These characters were called troubadours in the case of men and trobairitz in case of women; people who wrote cansós in their free time time with the aim of achieving love. One of the members of the trobairitz group was Countess of Dia, an admirable provenzal poet known for her sincerity and short Vida. As the main objective is, at first, to improve the rol of the woman and to explain the foundation where our poet‟s trobairitz is placed, we can proceed to a further analysis of her poetic work. Besides, we will analyze the language in which the trobairitz wrote: Occitan or langue d‟oc, one of the most important languages in the Medieval Ages. Key words: Countess of Dia, trobairitz, woman, courtly love. 5 1. INTRODUCCIÓN 1.1. OBJETIVO El presente trabajo se centra en el análisis de la obra de La Comtessa de Dia, trobairitz occitana del siglo XII, generalmente conocida por su sinceridad poética y por ser la poeta provenzal a la que más composiciones se le atribuyen. La Comtessa es considerada una poeta directa e intensa comparable a la poetisa Safo de Lesbos. Su sencillez a la hora de enfrentarse a la composición de los textos, sus desautomatizaciones y su conocimiento de los tópicos literarios y corteses, hacen de ella una poeta magistral. Su creación artística demuestra que hoy día siga siendo imprescindible y necesaria para mostrar una perspectiva distinta a la que ofrecen los trovadores provenzales. No solo por ser una mujer la que se adentra en el mundo de la fin‟amors, sino también porque su modo de sentir y componer es
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