DOCSLIB.ORG

Indici 1971|2001

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Indici 1971|2001 I.S.S.N. 0391-5654 . 1-2 fasc Rivista di Filologia Romanza fondata da Giulio Bertoni ANNO LXVIII - 2008 - FASC. 1-2 . LXVIII - 2008 Direzione ROBERTO CRESPO ANNA FERRARI savERIO GUIDA VOL - Comitato scientifico INA CARLOS ALVAR ELSA GONÇALVES Université de Genève Universidade Clássica de Lisboa T Svizzera Portogallo GÉRARD GOUIRAN ULRICH MÖLK OLA Université de Montpellier Universität Göttingen Francia Germania E N ASCARI M. MUNDÓ WOLF-DIETER STEMPEL Institut d’Estudis Catalans Bayerische Akademie der Wissenschaften A Barcelona, Spagna München, Germania GIUSEPPE Tavani MADELEINE TYSSENS Università “La Sapienza” Université de Liège TUR Roma, Italia Belgio L FRANÇOISE VIELLIARD FRANÇOIS ZUFFEREY U École Nationale des Chartes Université de Lausanne C Paris, Francia Svizzera MUCCHI EDITORE Poste italiane s.p.a. - Sped. Abbon. Postale - D.L. 353/2003 (conv. in L. 27/02/2004 N. 46) art. 1, comma 1, DBC, Modena CPO CULTURA NEOLATINA Rivista di Filologia Romanza fondata da Giulio Bertoni ANNO LXVIII - 2008 - FASC. 1-2 Direzione ROBERTO CRESPO ANNA FERRARI SAVERIO GUIDA Comitato scientifico CARLOS ALVAR ELSA GONÇALVES Université de Genève Universidade Clássica de Lisboa Svizzera Portogallo GÉRARD GOUIRAN ULRICH MÖLK Université de Montpellier Universität Göttingen Francia Germania ASCARI M. MUNDÓ WOLF-DIETER STEMPEL Institut d’Estudis Catalans Bayerische Akademie der Wissenschaften Barcelona, Spagna München, Germania GIUSEPPE TAVANI MADELEINE TYssENS Università “La Sapienza” Université de Liège Roma, Italia Belgio FRANÇOISE VIELLIARD FRANÇOIS ZUffEREY École Nationale des Chartes Université de Lausanne Paris, Francia Svizzera MUCCHI EdITORE CULTURA NEOLATINA DIREZIONE: Roberto Crespo Anna Ferrari Saverio Guida COMITATO DI REDAZIONE: Patrizia Botta Maria Careri (responsabile) Anna Radaelli Adriana Solimena INDICI XXXI (1971) – XLI (2001) a cura di Danilo SROUR Facendo seguito agli Indici degli anni I-XXX (1941-1970), a cura di Sandro Ma- riani («Cultura Neolatina», XXXVII, 1976, fasc. 3-4), pubblichiamo oggi gli Indici dei trent’anni successivi, durante i quali la rivista è stata diretta da Aurelio Roncaglia (dal 1957 associato alla Direzione di Angelo Monteverdi e dal 1968 unico Direttore). Nel dedicare a lui questi Indici, ripetiamo quanto egli diceva (a conclusione del- la Presentazione del volume del 1976, in cui è tracciata la storia della rivista e fornito un bilancio della sua attività fino a quell’anno), rendendo omaggio al fondatore di CN e suo Maestro, Giulio Bertoni: «L’impegno a continuare la sua iniziativa e a migliorare via via, in quanto mezzi e forze a disposizione lo consentano, veste e contenuti di questa rivista, sia omaggio alla sua memoria, dalla quale viene ai nostri sforzi conforto». La Direzione e la Redazione Per la consultazione L’indicizzazione delle annate XXXI (1971) – XLI (2001) è stata eseguita in modo da permettere l’accesso alle informazioni contenute nei Saggi e nelle Recen- sioni (tra le quali le schede di Informazione bibliografica), ed è organizzata in quat- tro diverse sezioni: I. Indice dei Saggi (ordinato per Autore) II. Indice delle Recensioni (ordinato per Autore recensito) III. Indice delle Materie (ordinato per Descrittore) IV. Indice degli Autori. I. Indice dei Saggi L’Indice fornisce l’elenco di tutti gli articoli comparsi nella sezione della ri- vista Saggi e Memorie, ordinati alfabeticamente per Autore. Sotto al nome dell’Au- tore compaiono i titoli dei saggi, ciascuno preceduto dall’indicazione An (A seguita da numerazione progressiva), che servirà per effettuare i rimandi nelle successive sezioni. Nell’ultima riga è indicata la collocazione del saggio in CN: COGNOME, Nome An. Titolo del saggio. Numero della rivista, anno, pagine. Per cui si avrà, ad esempio: RONCAGLIA, Aurelio A244. Geografia storica di leggende e fiabe: da “Roland” a “Auberon”. LVI, 1996, pp. 45-99. Si tenga presente che a) nei casi in cui si abbiano più saggi di un medesimo Autore, essi si succe- dono in ordine cronologico di pubblicazione. b) i saggi a quattro mani risultano indicizzati sotto i nomi di entrambi gli Au- tori, ma le informazioni bibliografiche compaiono solamente di seguito alla prima occorrenza (vale a dire sotto il nome che nell’ordine alfabetico viene per primo); di seguito alla seconda occorrenza (in ordine alfabetico), figura unicamente un rin- vio alla prima, per mezzo dell’indicazione di riferimento (An) del saggio. Ad esem- pio, per il saggio a firma Carboni e Ziino, Laudi musicali del XVI secolo … si tro- verà prima la voce: CARBONI, Fabio – ZIINO, Agostino A62. Laudi musicali del XVI secolo: il manoscritto Ferrajoli 84 della Biblioteca Apo- stolica Vaticana. XXXIII, 1973, pp. 273-329. e, più avanti, la voce: ZIINO, Agostino – CARBONI, Fabio Cf. A62 8 DANILO SROUR II. Indice delle Recensioni L’Indice accoglie i materiali provenienti dalle sezioni Recensioni, Recensioni e Discussioni, Schedario e Informazione bibliografica (Parus en…) e fornisce l’elen- co, ordinato alfabeticamente per Autore recensito (cognome + iniziale del nome), di tutti i circa 2200 titoli che sono stati oggetto di recensione o segnalazione in CN negli anni in questione. Ciascun titolo è preceduto da un’indicazione di riferimento Bn (B seguito da numerazione progressiva), che servirà per i rimandi nelle sezioni successive. Del titolo recensito si registrano gli estremi bibliografici e, alla riga se- guente, il nome del Recensore (tra parentesi tonde), più l’indicazione della colloca- zione della recensione in CN. Ad esempio: B2214. ZUMTHOR, P. Essai de poétique médiévale, Paris 1972, pp. 518. (C. Di Girolamo) XXXII, 1972, pp. 216-4. Si tenga presente che a) le recensioni provenienti dallo Schedario (1972-1975, 1981-1983) sono state rese riconoscibili indicando, in luogo delle pagine, il numero della scheda preceduto dall’indicazione «sch.»: B437. CASTELLANI, A. Frammenti d’un libro di conti castellano del dugento …, in SFI, XXX (1972), pp. 5-58. (F. Agostini) XXXIII, 1973, sch. 137 b) le recensioni provenienti dalla sezione Informazione bibliografica (Parus en France: 1992, 1993, 1995, 1999; Parus en Belgique: 1996, 1998) sono state rese riconoscibili contrassegnando l’indicazione «sch.» con un asterisco: B1002. HENRY, A. Le langage œnologique en langue d’oïl (XIIe-XIVe s.) …, in BARB, 1993, pp. 355-376. (M. Tyssens) LVI, 1996, sch.*67. c) tutte le abbreviazioni utilizzate in questo Indice sono sciolte in un’apposita Tavola, collocata a fine fascicolo; d) nei casi di recensioni a più scritti di un medesimo Autore, l’indicizzazione dei titoli è avvenuta in ordine alfabetico; e) nei casi di recensioni di testi a firma di due o treA utori, l’indicizzazione è avvenuta sotto il nome di ciascuno degli Autori; f) nei casi di recensioni di recensioni, si è considerato Autore recensito l’autore del saggio originale e non il primo recensore, il cui nome viene tuttavia in- dicato in maiuscoletto di seguito al titolo del testo recensito: B641. DEVOTO, G. Il linguaggio d’Italia. Storia e strutture linguistiche italiane dal- la preistoria ai nostri giorni, Milano 1974. Rec. di F. MARRI in SPCT, 9 (1974), pp. 285-8. (L. Serianni) XXXIV, 1974, sch. 62 g) le recensioni di scritti collettivi sono state registrate alla voce Autori Vari (AA.VV.): Per la consultazione 9 B19. AA. VV. Charlemagne et l’épopée romane. Actes du VIIe Congrès internatio- nal de la Société Rencesvals. Liège, 28 août-4 septembre 1976, Paris 1978, 2 voll., pp. 723. (M. Sciascia Fornari) XLI, 1981, sch. 0.22 e i titoli dei volumi recensiti sono disposti in ordine alfabetico. Al fine di renderne più facile il reperimento, ‘Miscellanee’, ‘Omaggi’, ‘Studi’ e simili sono stati registra- ti anche sotto un richiamo per nome di dedicatario. III. Indice delle Materie L’Indice classifica per materie tutti gli scritti presenti nella rivista comeSag - gi e Memorie, Recensioni, Recensioni e Discussioni. Quanto allo Schedario, l’indica- zione dei nuclei tematici figura unicamente per le schede recanti nuovi apporti co- noscitivi (le schede non puramente descrittive). Le materie sono state indicate per mezzo di parole chiave (descrittori rela- tivi ai principali nuclei tematici individuati entro ogni saggio o recensione). Ogni descrittore è seguito da indicazioni del tipo An (nel caso in cui il rimando sia a un Saggio), e/o Bn (nel caso in cui il rimando sia a una Recensione o una Scheda). Nella presentazione dei descrittori sono state operate le seguenti scelte: a) i descrittori sono stati disposti in ordine alfabetico, gli indicatori alfanu- merici di riferimento (An e Bn) sono stati posti in grassetto, i titoli delle opere e gli incipit dei componimenti in corsivo; b) per la grafia dei nomi degli autori e delle opere sono state seguite per lo più le grafie adottate dai principali strumenti di settore 1; si è tuttavia dovuto ricor- rere talvolta alle varianti vulgate e si è usata la forma italianizzata solo quando ap- parisse la scelta più ragionevole; c) i titoli d’opera propriamente detti (non gli incipit, che compaiono sempre per intero) sono stati ordinati a partire dalla prima parola significativa, prescinden- do dagli eventuali Roman de, Conte de, Lai de e dagli articoli (accolti solo quando irrinunciabili, come nel caso di L’Infinito, Le Rouge et le Noir). d) gli incipit, riportati nella forma usata nei saggi relativi, sono stati corre- dati del numero distintivo che occupano nei principali repertori bibliografici dedi- cati alle liriche medievali, al fine di evitare confusioni legate alle oscillazioni gra- fiche e testuali: BdT = A. Pillet – H. Carstens, Bibliographie
Load more

Recommended publications
  • Romance and Writing: Interpreting the Lyric Domnas of Occitania
    Trends in Historiography Romance and Writing: Interpreting the Lyric Domnas of Occitania by Aubri E. Thurmond “I’ll ask you this: when a lady freely loves a man, should she do as much for him as he for her, according to the rules of courtly love?”1 These words are attributed to Maria de Ventadorn, a woman composing in the lyric tradition of the troubadours. From 1100-1300 A.D., Occitania (Southern France) produced over 400 troubadours whose poetry shaped the concepts of romantic love in the West. Their poems, written in langue d’oc, were expressions of fin’ amor, or courtly love.2 According to Paul Zumthor, “Fin’ amor strives toward a desired but unnamed good, bestowable only by a lady, herself identified only by an emblematic pseudonym: a dialogue without reply, pure song, turning into poetry the movements of a heart contemplating an object whose importance as such is minimal.”3 The troubadour was symbolically dependent on the favor of his lady, therefore seemingly giving her power and humbling himself.4 Fin ‘amor was the source of all courtly values.5 However, there were also women troubadours, called trobairitz, in Southern France. The name trobairitz comes from the root trobar, meaning to compose and the feminine suffix –airitz, literally meaning “a woman who composes.”6 The female troubadours did not refer to themselves as trobairitz. In fact, the term trobairitz is only found once in 13th century literature: in the romance Flamenca, when the heroine calls her maid 1 As quoted in Meg Bogin, The Women Troubadours (Scarborough, England: Paddington Press Ltd., 1976), 99.
    [Show full text]
  • 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.
    [Show full text]
  • Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
    Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support.
    [Show full text]
  • 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.
    [Show full text]
  • 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).
    [Show full text]
  • Programació a La Ciutat De
    Programació a la ciutat de OCTUBRE NOVEMBRE DESEMBRE 2019 FRONTERA, MARÍA PAGÉS I EL ARBI EL HARTI VICENT MARZÀ I IBÁÑEZ CONSELLER D’EDUCACIÓ, CULTURA I ESPort Benvolgudes amigues, benvolguts amics, Tornem a les rutines després de l’impàs estiuenc. Tor- nem, i ho fem amb ganes, perquè la tardor a Castelló es presenta pleníssima de plans culturals interessants i gustosos, en general i per suposat també als espais de l’Institut Valencià de Cultura a la ciutat. Al Teatre Principal podrem gaudir de produccions teatrals com “Una Ilíada”, “Lapònia” o “Viejo amigo Cicerón”, especta- cles musicals com el “Cant espiritual” de Carles Dénia o “Les Corts de l’amor”, de Mara Aranda. A l’Auditori, la programació tornarà a recollir el bo i millor del pa- norama simfònic europeu, sense deixar de banda els cicles de jazz i noves músiques i totes les activitats pensades per a les famílies. Mentrestant, a l’Espai d’Art Contemporani i al Museu de Belles Arts, les ex- posicions conviuran amb els tallers i programacions didàctiques per oferir experiències enriquidores a tots tipus de públics. A més, la segona edició dels premis de les arts escè- niques, de l’audiovisual i de la música, amb gal·les de lliurament de guardons repartides per tota la nostra geografia, tornaran a ser una celebració de l’excel·lent treball fet per la indústria cultural valenciana. La gala dels Premis Valencians de l’Audiovisual tindrà lloc el 22 de novembre a l’Auditori de Castelló. Ens ve un inici de temporada intens, no vos el perdeu! Programació a la ciutat de OCTUBRE | NOVEMBRE | DESEMBRE | 2019 Teatre Principal AUDITORI I PALAU TEATRE DE CONGRESSOS DANSA MÚSICA CLÀSSICA MÚSICA AUDITORI JAZZ CLUB OPERÀ TERRITORI CS FAMILIAR UN MÓN DE MÚSIQUES Organitza FAMILIAR PLAÇA DE LA PAU, S/N.
    [Show full text]
  • Lecture 6 Outline: the Birth of Polyphony
    21M.220 Fall 2010 Class #6 TROUBADOURS, CONTINUED: EARLY POLYPHONY THROUGH TO LEONIN 1. Sext 2. Peter Munstedt, Librarian of the Lewis Music Library, Introduction 3. Troubadours and Trouvères a. Part of the Medieval tradition of fin amours (or fin’amors) : refined love or courtly love i. This is the Middle Ages of popular imagination: chivalry, jousting, feasts, minstrels, unrequited love. ii. Poetry has endless variations on the theme of love from a lower/middle class man (or even a knight) for “the lady” – usually the wife of the Lord; often told in a poet’s vida (stylized biography) iii. Less often, but not rarely: unrequited love of a lower/middle class woman (trobaritz or trobairitz) for a nobleman. iv. First important major literary collections in the vernacular v. All were probably sung, but not all survive with melodies. Only 10% of troubadour songs have surviving melodies (and sadly, exactly one by a tro- baritz) and 2/3 of the (later) trouvère songs. b. Rhythm and Secular Music i. Rule #1: Don’t go there! c. Instruments and Secular Music i. Rule #1: Don’t go there! ii. Rule #2: Try a drone iii. Rule #3: Some random notes plucked on a harp or a lute between verses sound good. 4. Three troubadour pieces: a. Bernart de Ventadorn, Can vei la lauzeta mover. (c. 1160–70; troubadour) b. Beatriz de Dia, A chantar m’er (c. 1175—the only surviving trobaritz melody) c. Raimbaut de Vaqueiras, Kalenda Maya (borrowed “estampida”) 5. Other traditions a. Italy: extension of the troubadours b.
    [Show full text]
  • Troubadour Lyric in a Global Poetics Creating Worlds Through Desire
    Troubadour Lyric in a Global Poetics Creating Worlds Through Desire Marisa Galvez Stanford University, USA The troubadours were poet-performers of varied social status active in aristocratic courts of southern France, northern Italy, and northern Spain during the twelfth and thirteenth centuries. Around 2500 songs of the troubadours exist, and we have the names of more than 400 troubadours. The lyric was refined entertainment for an elite audience during a time that Occitan – as opposed to the French language of the north – was a signifi- cant poetic language of Europe. Transmitted orally as a musical composition of isometric stanzas followed by an ending half-strophe called the tornada, the dominant lyric genre the canso repeats a melody to the metrical pattern of each strophe. Eventually the lyric texts were written down, in mid-thirteenth century songbooks (chansonniers; 95 extant, four with music) commissioned by aristocratic patrons seeking to confirm their cultural status. The troubadours made vernacular poetry a true competitor of Latin, then the official language of the church and the medium of cultural knowledge. They created an art for dis- cussing feudal service and status as matters for verbal and artistic negotiation. This poetic language articulated the desire for a precious good bestowed by an unnamed highborn lady. Through subtle combinations of meter, melody, and verbal play, troubadour lyric maintained the ambivalence, frustration, and worthiness of desire as a poetic discipline of self-improvement. In sum, the troubadours invented a poetry that celebrated illicit love, a desiring subject in a world where spiritualized love took priority over earthly, bodily plea- sures, marriage was primarily an economic transaction, and courtly love a threat to familial alliances essential to the functioning of feudal society.
    [Show full text]
  • Spring 2011 ENGL 451/551 (#40799/42739) Th 4:00-6:30 in MH
    Spring 2011 ◆ ENGL 451/551 (#40799/42739) Th 4:00-6:30 in MH 211 Dr. Obermeier ◆ Medieval Lyrics Office Hours: M and Th 10-12 in HUM 269; and by Appointment and Voice Mail: 505.277.3103 Email: [email protected] Website: http://www.unm.edu/~aobermei Mailbox on Office Door HUM 321 Required Texts Additional Readings on eReserves: link on class webpage. Password = Pangur (eR). Class webpage: http://www.unm.edu/~aobermei/Eng451551Lyric/index451551.html Hardcopy Zimmerman Reserve for further research (Link on CWP). Hoffman, Richard L., and Maxwell S. Luria. Middle English Lyrics. Norton, 1974. Hollander, John. Rhyme’s Reason: A Guide to English Verse. 3rd ed. Yale UP, 2001. Obermeier, Anita, and Gregory Castle. Guide to Style. 2010 (CWP). Useful Literary Terms and Definitions (Link on CWP). Wilhelm, James. Lyrics of the Middle Ages. Routledge, 1990. Course Requirements Undergraduates: Graduates: 1 3-page Poetry Explication worth 10% 1 3-5-page Poetry Explication worth 10% 1 8-10-page Paper worth 25% 1 15-page Paper worth 20% 1 Oral Article Report worth 10% 1 5-7-page Literature Review worth 10% 1 In-class Midterm worth 10% 1 Oral Article Report worth 10% 1 In-class Final worth 20% 1 In-class midterm worth 10% 10 Written Responses worth 10% 1 In-class Final worth 20% Class Participation worth 15% 10 Written Responses worth 10% Class Participation worth 10% Grading is done on a standard 0-100 scale. For grading rubrics and scale, see class webpage. Tentative Syllabus Texts to be read for the day indicated.
    [Show full text]
  • French Ars Nova Motets and Their Manuscripts: Citational Play and Material Context
    French Ars Nova Motets and their Manuscripts: Citational Play and Material Context Submitted by Tamsyn Rose-Steel to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Medieval Studies In May 2011 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. 3 ABSTRACT The discussion of citation and allusion has become an important area of research in Medieval Studies. The application of postmodern intertextual theories has brought scholars to a deeper understanding of the reuse of borrowed material, shedding new light on a culture of music and literature that was once dismissed as dully repetitive. This thesis builds on this work by examining in depth the manner in which citation and allusion was deployed in the fourteenth- century motet. Motets are a particularly fertile ground for discussion of the reuse of material, drawing as they do on a range of citational techniques such as borrowed liturgical tenors, modelling of rhyme schemes on existing works, and quotation of refrains and authorities. The polyphonic and polytextual nature of the motet enabled composers to juxtapose different registers, languages and genres, and thus to create an array of competing possible interpretations. This study is situated against several strands of recent scholarship.
    [Show full text]
  • MEDIEVAL and TUDOR SACRED and SECULAR MUSIC Some Select Recordings Compact Disc;  Cassette Tape; (See Final Note Re Access)
    MEDIEVAL AND TUDOR SACRED AND SECULAR MUSIC Some Select Recordings compact disc; cassette tape; (see final note re access) (1) CD 789.ANON 6 Gregorian Chant: Death and Resurrection; Chant for Good Friday, Easter Sunday, and Ascension Day, performed by the Choralscola of the Benedictine Abbey of Münsterschwarzach, dir. Fr. Godehard Joppich OSB (rec. 1981- 2); Archiv Galleria 427 120-2 (booklet with full texts, in Latin and English). See also survey articles on 'Gregorian and Old Roman Chant' and 'Gregorian Chant' in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie [Caian] (20 vols, London, 1980; also available online at: http://www.grovemusic.com), Vol. 7, pp. 693-7, 697-8 (Caius Lib.: Ref 780.3 G), and James McKinnon, 'The Emergence of Gregorian Chant in the Carolingian Era', in James McKinnon (ed.), Man & Music; Antiquity and the Middle Ages; From Ancient Greece to the 15th Century (Houndmills, 1990), Chap. IV (Caius Lib.: 780.9 M). The fullest and most technical account of this chant tradition and its historical evolution is Kenneth Levy, Gregorian Chant and the Carolingians (Princeton, 1998) (Caius Lib.: 782.3222 L); or see Richard Crocker and David Hiley (eds), The Early Middle Ages to 1300 (New Oxford History of Music, II; Oxford, 1990), Chap. IV (Caius Lib.: 780.9 NO). For detailed context and practice see also John Harper, The Forms and Orders of Western Liturgy, from the Tenth to the Eighteenth Century; A Historical Introduction and Guide for Students and Musicians (Oxford, 1991), Chap. 9 on 'Holy Week and Easter' (Caius Lib.: 264.02 H), and for insights into the relation of chant to conventionalised speech see John Stevens, Words and Music in the Middle Ages; Song, Narrative, Dance and Drama, 1050-1350 (Cambridge, 1986), pp.
    [Show full text]
  • Medieval Music
    CONSEJERÍA DE EDUCACIÓN Dirección General de Participación e Innovación Educativa Identificación del material AICLE TÍTULO Medieval Music NIVEL LINGÜÍSTICO A2.1 SEGÚN MCER IDIOMA Inglés ÁREA / MATERIA Música NÚCLEO TEMÁTICO Historia de la Música La unidad pretende introducir al alumnado en el conocimiento de la música GUIÓN TEMÁTICO medieval, tanto religiosa como profana, trabajando sus características principales y compositores destacados. FORMATO Material didáctico en formato PDF CORRESPONDENCIA 2º de Educación Secundaria CURRICULAR AUTORÍA Almudena Viéitez Roldán TEMPORALIZACIÓN 6 sesiones. APROXIMADA Competencia lingüística: - Adquisición de vocabulario - Elaborar y formular preguntas al compañero - Discusión y puesta en común en voz alta de aspectos concretos del tema - Elaboración de textos - Lectura comprensiva COMPETENCIAS BÁSI- - Fomento de las destrezas orales CAS Competencia cultural y artística: - Conocimiento de música de otras épocas, inculcando una actitud de respeto hacia la misma Competencia para aprender a aprender: - Extraer características a partir de audiciones sin la presentación previa de la teoría - Establecer similitudes y diferencias entre el pasado y el presente Se recomienda completar la unidad con la interpretación vocal o instrumental OBSERVACIONES de alguna pieza de música medieval, por ejemplo la Cantiga nº 100 a la Virgen María de Alfonso X el Sabio, con flauta dulce o canto. Material AICLE. 2º de ESO: Medieval Music 3 Tabla de programación AICLE - Comprender y expresarse en una o más lenguas extranjeras de manera apropiada - Conocer, valorar y respetar los aspectos básicos de la cultura y la historia propias y OBJETIVOS de los demás, así como el patrimonio artístico y cultural - Apreciar la creación artística y comprender el lenguaje de las distintas manifesta- ciones artísticas, utilizando diversos medios de expresión y representación CONTENIDOS Bloque 4: La música en la cultura y en la sociedad.
    [Show full text]