DOCSLIB.ORG

La Épica Medieval Europea Comentario [LT1]

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
La Épica Medieval Europea Comentario [LT1] La épica medieval europea Comentario [LT1]: Indice UNIVERSALIDAD DE LA EPOPEYA .................................................................. 3 La epopeya ibérica. ................................................................................................... 4 La primitiva epopeya germánica .............................................................................. 5 La epopeya y los visigodos ....................................................................................... 5 La epopeya cristiana ................................................................................................. 6 LEYENDAS Y EPOPEYAS DE LOS GERMANOS .............................................. 7 El «Cantar de Hildebrando». .................................................................................... 7 El «Cantar de Ludovico». ......................................................................................... 8 El «Beowulf». ........................................................................................................... 8 Los «Edda». .............................................................................................................. 9 Los escaldas. ............................................................................................................. 9 Las sagas. ................................................................................................................ 10 La «Saga de Teodorico». .................................................................................... 10 Traducciones de obras francesas. ....................................................................... 10 Los «Nibelungos». .................................................................................................. 11 Otros poemas germánicos. ...................................................................................... 13 LOS CANTARES DE GESTA .............................................................................. 14 La epopeya románica .............................................................................................. 14 Historia poética ................................................................................................... 15 Cantos noticieros y juglares. ............................................................................... 15 Arte oral. ............................................................................................................. 16 El recitado juglaresco. ........................................................................................ 16 La biografía fabulosa del héroe. ......................................................................... 17 LOS CANTARES DE GESTA FRANCESES ....................................................... 18 Visión general de su temática. ............................................................................ 18 El Cantar de Roldán». ............................................................................................. 20 El hecho histórico. .............................................................................................. 23 La deformación legendaria. ................................................................................ 24 Los personajes del «Cantar de Roldán». ............................................................ 26 La épica medieval europea Estilo del «Cantar de Roldán», ........................................................................... 29 Proyección del Cantar de Roldán». .................................................................... 31 El ciclo de gestas de Guillermo. ............................................................................. 31 Guillermo, personaje histórico. .......................................................................... 31 Guillermo en la literatura y la leyenda. .............................................................. 32 El «Cantar de Guillermo». .................................................................................. 32 Aliscans. ............................................................................................................. 35 El Carro de Nimes y la Conquista de Orange ..................................................... 36 El Monacato de Guillermo. ................................................................................ 37 El histórico Girart de Vienne. ................................................................................. 37 El cantar de «Girart de Vienne». ........................................................................ 38 Las gestas de Aymeri de Narbona y sus siete hijos. ........................................... 39 Cantares de gesta sobre Carlomagno ...................................................................... 39 Carlomagno en la epopeya ................................................................................. 40 Las mocedades de Carlomagno .......................................................................... 40 La Peregrinación de Carlomagno ....................................................................... 42 Galiens. ............................................................................................................... 45 Otras gestas carolingias ...................................................................................... 45 Anseis de Cartago ........................................................................................... 46 Gestas sobre vasallos rebeldes ............................................................................ 47 Gormont e lsembart. ....................................................................................... 48 Raoul de Cambrai ........................................................................................... 48 Ogier de Dinamarca ........................................................................................ 51 Renaut de Montauban ..................................................................................... 52 Girart de Rossilhó ........................................................................................... 54 Epopeya y fantasía .................................................................................................. 56 Amis y Amile. .................................................................................................... 56 Huon de Burdeos. ............................................................................................... 57 La epopeya paródica. .............................................................................................. 58 Audigier .............................................................................................................. 58 La gesta de Alfonso Lopes de Baian .................................................................. 58 La epopeya en provenzal y en francoitaliano. ........................................................ 59 Las lenguas híbridas juglarescas ........................................................................ 59 Los cantares rolandianos provenzales ................................................................ 59 Los cantares francoitalianos ............................................................................... 59 Cantares de gesta sobre hechos contemporáneos ................................................... 60 Cantares sobre las Cruzadas ............................................................................... 60 Cantares históricos en provenzal ........................................................................ 61 LA ÉPICA MEDIEVAL EN ESPAÑA.................................................................. 63 Las gestas castellanas ............................................................................................. 63 Las prosificaciones de gestas .............................................................................. 64 Las gestas y el Romancero ................................................................................. 65 El «Roncesvalles» navarro ..................................................................................... 66 El «Cantar de los siete infantes de Salas» .............................................................. 67 El «Cantar del Cid». ............................................................................................... 72 El Cid héroe literario y épico .............................................................................. 72 Versiones y refundiciones de la gesta................................................................. 73 Acción del cantar ................................................................................................ 74 Historicidad del cantar ........................................................................................ 77 Lo épico en el cantar ........................................................................................... 78 Página 2 de 88 La épica medieval europea La unidad del cantar ........................................................................................... 78 El Cid y los cantares franceses ........................................................................... 79 El Cid héroe contemporáneo .............................................................................. 81 Otras manifestaciones de la épica en España ......................................................... 82 La leyenda de Bernardo del Carpio .................................................................... 82 El «Poema de Fernán González» .......................................................................
Load more

Recommended publications
  • Orlando Furioso Narrado En Prosa Del Poema De Ludovico Ariosto
    Orlando furioso narrado en prosa del poema de Ludovico Ariosto Italo Calvino Traducción del italiano de Aurora Bernárdez y Mario Muchnik Versos de Ariosto traducidos por el capitán general don Juan de la Pezuela, conde de Cheste, de la Real Academia Española Biblioteca Calvino Los versos de Ariosto citados en esta edición castellana provienen de la traducción, publicada en 1883, de Juan de la Pezuela, una elec- ción aprobada por Italo Calvino. En cuanto a esta edición en sí, se trata de la única versión calificada por el autor como «perfecta», por contener capítulos ausentes de la primera edición italiana de Einaudi, por citar exactamente los versos de Ariosto seleccionados por Calvino y por ser, siempre según el parecer del autor, traducción fiel, supervi- sada paso a paso por él mismo, del texto original. (N. del E.) Presentación 1. Rotholandus, Roland, Orlando En todo atlas histórico de la Edad Media hay un pequeño mapa en el que, generalmente coloreadas de violeta, se indi- can las conquistas de Carlomagno, rey de los francos y luego emperador. Una gran nube violeta se extiende sobre Europa, se expande más allá del Elba y el Danubio, pero se detiene a occidente en el confín de una España todavía sarracena. Solo el borde inferior de la nube salva los Pirineos y llega a cubrir Cataluña; es la Marca Hispánica, todo lo que Carlomagno logró arrancar, en los últimos años de su vida, al Emir de Córdoba. Entre las tantas guerras que Carlomagno libró y ganó contra bávaros, frisones, eslavos, ávaros, bretones, longobardos, las que libró contra los árabes, en la historia del emperador de los francos, ocupan relativamente poco lugar; en la literatura, en cambio, se agigantaron hasta alcanzar todo el orbe terráqueo, y llenaron las páginas de bibliotecas enteras.
    [Show full text]
  • Cahiers De Recherches Médiévales Et Humanistes, 12 | 2005 the Epic Tradition of Charlemagne in Italy 2
    Cahiers de recherches médiévales et humanistes Journal of medieval and humanistic studies 12 | 2005 La tradition épique, du Moyen Âge au XIXe siècle The epic tradition of Charlemagne in Italy Jane E. Everson Electronic version URL: http://journals.openedition.org/crm/2192 DOI: 10.4000/crm.2192 ISSN: 2273-0893 Publisher Classiques Garnier Printed version Date of publication: 30 December 2005 Number of pages: 45-81 ISSN: 2115-6360 Electronic reference Jane E. Everson, « The epic tradition of Charlemagne in Italy », Cahiers de recherches médiévales [Online], 12 | 2005, Online since 30 December 2008, connection on 13 October 2020. URL : http:// journals.openedition.org/crm/2192 ; DOI : https://doi.org/10.4000/crm.2192 This text was automatically generated on 13 October 2020. © Cahiers de recherches médiévales et humanistes The epic tradition of Charlemagne in Italy 1 The epic tradition of Charlemagne in Italy Jane E. Everson Introduction 1 From the late thirteenth century to the end of the Renaissance, Carolingian narratives centred on the deeds of Charlemagne, Roland and the peers of France enjoyed immense popularity in Italy at all levels of society. Some of the greatest writers of this period were attracted to the genre and produced in it their masterpieces. And if, for the early period, the most important compositions are often anonymous, for the fifteenth and sixteenth centuries the names of Andrea da Barberino, Pulci, Boiardo, Ariosto and Tasso, to name only the best known and most influential, serve to underline the status of Carolingian narrative literature as the pre-eminent literary genre in the vernacular. As I have pointed out elsewhere, the sheer length of time during which the Carolingian narrative tradition flourished in Italy, the large number of writers involved with the genre, the wealth of material both in content and style, the range of developments and modifications, all pose major problems for the scholar aiming to produce a comprehensive historical and thematic survey of the genre.1 2 The magnitude of the task had already taxed E.
    [Show full text]
  • L'héroisme Chevaleresque Dans Le "Roland Amoureux" De
    L'héroïsme chevaleresque dans le Roland Amoureux de Boiardo Couverture : Illustration extraite de la Nouvelle traduction de Roland l'Amou- reux par LESAGE, Paris, 1717 (cliché Bibliothèque Municipale de Lyon) INSTITUT D'ÉTUDES DE LA RENAISSANCE ET DE L'AGE CLASSIQUE Denise ALEXANDRE-GRAS L'héroïsme chevaleresque dans le - Roland Amoureux de Boiardo Publications de l'Université de Saint-Etienne 0 Institut d'études de la Renaissance et de l'Age Classique, 1988 34, rue Francis-Baulier — 42100 Saint-Etienne ISBN 2-86724-032-8 INTRODUCTION Matteo Maria Boiardo est un écrivain dont l'œuvre et la personnalité, complexes et contradictoires, demeurent parmi les plus déroutantes qui soient. Il n'est en effet pas possible de réduire toute son activité à la seule composition du «poème» 1, d'ignorer notamment ses œuvres latines et d'imaginer qu'il ait oublié sa culture humaniste durant les quinze dernières années de sa vie. Or, le contraste est évident entre ses œuvres mineures de goût humaniste (les œuvres latines, les Eglogues en italien , le Timon inspiré de Lucien) et son poème cheva- leresque modelé sur des œuvres populaires que les humanistes méprisaient volontiers. Son Canzoniere, dont le titre classicisant, Amorum libri, est signifi- catif, combine certes diverses sources, mais il apparaît précisément comme une tentative de synthèse raffinée dans laquelle la poésie latine et les thèmes néo- platoniciens viennent enrichir le legs de la poésie lyrique médiévale et du pé- trarquisme, ce qui semble fort éloigné de l'esprit général du poème, si éloigné même que Pier Vincenzo Mengaldo a pu parler d'un tel hiatus entre les deux œuvres, qu'on n'en saurait trouver d'équivalent dans l'histoire italienne toute entière 2.
    [Show full text]
  • L'unité Contestée De La Chanson Des Saisnes
    L’unité contestée de la Chanson des Saisnes Povl Skårup Århus Universitet Dans son Etude linguistique et littéraire de la Chanson des Saisnes de Jehan Bodel,1 Annette Brasseur a le mérite d’avoir montré que la fin des mss. LT, à partir de l’endroit où leur texte se sépare de celui du ms. A, n’a pas été composée par le même auteur que le ms. A. Ce résultat n’est plus en question. Il a d’ailleurs été renforcé par l’étude de Mme. Thiry-Stassin, citée ci-dessous. Dans son ouvrage, Mme. Brasseur a également soutenu une hypothèse sur le texte du seul ms. A. Cette hypothèse consiste en trois éléments: 1. Telle qu’elle se trouve dans le ms. A, la chanson se divise en deux parties. 2. Les deux parties ont deux auteurs différents. 3. La coupure se place à la fin du vers 3307 (le texte entier comprend 4337 vers). Cette hypothèse est basée sur (a) une comparaison du ms. A avec les mss LT, (b) des différences linguistiques entre les deux parties, et (c) des différences littéraires entre les deux parties. Dans un article, “Jehan Bodel et les autres auteurs de la Chanson des Saisnes,”2 j’ai montré que le troisième élément de cette hypothèse est mal fondé. Il n’a aucune base dans le ms. A. Il est basé sur un fait et une hypothèse destinée à expliquer ce fait. Le fait est que les mss LT ont le même texte que le ms. A jusqu’au vers 3307 de celui-ci, mais un texte différent à partir de cet endroit.
    [Show full text]
  • Perspectives Médiévales, 35 | 2014 the Origins of the Narrative Structures in the Chansons De Geste : Methodolog
    Perspectives médiévales Revue d’épistémologie des langues et littératures du Moyen Âge 35 | 2014 Tendances actuelles de la critique en médiévistique The Origins of the Narrative Structures in the Chansons de Geste : Methodological Notes on Joël Grisward’s comparativism Andrea Ghidoni Electronic version URL: http://journals.openedition.org/peme/4321 DOI: 10.4000/peme.4321 ISSN: 2262-5534 Publisher Société de langues et littératures médiévales d’oc et d’oïl (SLLMOO) Electronic reference Andrea Ghidoni, « The Origins of the Narrative Structures in the Chansons de Geste : Methodological Notes on Joël Grisward’s comparativism », Perspectives médiévales [Online], 35 | 2014, Online since 01 January 2014, connection on 26 November 2020. URL : http://journals.openedition.org/peme/4321 ; DOI : https://doi.org/10.4000/peme.4321 This text was automatically generated on 26 November 2020. © Perspectives médiévales The Origins of the Narrative Structures in the Chansons de Geste : Methodolog... 1 The Origins of the Narrative Structures in the Chansons de Geste : Methodological Notes on Joël Grisward’s comparativism Andrea Ghidoni 1 1. Joël Grisward1 has probably given the most significant and innovative contribution to the debate on the origins of medieval French epics of the latest decades, reshaping our view of the genre of the chansons de geste. The Griswardian approach has introduced an important component in our way of conceiving the chansons de geste, i.e. the folkloric one. Moreover, his study is systematic and is applied to a song, the Narbonnais, which properly shows the reactivation of that trifunctional Indo-European structure that Grisward tries to extract from the narrative construction2.
    [Show full text]
  • 02Bartoli Copy 1/19/11 3:16 PM Page 193
    9 recensioni :02Bartoli copy 1/19/11 3:16 PM Page 193 RECENSIONI Mary-Michelle DeCoste. Hopeless Love. Boiardo, Ariosto, and Narratives of Queer Female Desire . Toronto: University of Toronto Press, 2009. Pp. x, 165. ISBN 978-0-8020-9684-5 (hardbound). $ 35. Focusing on female-female desire in Italian texts from the mid-fourteenth through the mid-sixteenth centuries, this slim volume makes a substantial contribution to the study of queer desire in Renaissance literature. Over the course of an introduc - tion, five short chapters and an epilogue, Hopeless Love seeks “to contextualize Boiardo’s and Ariosto’s use of queer female desire as a motif within the larger liter - ary landscape of medieval and Renaissance Italy and to identify its antecedents and the texts it influences” (4), a goal which it attains admirably via theoretically- informed close readings of texts from a wide range of genres. In particular, DeCoste engages in a detailed analysis of the Bradamante-Fiordispina episodes in both Boiardo’s Orlando innamorato and Ariosto’s Orlando furioso that suggests, first, a way in which the earlier text can be read as complete and, second, that Ariosto’s rivalrous rewriting of Boiardo’s Bradamante-Fiordispina tale transforms this instance of queer female desire from a narrative crisis into a narrative opportunity. The introduction situates these readings both theoretically (casting queer desire as a motif in Italian Renaissance literature that is both a narrative impulse and a “de-narrativizing force,” 7) and historically (in terms of the theological, legal and medical attitudes towards same-sex relations in Renaissance society).
    [Show full text]
  • Geste Francor E Aquilon De Bavière)
    3 (2017) Aspetti dell’intertestualità franco-italiana (Geste Francor e Aquilon de Bavière) MARIA GRAZIA CAPUSSO (Università di Pisa) Direzione / Editors-in-chief GIOVANNI BORRIERO , Università degli Studi di Padova FRANCESCA GAMBINO , Università degli Studi di Padova Comitato scientifico / Advisory Board CARLOS ALVAR , Universidad de Alcalá ALVISE ANDREOSE , Università degli Studi e-Campus FURIO BRUGNOLO , Università degli Studi di Padova KEITH BUSBY , The University of Wisconsin ROBERTA CAPELLI , Università di Trento DAN OCTAVIAN CEPRAGA , Università degli Studi di Padova CATHERINE GAULLIER -BOUGASSAS , Université de Lille 3 SIMON GAUNT , King’s College London MARCO INFURNA , Università Ca’ Foscari Venezia GIOSUÈ LACHIN , Università degli Studi di Padova LUCA MORLINO , Uniwersytet Mikołaja Kopernika w Toruniu GIANFELICE PERON , Università degli Studi di Padova LORENZO RENZI , Università degli Studi di Padova ZENO VERLATO , Opera del Vocabolario Italiano, CNR PETER WUNDERLI , Universität Düsseldorf LESLIE ZARKER MORGAN , Loyola University Maryland Redazione / Editorial Staff ALESSANDRO BAMPA , Università degli Studi di Padova LUCIA BERARDI , Università degli Studi di Padova FLORIANA CERESATO , Università di Roma Tre RACHELE FASSANELLI , Università degli Studi di Padova STEPHEN P. MCCORMICK , Washington and Lee University SERENA MODENA , Università degli Studi di Padova MANUEL NEGRI , Universidade de Santiago de Compostela FABIO SANGIOVANNI (redattore capo / managing editor ), Università degli Studi di Padova Francigena is an International Peer-Rewieved Journal ISSN 2420-9767 Dipartimento di Studi Linguistici e Letterari Piazzetta Gianfranco Folena, 1 35137 PADOVA [email protected] INDICE MARIA GRAZIA CAPUSSO Aspetti dell’intertestualità franco-italiana ( Geste Francor e Aquilon de Bavière ) 5 CESARE MASCITELLI Canone epico e forme del riuso nella Geste Francor 45 STEPHEN P.
    [Show full text]
  • Francouzské Inspirace V Obnovených Obrazech Julia Zeyera
    FILOZOFICKÁ FAKULTA MASARYKOVY UNIVERZITY ÚSTAV ROMÁNSKÝCH JAZYKŮ A LITERATUR Miroslava Novotná FRANCOUZSKÉ INSPIRACE V OBNOVENÝCH OBRAZECH JULIA ZEYERA Disertační práce Brno 2007 Vedoucí disertační práce: Prof. PHDr. Jaroslav Fryčer, CSc. Doc. PHDr. Jitka Radimská, CSc. Prohlašuji, že jsem disertační práci na téma Francouzské inspirace v díle Julia Zeyera vypracovala samostatně a použila jsem jen těch pramenů, které cituji a uvádím v přiloženém soupise literatury. Miroslava Novotná Poděkování Chtěla by poděkovat panu profesoru Jaroslavu Fryčerovi, který se ujal vedení mé práce a který mi svými laskavě udílenými radami naznačil cestu, jakou bych se měla ubírat, který mě v průběhu celé této dobrodružné pouti nepřestával povzbuzovat, abych se dobrala jejího cíle, jehož se však bohužel nedočkal. Stejně tak chci poděkovat paní docentce Jitce Radimské z Pedagogické fakulty Jihočeské univerzity v Českých Budějovicích, která laskavě pokračovala ve vedení mé práce a pomohla mi svým odborným nadhledem a cennými radami práci dokončit. OBSAH ÚVOD ............................................................................................................... I I. OSOBNOST JULIA ZEYERA ................................................................... 1 1.1. Rok 1841 – rok 1901, Období Zeyerova života ...................................... 2 1.2. Francouzské pohledy v díle Julia Zeyera; Vztah matky a syna ........... 4 1.3. Hledání uměleckých tendencí v díle Julia Zeyera .................................. 11 1.4. Ženy v životě Julia Zeyera .......................................................................
    [Show full text]
  • The Avatars of Orable-Guibourc from French Chanson De Geste to Italian Romanzo Cavalleresco
    1 (2015) The Avatars of Orable-Guibourc from French chanson de geste to Italian romanzo cavalleresco . A Persistent Multiple Alterity PHILIP E. BENNETT (University of Edinburgh) LESLIE ZARKER MORGAN (Loyola University Maryland) Direzione / Editors-in-chief GIOVANNI BORRIERO , Università degli Studi di Padova FRANCESCA GAMBINO , Università degli Studi di Padova Comitato scientifico / Advisory Board CARLOS ALVAR , Universidad de Alcalá ALVISE ANDREOSE , Università degli Studi e-Campus FURIO BRUGNOLO , Università degli Studi di Padova KEITH BUSBY , The University of Wisconsin ROBERTA CAPELLI , Università di Trento DAN OCTAVIAN CEPRAGA , Università degli Studi di Padova CATHERINE GAULLIER -BOUGASSAS , Université de Lille 3 SIMON GAUNT , King’s College London MARCO INFURNA , Università di Trento GIOSUÈ LACHIN , Università degli Studi di Padova LUCA MORLINO , Opera del Vocabolario Italiano, CNR GIANFELICE PERON , Università degli Studi di Padova LORENZO RENZI , Università degli Studi di Padova ZENO VERLATO , Opera del Vocabolario Italiano, CNR PETER WUNDERLI , Universität Düsseldorf LESLIE ZARKER MORGAN , Loyola University Maryland Redazione / Editorial Staff ALESSANDRO BAMPA , Università degli Studi di Padova FLORIANA CERESATO , Università di Roma Tre RACHELE FASSANELLI , Università degli Studi di Padova STEPHEN P. MCCORMICK , Washington and Lee University SERENA MODENA , Università degli Studi di Padova MANUEL NEGRI , Universidade de Santiago de Compostela FABIO SANGIOVANNI (redattore capo / managing editor ), Università degli Studi di Padova Francigena is an International Peer-Rewieved Journal ISSN 2420-9767 Dipartimento di Studi Linguistici e Letterari Piazzetta Gianfranco Folena, 1 35137 PADOVA [email protected] INDICE LUCA MORLINO Spunti per un riesame della costellazione letteraria franco-italiana 5 CHARMAINE LEE Letteratura franco-italiana nella Napoli angioina? 83 MARTA MATERNI Le chevalier Guiron in Italia: un portolano bibliografico per le coste pisano- genovesi 109 PHILIP E.
    [Show full text]
  • Sara Gabriela Simião O Maravilhoso Mundo Das
    SARA GABRIELA SIMIÃO O MARAVILHOSO MUNDO DAS NOVELAS DE CAVALARIA: uma leitura de Orlando furioso ASSIS 2017 SARA GABRIELA SIMIÃO O MARAVILHOSO MUNDO DAS NOVELAS DE CAVALARIA: uma leitura de Orlando furioso Dissertação apresentada à Faculdade de Ciências e Letras de Assis – UNESP – Universidade Estadual Paulista para a obtenção do título de Mestra em Letras (Área de Conhecimento: Literatura e Vida Social) Orientadora: Dra. Cátia Inês Negrão Berlini de Andrade Bolsista: CAPES ASSIS 2017 Dados Internacionais de Catalogação na Publicação (CIP) Biblioteca da F.C.L. – Assis – Unesp Simião, Sara Gabriela S589m O Maravilhoso mundo das novelas de cavalaria: uma lei- tura de Orlando furioso / Sara Gabriela Simião. Assis, 2017. 113 f. Dissertação de Mestrado – Faculdade de Ciências e Letras de Assis – Universidade Estadual Paulista. Orientador: Drª Cátia Inês Negrão Berlini de Andrade. 1. Ludovico, Ariosto, 1474-1533. 2. Literatura italiana. 3. Romances de cavalaria. 4. Loucura na literatura. 5. Magia. I. Título. CDD 850 AGRADECIMENTOS Agradeço a CAPES pela bolsa concedida, pois, graças a esta segurança financeira, eu tive mais tempo para me dedicar a este árduo trabalho. Também mostro a minha gratidão à equipe da Seção Técnica de Pós-Graduação, que sempre se mostrou disponível para resolver qualquer questão. Agradeço também à minha orientadora, Dra. Cátia Inês Negrão Berlini de Andrade, pela paciência que teve comigo, pois tenho consciência de que não sou uma pessoa fácil de lidar. Além disto, sou-lhe grata por ter me iniciado no universo da pesquisa acadêmica, tolerando-me desde 2010, quando aceitou orientar a minha iniciação científica. Grata também sou à minha outra professora de Literatura Italiana, a Dra.
    [Show full text]
  • In Search of the Lost Epics of the Lower Rhône Valley*
    ALICE M. COLBY-HALL In Search of the Lost Epics of the Lower Rhône Valley* ID THE MEDIEVAL INHABITANTS OF ORANGE take the slightest interest in the epic hero that we call Guillaume d'Orange? In theory, I should Dnot be asking this question; for it should be self-evident that the local population, and especially the rulers of Orange, would have felt strong admiration for the warrior who was said to have delivered the city from the hands of the Saracens and become its first governor. My question should be completely ridiculous—and I certainly wish it were. But what concrete evidence do we have that local writers produced any literature praising Guillaume and recounting his exploits or that natives of Orange appreciated such literature, whether it was of local origin or not? The twelfth-century Latin biography of Guillaume describes the tak- ing of Orange, and the description appears to be derived from a chanson de geste, but the biography itself was composed at Guillaume's own mon- astery of Gellone, now called Saint-Guilhem-le-Désert. In other words, it came from the region around Montpellier and may, or may not, have close ties with the local traditions of Orange. Inasmuch as all the surviving Wil- liam cycle epics that deal with Orange are written in French rather than Occitan, scholars have been hard put to demonstrate the southern origin of this material and, by and large, have considered that these epics origi- nated in the North and were aimed at a northern audience. Does the sheer lack of objective evidence force us to accept this widely held view? I think not; for such evidence is, in fact, available and has long been accessible to medievalists.
    [Show full text]
  • Genealogy and Kinship As Unifying Device in Andrea Da Barberino's La
    Genealogy and Kinship as Unifying Device in Andrea da Barberino's 1 La Storia di Aiolfo dal Barbicone Gloria Allaire Gettysburg College An oft-repeated misconception concerning chivalric literature in Italy claims that the fusion of epic and romance materials was a product of the Renaissance. According to Pio Rajna (and many histories of Italian literature that cite him), the "miracle" of fusing the two narrative cycles was accomplished by Boiardo in his Orlando innamorato (Russo 1:482). Yet the commingling of "matters," as any student of French chansons de geste knows, occurred long before Boiardo composed his Innamorato. This study examines an ignored, early fifteenth-century Italian text which clearly demonstrates that hybridization of "pure" Carolingian cycle epic—insofar as any composition may be so neatly defined—with Arthurian romance elements predates the high Renaissance.2 In addition, changes made to the possible French model by Italians demonstrate the process of adapting a text to meet the narrative demands of a different audience or readership based on their own cultural or social norms. Many of the changes made relate to the importance of kinship in the growing urban centers of Italy, a theme that must be viewed in its historical context. The surviving French Aiol, part of the geste of Saint- Gilles, is generally considered an epic although it already "thwarts attempts at generic categorization" (Obergfell, "Problem" 21). The much longer Italian reworking into prose by the Florentine Andrea da Barberino (c. 13701431/3) has proven no less a critical 48 Gloria Allaire stumbling block for the handful of scholars who have examined it.3 The nineteenth-century editors of Aiol dismissed Aiolfo as "une mauvaise imitation" by an unfaithful translator who mixed amorous elements with martial ones, thereby tainting the purity of the apparent French source (Normand and Raynaud xlvi).
    [Show full text]