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Jean Bodel : Des "Flabiaus" À La Chanson De Geste
Jean Bodel : des "Flabiaus" à la chanson de geste Autor(en): Rossi, Luciano Objekttyp: Article Zeitschrift: Versants : revue suisse des littératures romanes = Rivista svizzera delle letterature romanze = Revista suiza de literaturas románicas Band (Jahr): 28 (1995) PDF erstellt am: 11.10.2021 Persistenter Link: http://doi.org/10.5169/seals-263566 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch JEAN BODEL: - DES FLABIAUS À LA CHANSON DE GESTE En guise d'introduction Pendant quelque six siècles (début du XIe - fin du XVIe), le spectacle des ménestrels1 a constitué le fondement d'une véritable «industrie de l'amusement médiéval»2. -
The Romance of the Rose» As an Outstanding Example of a Philosophical-Allegoric Novel in a French Chivalric Literature
Crusader, 2017, Vol. 5, Is. (1) Copyright © 2017 by Academic Publishing House Researcher s.r.o. Published in the Slovak Republic Crusader Has been issued since 2015. E-ISSN: 2413-7502 Vol. 5, Is. 1, pp. 3-13, 2017 DOI: 10.13187/crus.2017.5.3 www.ejournal29.com Articles and Statements «The Romance of the Rose» as an Outstanding Example of a Philosophical-Allegoric Novel in a French Chivalric Literature Olga F. Jilevich a, Ruslan B. Gagua a , * a Polessky State University, Republic of Belarus Abstract The present article is devoted to the research of the features of the philosophical and allegorical poem «The Romance of the Rose» as an outstanding example of French chivalric literature. The philosophical and allegorical aspects of the medieval mentality determined many features of the era’s allegorical works artistic world, such as the event scheme, the chronotope, the system and the characters peculiar qualities. The allegory in «The Romance of the Rose» helps to discover a hidden philosophical meaning, abstract knowledge. In Guillaume de Lorris, the allegory served as a technical function, allowing the lyrical song to be translated into narrative discourse. For Jean de Meung, the allegory is important in itself, as a method of interpretation. In the novel Jean de Meung allegorical images utter extensive speeches, they personify certain moral and philosophical positions. In the image of the main character, features characteristic of the characters appear in the future philosophical novel: he is asked by eternal questions and tries to find answers to them. The specificity of Jean de Meung’s novel is the predominance of satire and didactics. -
This Dissertation Has Been 64—6945 Microfilmed Exactly As Received PEARCY, Roy James, 1931-HUMOR in the FABLIAUX
This dissertation has been 64—6945 microfilmed exactly as received PEARCY, Roy James, 1931- HUMOR IN THE FABLIAUX. The Ohio State University, Ph.D., 1963 Language and Literature, general University Microfilms, Inc., Ann Arbor, Michigan Copyright by Roy James Pearcy 1° 6A HUMOR IN THE FABLIAUX DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Roy James Pearcy, B.A,(Hons.) ****** The Ohio State University 1963 Approved by J-. Adviser Department of English ACKNOWLEDGMENTS I would like to express my gratitude to Professor Francis L. Utley, who directed this dissertation, for his gracious and willing assistance, and for his sus taining and helpful interest throughout the progress of the work. Thanks are also due to Professor Morton W. Bloomfield, now at Harvard, who helped me prepare for the General Examination, and to Professor Robert M. Estrich, the chairman of my department, for aid and counsel in matters too many and varied to enumerate. I am also much indebted to The Graduate School of The Ohio State University for financial assistance afforded me in the form of a University Fellowship from January to June 1962, and Summer Fellowships in I960 and 1963. ii CONTENTS Page AC ENOWLEDGMENTS i i Chapter I INTRODUCTION..................................... 1 II RELATION OF PLOT AND COMIC ELEMENTS IN THE FABLIAUX................................. 38 III THE INTRODUCTION:SATIRE IN THE FABLIAUX........ 61 IV THE CORE:HUMOR IN THE FABLIAUX................. 98 V THE CONCLUSION: IRONY IN THE FABLIAUX.......... 127 VI HUMOR AND DICTION IN THE FABLIAUX............. 148 VII CHAUCER'S FABLIAU-TALES....................... -
1 the Middle Ages
THE MIDDLE AGES 1 1 The Middle Ages Introduction The Middle Ages lasted a thousand years, from the break-up of the Roman Empire in the fifth century to the end of the fifteenth, when there was an awareness that a ‘dark time’ (Rabelais dismissively called it ‘gothic’) separated the present from the classical world. During this medium aevum or ‘Middle Age’, situated between classical antiquity and modern times, the centre of the world moved north as the civil- ization of the Mediterranean joined forces with the vigorous culture of temperate Europe. Rather than an Age, however, it is more appropriate to speak of Ages, for surges of decay and renewal over ten centuries redrew the political, social and cultural map of Europe, by war, marriage and treaty. By the sixth century, Christianity was replacing older gods and the organized fabric of the Roman Empire had been eroded and trading patterns disrupted. Although the Church kept administrative structures and learning alive, barbarian encroachments from the north and Saracen invasions from the south posed a continuing threat. The work of undoing the fragmentation of Rome’s imperial domain was undertaken by Charlemagne (742–814), who created a Holy Roman Empire, and subsequently by his successors over many centuries who, in bursts of military and administrative activity, bought, earned or coerced the loyalty of the rulers of the many duchies and comtés which formed the patchwork of feudal territories that was France. This process of centralization proceeded at variable speeds. After the break-up of Charlemagne’s empire at the end of the tenth century, ‘France’ was a kingdom which occupied the region now known as 2 THE MIDDLE AGES the Île de France. -
University Microfilms
THE FABLIAUX AND THE NATURALISTIC TRADITION Item Type text; Dissertation-Reproduction (electronic) Authors Laughlin, Virginia Lillian, 1924- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 04/10/2021 05:00:45 Link to Item http://hdl.handle.net/10150/287924 INFORMATION TO USERS This dissertation was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. -
The Arthurian Legend in British Women's Writing, 1775–1845
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Online Research @ Cardiff Avalon Recovered: The Arthurian Legend in British Women’s Writing, 1775–1845 Katie Louise Garner B.A. (Cardiff); M.A. (Cardiff) A thesis submitted in partial fulfilment of the requirements for the award of Doctor of Philosophy School of English, Communication and Philosophy Cardiff University September 2012 Declaration This work has not been submitted in substance for any other degree or award at this or any other university or place of learning, nor is being submitted concurrently in candidature for any degree or other award. Signed ………………………………………… (candidate) Date ……………………… STATEMENT 1 This thesis is being submitted in partial fulfilment of the requirements for the degree of PhD. Signed ………………………………………… (candidate) Date ……………………… STATEMENT 2 This thesis is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged by explicit references. The views expressed are my own. Signed ………………………………………… (candidate) Date ……………………… STATEMENT 3 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed ………………………………………… (candidate) Date………………………… STATEMENT 4: PREVIOUSLY APPROVED BAR ON ACCESS I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loans after expiry of a bar on access previously approved by the Academic Standards & Quality Committee. Signed ………………………………………… (candidate) Date………………………… Acknowledgements First thanks are due to my supervisors, Jane Moore and Becky Munford, for their unceasing assistance, intellectual generosity, and support throughout my doctoral studies. -
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. -
The Lost Genre of Medieval Spanish Literature
THE LOST GENRE OF MEDIEVAL SPANISH LITERATURE Hispanists have frequent occasion to refer to the loss of much medieval literatura, and to recognize that the extant texts are not necessarily typical. There is no Hispanic equivalent of R. M. Wilson's The Lost Literatura of Medieval England1, but a similar, though less extensive, work could undoubtedly be compiled for Spanish, and Ramón Menéndez Pidal showed us how evidence for the contení, and sometimes the actual words, of lost epics could be discovered by cióse attention to chronicles and ballads. The study of literature which no longer survives has obvious dangers, and the concentration of Hispanists on lost epic and lost drama has oc- casionally gone further than the evidence justifies, leading to detailed accounts of poems or traditions, which, in all probability, never existed: for example, the supposed epic on King Rodrigo and the fall of Spain to the Moors, and the allegedly flourishing tradition of Castilian drama between the Auto de los reyes magos and Gómez Manrique. Nevertheless, many lost works can be clearly identified and set within the pattern of literary history. The study of lost literature can produce important modifications in that pattern, but changes of equal importance may result from a reassessment of extant works. There is a growing realization that medieval literature has been very unevenly studied, and the contrast between widespread interest in a few works and almost universal neglect of many others is especially acute in Spanish2. I propose to deal here with a particularly striking example of that neglect, which has been carried to the point where the existence of an important genre is overlooked. -
Doing Nothing with Words Or the Power of Medieval Poetry
Doing nothing with words or the power of medieval poetry The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Greene, Virginie. 2015. Doing nothing with words or the power of medieval poetry. Harvard English Colloquium, Harvard University, October 29, 2015. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:30778728 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Open Access Policy Articles, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#OAP doing nothing with words or the power of medieval poetry (Harvard English Colloquium, October 29, 2015) This paper is the continuation of a paper I gave last summer at the Université Rennes 2, at a colloquium organized by the groupe phi, which is a group of research in literature. The colloquium was titled “Pouvoir, puissance, force de la littérature: de l’energeia à l’empowerment” and my paper was about “courage” in two medieval poems Les vers de la mort by Hélinand de Froidmont and Les Congés by Jean Bodel. I was I think the only medievalist there, the majority of the participants being specialists of modern and contemporary literature. Most of my paper though was about these two medieval poems and poets, but I ended with reflexions on Austin and the notions of illocutionary and perlocutionary strength. Tonight, I will do the reverse, starting with the notions of performativity, locution, illocution, and perlocution in Austin’s slim corpus of texts (1 book and about 10 articles), and then moving backward to the Middle Ages, to look at these notions from a different angle. -
Literary Theory and Criticism"
Department of French & Italian Indiana University – Bloomington Ph.D. Qualifying Examination in French/Francophone Studies Reading Lists and Topics (Revised December 2020) Le Moyen Âge Hagiographie et historiographie : Cantilène de sainte Eulalie (c. 880) La Vie de saint Alexis (c. 1050) Jean de Joinville, La Vie de saint Louis (1309) Jean Froissart, “Voyage en Béarn” (Chroniques, Livre III) (c. 1389-92) Chansons de geste : La Chanson de Roland (version d’Oxford, c. 1100) La Prise d’Orange (fin du XIIe s.) Romans et littérature courtoise : Béroul et Thomas d’Angleterre, Tristan (c. 1150-1175) Chrétien de Troyes, Erec et Enide, Le Chevalier de la Charrette (Lancelot), Le Chevalier au Lion (Yvain), Le Conte du Graal (Perceval) (c. 1170-90)—choix de deux romans Marie de France, Lais (fin du XIIe s.) La Queste del Saint Graal (c. 1225) Guillaume de Lorris et Jean de Meun, Le Roman de la Rose (c. 1230 et c. 1275-80) Jean d’Arras, Mélusine (c. 1393) Poésie lyrique et dits : Chansons des trouvères: Chanter m’estuet, éd. Samuel Rosenberg et Hans Tischler avec Marie- Geneviève Grossel (Paris: Livre de Poche, 1995) Rutebeuf, “La Complainte Rutebeuf,” “La Griesche d’yver,” “La Griesche d’esté,” “Le Mariage Rutebeuf” et “La Repentance [ou ‘La Mort’] Rutebeuf” (c. 1230-85) Guillaume de Machaut, Le Remede de Fortune (c. 1340) Christine de Pizan, Livre de Duc des Vrais amans (c. 1404-5) Charles d’Orléans, poésies recueillies (XVe s.) François Villon, Le Lais (c. 1456) et Le Testament (1461) Théâtre religieux et comique : Le Jeu d’Adam (c. 1146-74) Jean Bodel, Le Jeu de saint Nicolas (c. -
French Studies 54
54 French Studies EARLY MEDIEVAL LITERATURE By A. E. Cobby, University of Cambridge, and Finn E. Sinclair 1. General Alain Corbellari, Joseph Be´dier: ´ecrivain et philologue (PRF, 220), xxv + 765 pp., is a monumental assessment of the life, works and influence of the great philologist. It includes a bibliographie raisonne´e of B.’s writings and of their reviews, his genealogy, and a number of unpublished texts and fragments, mostly critical but including a three-act play, ‘La Le´gende des Aliscamps’. Pierre Jonin, L’Europe en vers au moyen aˆge: essai de the´matique (Nouvelle Bibliothe`que du Moyen Age, 35), Champion, 1996, 845 pp., is an anthology of some 500 thematically arranged excerpts from medieval verse literature in many languages, French being the most heavily represented. Its purpose is to facilitate cross-cultural comparison, and several 20th-c. poems are included to this end. Each of the 71 themes is discussed in an introductory ‘The´matique’ section, which is followed by the textual section in which short (one-page or less) extracts are presented in modern French, together with contextual summaries. There are several indices. Dietmar Rieger, Chanter et dire: ´etudes sur la litte´rature du moyen aˆge, Champion, 297 pp., reprints 14 articles on a wide range of subjects published from 1979 to 1995, some originally in German but all now translated. Rossi, Jongleurs, includes: M. Zink, ‘Contorsions jongleresques’ (5–8), an attempt to rehabilitate the jongleur; L. Rossi, ‘Jean Bodel: des flabiaus a` la chanson de geste’ (9–42), which probes Bodel’s understanding of the genres to which he was adding and his self-presentation as a jongleur, viewing his whole work as a representa- tion of jongleurs; C. -
A History of French Literature from Chanson De Geste to Cinema
A History of French Literature From Chanson de geste to Cinema DAVID COWARD HH A History of French Literature For Olive A History of French Literature From Chanson de geste to Cinema DAVID COWARD © 2002, 2004 by David Coward 350 Main Street, Malden, MA 02148-5020, USA 108 Cowley Road, Oxford OX4 1JF, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of David Coward to be identified as the Author of this Work has been asserted in accordance with the UK Copyright, Designs and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, and Patents Act 1988, without the prior permission of the publisher. First published 2002 First published in paperback 2004 by Blackwell Publishing Ltd Library of Congress Cataloging-in-Publication Data Coward, David. A history of French literature / David Coward. p. cm. Includes bibliographical references and index. ISBN 0–631–16758–7 (hardback); ISBN 1–4051–1736–2 (paperback) 1. French literature—History and criticism. I. Title. PQ103.C67 2002 840.9—dc21 2001004353 A catalogue record for this title is available from the British Library. 1 Set in 10/13 /2pt Meridian by Graphicraft Ltd, Hong Kong Printed and bound in the United Kingdom by TJ International Ltd, Padstow, Cornwall For further information on Blackwell Publishing, visit our website: http://www.blackwellpublishing.com Contents