Program of the Seventh Congress University of Massachusetts, Amherst July 26-August 1, 1992

Total Page:16

File Type:pdf, Size:1020Kb

Program of the Seventh Congress University of Massachusetts, Amherst July 26-August 1, 1992 Program of the Seventh Congress University of Massachusetts, Amherst July 26-August 1, 1992 SUNDAY JULY 26 Arrival Registration. BUFFET DINNER SOCIAL/CASH BAR 9:00 PM: Meeting of the International Executive Committee ____________________________________________ MONDAY JULY 27 9:00-10:30 AM: OPENING CONVOCATION WELCOME: Richard D. O'Brien, Chancellor, University of Massachusetts, Amherst PLENARY ADDRESS I Chair: Glyn S. Burgess, University of Liverpool Joan Ferrante (Columbia University): Whose Voice? Medieval Poets and the Women They Speak For and Through 11AM-12:30 PM: MONDAY SESSION I 1. IMAGES OF WOMEN Chair: Kathryn Gravdal, Columbia University Eve as Adam's Pareil: Equivalence and Subordination in the Jeu d'Adam Joan Tasker Grimbert (Catholic University of America) Women, Magic and Learning. Perceptions of the Educated Heroine Penny Simons (University of Sheffield) Nature's Forge Recast in the Roman de Silence Suzanne Akbari (Columbia University) 2. MIDDLE ENGLISH ROMANCE Chair: Sandra Ihle, University of Wisconsin, Madison The Implications of Medieval Literary Theory in the Middle English Athelston Daniel F. Pigg (University of Tennessee, Martin) Multiple Births and Multiple Disaster. Twins in Medieval Literature Erik Kooper (University of Utrecht) The Permutations of Love, Chivalry and Envy: Characterization and Structure in Malory's Morte d'Arthur Edward J. Milowicki (Mills College) 3. LA COUR DES GUELFES: INAUGURAL SESSION A series of three sessions organized by Danielle Buschinger and Wolfgang Spiewok Le rôle de la cour des Guelfes dans le développement de la culture allemande au Moyen Âge classique Wolfgang Spiewok (Universität Greifswald) and Danielle Buschinger (Université de Picardie) 4. OLD FRENCH LYRIC Chair: Eglal Doss-Quinby, Smith College Mouvance and Minstrelsy Andrew Taylor (Trent University) Crusade Love Songs Cathrynke Dijkstra (University of Groningen) The Malmariée Theme in Old French Lyric or What is a Chanson de Malmariée? Susan M. Johnson (Memphis State University) 2:00-3:30 PM: MONDAY SESSION II 5. EARLY OLD FRENCH NARRATIVE Chair: David Rollo, Dartmouth College Specular Tales: Canis in the Roman des Sept Sages and Dolopathos Mary B. Speer (Rutgers University) Taming the Warrior Responding to the Charge of Sexual Deviance in Twelfth-Century Vernacular Romance Raymond Cormier (Wilson College) The Case of the Unfaithful Author. The Invention of Briseida in Benoit's Troie Douglas Kelly (University of Wisconsin, Madison) The Ideology of the Roman Antique Paul Clogan (University of North Texas) 6. MIDDLE ENGLISH: FRENCH CONNECTIONS Chair: Craig Davis, Smith College Courtliness in Two Fourteenth-Century English Pastourelles John Scattergood (Trinity College, Dublin) "Out of the Frenssh": Lydgate's Source of the Churl and the Bird-- and the cuckoo is the clue Lenora D. Wolfgang (Lehigh University) English Dream Poems of the Fifteenth Century and their French Connections Julia Boffey (Queen Mary & Westfield College, London) 7. CHRISTIAN PERSPECTIVES Chair: Elizabeth Petroff, University of Massachusetts The "Courtliness" of Heaven: Visions of Paradise in Three Old French Accounts of the Mystic Marriage of St. Catherine William MacBain (University of Maryland) Cil dormi et cele veilla: The Latin Song of Songs Commentary Genre as Trope in the Romances of Chrétien de Troyes Jeanne A. Nightingale (Miami University) Is the First Roman de la Rose Christian? Heather Arden (University of Cincinnati) 8. MEDIEVAL ITALIAN Chair: Charles Ross, Purdue University Frederick II's Magna Curia (1220-50) as a Locus of Courtliness and Humanism V. Louise Katainen (Auburn University) "A Liar's Autobiography": Ironic Misogyny in Boccaccio's Corbaccio Dina Consolini (Yale University) The Quest Motif in Medieval Italian Literature Christopher Kleinhenz (University of Wisconsin, Madison) 4:00-6:00 PM: MONDAY SESSION III 9. ARTHURIAN NARRATIVE Chair: Elspeth Kennedy, Emerita, St. Hilda's College, Oxford The Suggestion of Simultaneity Frank Brandsma (University of Utrecht) Molding Joseph into Merlin's Past Sophie Hand (North Central College) Camelot Through the Eyes of Arthur's Nephews: Seeds of Dissention in the Prose Lancelot Stacey L. Hahn (Oakland University) Rewriting Remembrance in the Lancelot-Grail Cycle Paul Rockwell (Amherst College) 10. LA COUR DES GUELFES II Die Rolandslied-Adaptation am welfischen Hof Wolfgang Spiewok (Universität Greifswald) La Sanespruchdichtung (poésie gnomique, religieuse et politique) à la cour du duc Albert Ier de Brunswick (+ 1279) Danielle Buschinger (Université d'Amiens) Sage and poetische Zersetzung. Uberlegungen zur Funktion von Michel Wyssenherres Eyn buoch von dem edeln hero von Bruneczwigk als er uber mer fuore" Matthias Meyer (Freie Universität, Berlin) 11. LATER FRENCH COURTLY POETRY Chair: Deborah H. Nelson, Rice University Text and Countertext Carol J. Harvey (University of Winnipeg) Machaut's Jugements, Text and Commentary: A Genre Specific to Patronage? Kathleen Mulkern Smail (University of Michigan) Charles d'Orléans and the Authorship of Three Bilingual Caroles Pierre Monnin (University de Neuchatel) Text and Building: Architectural Fictions in the Work of the Rhétoriqueurs David Cowling (Magdalen College, Oxford) 12. TEXT AND ICONOGRAPHY Chair: Donald Hoffman, Northeastern Illinois University Arborial Drama in a Most Uncourtly Genesis Mary Coker Joslin (Raleigh, North Carolina) Reading Illustrations of Tristan Stephanie Cain Van D'Elden (University of Minnesota) The Meeting Place of Heaven and Earth in MS Paris, BN 794: Evidence of Hebrew Influence in the Guiot Erec et Enide Joan Helm (University of Queensland, Australia) 6:30-7:45PM: DINNER: A New England Clambake 8:15PM: BOGUS JOAN by Virginia Scott [Curtain Theater] ____________________________________________ TUESDAY JULY 28 9:00-10:30AM: TUESDAY SESSION I 13. MARIE DE FRANCE: FABLES Organizer and Chair: Hans Runte, Dalhousie University "Que pruzdume diva pur veir": Truth and Deception in the Fables of Marie de France Karen K. Jambeck (Western Connecticut State University) The Fables of Marie de France as Courtly Parody Harriet Spiegel (California State University, Chico) The Other Isopets Keith Busby (University of Oklahoma) 14. CHAUCER I Chair: Carol Heffernan, Rutgers University The End of an Adventure: Sir Gawain and the Green Knight and Chaucer's Troilus and Crisevde Setsuko Haruta (Tokyo University) Criseyde's Honor: Interiority and Public Identity in Chaucer's Courtly Romance Carolyn Collette (Mount Holyoke College) Chaucer's The Book of the Duchess: A Courtly Elegy? Patrizia Grimaldi Pizzorno (Florence, Italy) 15. LATE COURTLY ROMANCE Chair: Paul Rockwell, Amherst College Courtly and Uncourtly Love in the Prose Tristan Janina Traxler (Manchester College) The Man on a Horse and the Horse-Man: Constructions of Human and Animal in a Late Courtly Romance Nathaniel Smith (Franklin and Marshall College) Chivalry and Conversion in the Late Medieval Prose Romance Jennifer Goodman (Texas A & M University) 11:00 AM-12:50PM: TUESDAY SESSION II 16. LATE ROMANCE: CONTEXTS Chair: Rupert T. Pickens, University of Kentucky Courtly Elegance and Extrapolation in Thomas of Saluzzo's Livre du chevalier errant Nadia Margolis (Leverett, Massachusetts) Femmes et pas d'armes dans la Bourgogne de Philippe le Bon Maria Colombo Timelli (Università degli Studi di Milano) Image as Reception: Jehan de Saintré: Tragedy of Betrayal or Comedy of Revenge Jane H. M. Taylor (St. Hilda's College, Oxford) 17. CANSO, TENSO, DEVINALH Chair: Michel-André Bossy, Brown University Loc Aizi/Anima Mundi: Being, Time, and Desire in the Troubadour Canso Charlotte Gross (North Carolina State University) Debatable Fictions: the Tensos of the Trobairitz Matilda Tomaryn Bruckner (Boston College) Intertextuality in the Devinalh M. C. Corcoran (University of Lethbridge, Canada) 18. DUTCH AND FLEMISH LITERATURE Chair: E. M. Beekman, University of Massachusetts Neutral Angels and Princess-slaughterers: the Development of a Motif in Two Twelfth-Century Adventure Travel Romances Clara Strijbosch (University of Utrecht) Bock van Zeden: Three Medieval Flemish Courtesy Poems in the Latin Facetus Tradition T. Meder (University of Leiden) Amor hereos in Middle Dutch Literature: The Case of Lancelot of Denmark Bart Besamusca (University of Utrecht) 19. SIGNIFYING SILENCE Chair: Karen Pratt, Goldsmiths' College, University of London The Grieving Heloise Helen C. R. Laurie (University of Glasgow) Silent Women Deborah H. Nelson (Rice University) Listening to Silence: Secrecy in the Practice of Courtly Love Peggy McCracken (The Newberry Library, Chicago) AFTERNOON AT AMHERST COLLEGE 2:30 PM: WELCOME: Ronald Rosbottom, Dean of Faculty, Amherst College [Buckley Recital Hall] PLENARY ADDRESS II. Chair: Douglas Kelly, University of Wisconsin, Madison Michel Zink (Paris IV, Sorbonne): Un paradoxe courtois: le chant et la plainte 4:00-5:30PM: PRESENTATION OF THE MULTIMEDIA VIDEO ROMAN DE FAUVEL, ERATO (Paris) Introduction: Nancy Freeman Regalado (New York University) and Joel Cohen (The Boston Camerata): Multimedia at the Court of Philip the Fair: The Roman de Fauvel of BN MS FR 146 5:30-7:00 PM: RECEPTION Host: Paul Rockwell, Amherst College VIN D'HONNEUR offered by the AMHERST CHAMBER OF COMMERCE WELCOME : Richard Howland, President, Amherst Chamber of Commerce and a representative of the Town of Amherst ____________________________________________ WEDNESDAY JULY 29 8:00-9:00 AM: Breakfast Meeting of ICLS Bibliographers Chair: Glyn S. Burgess 9:00-10:30 AM: Wednesday Session 20. MEDIEVAL
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]
  • Universität Institut Für Musikwissenschaft Th
    Abschlussarbeit zur Erlangung der Magistra Artium im Fachbereich 9 der Goethe - Universität Institut für Musikwissenschaft Thema: Das Frauenlied im Mittelalter – Homogene Gattung oder unpräziser Überbegriff 1. Gutachterin: Dr. phil. Dipl.-Ing. Britta Schulmeyer 2. Gutachter: Dr. René Michaelsen vorgelegt von: Ann Becker aus: Mainz Einreichungsdatum: 25.10.2016 Inhaltsverzeichnis 1. Einleitung 1.1. Fragestellung………………………………………………………………………1 1.2. Voraussetzungen und Problematiken……………………………………………...2 1.3. Vorgehensweise…………………………………………………………………...5 2. Hauptteil 2.1. Okzitanische Chansons de femme 2.1.1. Geographische und zeitliche Einordnung………………………………….6 2.1.2. Ausgewählte Quellen der Lieder 2.1.2.1. Die Handschrift N – New York, Pierpont Morgan Library, 819……...9 2.1.2.2. Die Handschrift K – Paris, BN, fr. 12473……………………………10 2.1.3. Gattungsanalyse 2.1.3.1. Der Canso……………………………………………………………10 2.1.3.2. Die Planh…………………………………………………………….13 2.1.3.3. Das Chanson de malmariée…………………………………………..15 2.1.3.4. Die Balada…………………………………………………………...16 2.1.3.5. Das Chanson de croisade…………………………………………….18 2.1.3.6. Die Tenso…………………………………………………………….19 2.1.3.7. Sonderfall – Altas undas que venez………………………………….22 2.1.4. Literarischer Vergleich…………………………………………………...23 2.1.5. Musikalische Analyse…………………………………………………….24 2.2.Altfranzösische Chansons de femme 2.2.1. Geographische und zeitliche Einordnung………………………………...28 2.2.2. Ausgewählte Quellen der Lieder 2.2.2.1. Der Chansonnier Francais de Saint-Germain-Des-Pres……………...29 2.2.2.2. Der Chansonnier du Roi……………………………………………..29 2.2.3. Gattungsanalyse 2.2.3.1. Das Chanson d’amour………………………………………………..30 2.2.3.2. Das Chanson d’ami…………………………………………………..31 2.2.3.3. Die Plainte……………………………………………………………33 2.2.3.4.
    [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]
  • 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.
    [Show full text]
  • How the Villanelle's Form Got Fixed. Julie Ellen Kane Louisiana State University and Agricultural & Mechanical College
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1999 How the Villanelle's Form Got Fixed. Julie Ellen Kane Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Kane, Julie Ellen, "How the Villanelle's Form Got Fixed." (1999). LSU Historical Dissertations and Theses. 6892. https://digitalcommons.lsu.edu/gradschool_disstheses/6892 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been rqxroduced from the microfilm master. UMI films the text directfy firom the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fiice, vdiile others may be from any typ e o f com pater printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e g., maps, drawings, charts) are reproduced by sectioning the original, b^innm g at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • Bedt Authgen Attgen Author Attribution Genre Argomento
    Ms T (Paris 15211) BEdT AuthGen AttGen Author Attribution Genre Argomento 372,003 4 N/A Pistoleta n/a sirventes cortese, con chiusura amorosa 461,154 N/A Anonymous n/a cobla N/A 306,002 5 N/A Montan n/a tenso (fictitious) N/A 87,001 5 N/A Bertran del Pojet n/a tenso (fictitious) N/A 372,004 4 N/A Pistoleta n/a tenso (fictitious) N/A 436,002 5 N/A Simon Doria n/a tenso N/A 238,002 N/A N/A Guionet n/a tenso (partimen) N/A 392,029 3 N/A Raimbaut de Vaqueiras n/a tenso N/A 139,001 N/A Enric n/a tenso (partimen) N/A 283,002 5 N/A Lantelm n/a tenso (partimen) cortese, amoroso 366,030 3 N/A Peirol n/a tenso (partimen) cortese, amoroso 185,002 4 N/A Graf von Rodez - lo Coms de Rodes n/a tenso (partimen) N/A 249,002 3 N/A Guiraut de Salaignac n/a tenso (partimen) cortese, amoroso 457,016 4 N/A Uc de Saint Circ n/a canso N/A 432,002 4 N/A Savaric de Malleo n/a tenso (partimen) a three N/A 167,044 3 N/A Gaucelm Faidit n/a tenso (partimen) N/A 52,004 N/A Bernart n/a tenso (partimen) N/A 295,001 3 N/A Maria de Ventadorn n/a tenso (partimen) cortese, amoroso 194,002 4 N/A Gui d'Uisel n/a tenso (partimen) N/A 384,001 4 N/A Prebost de Valensa n/a tenso (partimen) N/A 16,015 4 N/A Albertet de Sestaro n/a tenso (partimen) N/A 186,001a 4 N/A Graf von Toulouse - lo Coms de Toloza n/a coblas exchange N/A 461,142 N/A Anonymous n/a two coblas N/A 242,064 2,3 N/A Guiraut de Borneill n/a alba religioso 282,024 5 N/A Lanfranc Cigala n/a two coblas with tornada N/A 282,024 5 N/A Lanfranc Cigala n/a two coblas with tornada N/A 282,024 5 N/A Lanfranc Cigala n/a two
    [Show full text]
  • Curriculum Vitae 1 OLIVIA HOLMES Department of English, General
    Curriculum Vitae 1 OLIVIA HOLMES Department of English, General Literature & Rhetoric and Center for Medieval & Renaissance Studies Binghamton University State University of New York Binghamton, NY 13902-6000 [email protected] 607-777-2730 Academic Career: 1/2017– Director, Center for Medieval & Renaissance Studies (CEMERS) and Medieval Studies Program, Binghamton University 2016–present Professor of English and Medieval Studies, Dept. of English and CEMERS, Binghamton University 2014–2016 Associate Professor of English and Medieval Studies (with tenure), Dept. of English and CEMERS, Binghamton University 2012–2014 Associate Professor of English and Medieval Studies (without tenure), Dept. of English and CEMERS, Binghamton University 2009–2012 Visiting Associate Professor of Italian and Medieval Studies, Dept. of Romance Languages and CEMERS, Binghamton University 2007–2009 Visiting Associate Professor of Italian, Dept. of French & Italian, Dartmouth College 1/2006–07 Visiting Associate Professor of Italian and English, Depts. of French & Italian and English, Colby College 2002–12/2005 Associate Professor of Italian on term, Dept. of Italian Language and Literature, Yale University 1996–2002 Assistant Professor of Italian, Dept. of Italian Language and Literature, Yale University Education: Ph.D. 1994 Northwestern University, joint program in Italian and Comparative Literature & Theory. Dissertation: “From the Canso to the Canzoniere: The Emergence of the Autobiographical Lyric Cycle.” Advisor: Prof. Albert R. Ascoli M.F.A. 1982 The University of Iowa, Iowa Writers’ Workshop: Poetry B.A. 1980 Yale University, English literature: graduated “Magna cum laude” Olivia Holmes 2 Publications and Research: Books Dante’s Two Beloveds: Ethics and Erotics in the Divine Comedy. New Haven: Yale University Press, 2008.
    [Show full text]
  • Diccionario Español De Términos Literarios Internacionales
    Diccionario Español de Términos Literarios Internacionales CONSEJO SUPERIOR DE INVESTIGACIONES CIENTÍFICAS Madrid, 2015 Diccionario Español de Términos Literarios Internacionales (DETLI) Dirigido por Miguel Ángel Garrido Gallardo sirventés (Del occitano medieval sirventetz/sirventesch/serventez). Género poético cultivado originariamente por los trovadores medievales occitanos en el que el compositor reutiliza la estructura estrófica, las rimas y la melodía de una composición ya conocida. De temática no amorosa, se fundamenta en el maldecir, la censura personal o bien la crítica de carácter general. En algunas artes de trovar catalano-provenzales, tales como la Doctrina de compondre dictats o las Leys d’amors, se explica el origen del término sirventés por razón de ser este un género poético en el que el compositor reutiliza las estructuras estróficas, las rimas y la melodía de una composición conocida (se sirve de ella). La Doctrina alude, además, a una segunda explicación según la cual esta modalidad poética sería obra compuesta por un vasallo (servent) como servicio a su señor. Desde el punto de vista formal (estructura estrófica, métrica, rima…) no se diferenciaría de la cansó de tema amoroso, si bien el tratado de Ripoll incide en que por norma el sirventés sólo tiene cinco estrofas. Además de en el citado recurso compositivo del contrafactum, que facilitaría la inmediatez del ataque al evitar el laborioso proceso de elaboración de una nueva melodía, la especificidad del sirventés radica en los contenidos tratados, de los que se excluye la temática amorosa. La materia del sirventés es variada e incluye los acontecimientos bélicos y políticos relevantes, así como el maldecir, la censura personal y la crítica de carácter general.
    [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]
  • 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.
    [Show full text]
  • Troubadour Song As Performance: a Context for Guiraut Riquier’S “Pus Sabers No’M Val Ni Sens”
    Troubadour Song as Performance: A Context for Guiraut Riquier’s “Pus sabers no’m val ni sens” Susan Boynton The songs of the troubadours present the fundamental challenge of under- standing poetry as music. Although the Old Occitan lyric corpus was a sung tradition from its origins in the twelfth century, we do not know exactly how it sounded; the poetry and musical notation of troubadour song are only skeletal vestiges awaiting completion by the imagination. Miniature biographies of the troubadours known as vidas, which combine elements of fact and fiction, describe some poets as performers who sang and played instruments, while others apparently did not.1 Most manuscript sources of troubadour song lack musical notation; the few chansonniers that do include it provide the pitches and text underlay for one strophe of melody, with the remaining strophes of text laid out in prose format. The absence of music from so much of the written transmission of the corpus can be attributed to factors such as predominantly oral transmis- sion of the melodies (resulting in their loss as the tradition waned) and the circumstances of compilation, which favored the presentation of the songs as poems.2 The repertory travelled in the thirteenth century to northern France, Italy, the Iberian peninsula and beyond through the movement of poets, singers, patrons, and not least, the formation of the manuscript tradition. As Marisa Galvez notes, the very concept of a troubadour corpus as an authorial tradition emerged from the chansonniers. The constitution of poetic personae in these manuscripts stands in for the construction of poetic agency and voice that would have occurred in performance (2012: 59–64).
    [Show full text]