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LITERATURE by MICHAEL J Occitan Studies 309 LITERATURE By MICHAEL J. RouTLEDGE, Senior Lecturer in French, Royal Holloway and Bedford New College, University ofLondon I. MEDIEVAL PERIOD Bibliographical work includes M. Routledge, 'Bibliographie de la litterature occitane du moyen age, 3'' BAIEO, 9: I-54· I d., 'An itat-prisent of Occitan lyric: editions extant and desiderata', Tenso, 8: I I6-3I, identifies neglected material. Belated publication of Atti (Turin) means that articles have appeared after their author's book has covered the ground more extensively. Such is the case with R. E. Harvey, 'A propos d u contexte de Cortes amen vuoill comensar de Marcabru (PC 293,I5)', Atti (Turin), I, I65-8o (The Troubadour Marcabru and Love, I989); S. Kay, 'Allegorie et subjectivite dans la poesie des troubadours', ib., 207-I9 (Subjectivity in Troubadour Poetry, I99o); S. Gaunt, 'Pour une esthetique de !'obscene chez les troubadours', ib., IOI-I7 (Troubadours and Irony, I989); and with L. M. Paterson, 'Stereotypes geographiques et ethniques en Occitanie aux xne et xme siecles', ib.; 269-82. This reappears in Linda M. Paterson, The World ofthe Troubadours: Medieval Occitan Society, c. I 100- c.IJOO, CUP, xxix + 302 pp., a wide-ranging study with chapters on feudalism, knights, courts and courtiers, peasants, towns, medicine, women, children, clergy, heretics and inquisitors. R. E. Harvey, 'joglars and the professional status of the early troubadours', MAe, 52:22 I-4I, concludes that, for the early period, vidas are an unreliable guide. L. Regina Bruno, 'Ensenhamen e cortesia', Atti (Turin), I, 307-25, confronts Garin lo Brun's Ensenhamen with lyric references. A. Rieger, 'Les troubadours-fantomes en Italie', ib., 327-47, establishes which are the troubadours for whom no songs have survived and which are fictitious. L. Lazzerini, 'A proposito di due "Liebesstrophen" pretrobadoriche', CN, 53: I 23-34, compares late I I th-e. stanzas in Harley 2750 with poems by J. Rudel, B. Marti, and B. de Ventadorn. A.-M. Mussons, 'Fols etfols naturaus chez les troubadours', Gouiran, Contacts, m, I 053-69, attempts definitions and offers illustrative examples. C. Corcoran, 'Intertextualite dans le devinalh', ib., 865-77, examines songs by Guilhem IX, R. d'Aurenga and G. de Borneil to show how later examples cast light on the Vers de dreit nien. B. Saouma, 'La complainte funebre chez les troubadours et chez saint Bernard', ib., I I59-73, finds abundant resemblances between the plank and Bernard's funeral orations. G. Sigal, 'The pit or the pedestal? The dichotomization of the lady in the troubadour lyric', RR, 84: I09-42, sees alba poets as enacting a reconciliation between 'canso-damna and pastorela shepherdess'. D. Billy, 'L'analyse distributionnelle des vers Occitan Studies cesures dans la poesre lyrique medievale occitane et fran~aise'' Gouiran, Contacts, III, 805-28, studies stable and unstable structures related to the caesura. Id.,'De la ligne au cercle, du ruban ala bande et du cylindre au tore ou de l'art des reseaux rimiques chez les troubadours', LaF, 99:5-25, offers an account of the range of rhyming techniques. A. Krispin, 'La tradition manuscrite des trobairitz: le chansonnier H', Atti (Turin), I, 23I-42, identifies three examples of 'trobar feminin', perhaps also the earliest fragment of a crusade song with a feminine voice. W.C.M. Wiistefeld, 'A propos des manuscrits occitans du XIVe siecle: quelques echantillons', ib., 4og--I8, is an account of the richness and variety of the manuscripts produced in Toulouse. Id., 'La Chronique du Pseudo-Turpin: version occitane, la traduction et le manuscrit', Gouiran, Contacts, III, I 20 I-I 2, studies the version in BL Additional I 7920 and examines its relationship with BL Egerton I 500. W.D. Paden, 'Old Occitan as a lyric language: the insertions from Occitan in three thirteenth-century French romances', Speculum, 68:36--53, puts the language of the insertions into a sociolinguistic context. Among numerous other articles on influence and intertex­ tuality, Gouiran, Contacts, III includes: F. Jensen, 'Les troubadours et l'eveil poetique de l'Italie' (983-89); M. Routledge, 'Troubadours, trouveres et la cour du Puy' (r 133-44); M.-R. Jung, 'Rencontres entre troubadours et trouveres' (99I-IOoo); L. Rossi, 'La "chemise" d'lseut et l'amour tristanien chez les troubadours et les trouveres', (I I Ig--32); C. Alvares and A. Diogo, 'La lyrique galego-portugaise. L'influence proven~ale et le cas des pastourelles' ( 737-5 I); P. Lorenzo Gradin, 'U n genero y dos tradiciones literarias: provenzales y gallego-portugueses' ( 737-5 I); C. M. Martinez Blanco, 'Proverb is de Guilhem de Cervera: posible modelo en provenzal para la literatura didactica de la peninsula iberica' (I 025-30); C. Mejia Ruiz, 'Aspec­ tos de oralidade nalguns textos galego-portugueses e occitanicos' ( I045-5I ); I. de Riquer, 'Giraut de Bornelh chez les grammairiens et les troubadours catalans du Xllleme siecle' (I o8g--I I03). The sub­ ject is further explored in V. Beltran Pepi6, 'Los trovadores en las cortes de Castilla y Leon: Gui d'Ussel y Paay Soarez de Taveyros', Atti (Turin), I, 45-64. ]. Gourc, 'D'outre-Pyrenees aux regions transalpines, d'Elias Cairel a Ramberti de Buvalel, un troubadour albigeois au coeur d'un reseau intertextuel', ib., I 3 I-52, examines the songs of Azemar lo Negre as evidence of the complexity ofintertextual relationships and the importance of the Spanish courts in the early I 3th c. Relations between genres are traced in a series of articles concerning Flamenca and the lyric: J.-M. Caluwe, 'Flamenca et l'enjeu lyrique. La mediation de Jaufre Rudel et Peire Rogier', Gouiran, Contacts, III, 837-53; J.-C. Huchet, 'De Dilexi quoniam a Ailas! Que .
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