Medieval Love Songs MUHL-M295 Spring semester 2021

Classes MWF 1:30-2:20 Note that this is a synchronous online course. In other words, we will meet on Zoom during the official class period. See below for more details.

Prerequisites Good standing in Honors program, or (for medieval studies students) permission of instructor. Note that musical background, or the ability to read music, is not required!

Brief course overview “I thought I knew so much of love, and I know so little....” These words could have been written by any number of songwriters in our time, but they came from the pen of , a thirteenth-century . In this seminar we will explore the various ways love is expressed in the middle ages. Topics will range from the songs of and Minnesinger to the pseudo-autobiographical narrator of ’s songs and narratives, who continually fails at love but succeeds in writing about love. We will consider not only fin’amors, the “” that worships the lady on a pedestal, but also the more earthly shepherdess of the pastourelle, and the divine love that is given to the Virgin Mary. We will trace the roots of medieval love in the Song of Songs, the poetry of Ovid, and the Arabic texts that influenced Iberian culture. Through the lens of love songs of various sorts, we can begin to understand medieval culture, and in the process think more critically about our own.

Course objectives The main goal of this course is for students to understand better the medieval world, and to some extent its impact on the modern world, through the study of a group of texts (with and without music) that deal with the subject of love(s). By the end of the semester, students should be able (among other things) to: • analyze examples of medieval song in various genres • identify basic features of medieval thought as exemplified in specific works • compare the expressions of different types of love in medieval writings 2

The course is designed to meet the following objectives of the Common Curriculum: • “understanding of philosophical and religious traditions”: the class will consider how aspects of religious thought interact with thinking about love in the middle ages • “understanding of cultural traditions and perspectives other than our own”: we will consider many ways in which medieval culture, while related to our own, is different. Particularly important here is the way modern U. S. society distinguishes between sacred and secular forms of love in ways that are blurred in the middle ages. • “knowledge and appreciation of the fine arts and great works (of literature)”: the class will examine works of Ovid and key examples of medieval literature, as well as central aspects of .

This course is appropriate as an Honors course because of its focus on a specific cross- disciplinary topic, its substantial use of primary sources, and its emphasis on discussion.

Instructor Dr. Alice V. Clark e-mail [email protected] Monroe Hall 303 phone 865-3065 Office hours by appointment (https://avclark.youcanbook.me) Pronouns: She, her, hers Preferred title: Dr. Clark

Note that this semester I’m teaching entirely on-line, and I will probably only be on campus rarely. Please don’t think I don’t want to see you, though! I’ll try to set up some open Zoom hours, and I’m glad to make appointments at any time. The youcanbookme page is set up for only M-F 9-5, but I will accept meeting requests outside of that window—just e-mail me and tell me when you’d like to meet, and we’ll figure something out.

It is often easiest to communicate with me by e-mail between classes; barring emergencies or natural disasters, I will answer messages within 24 hours, except on weekends, during breaks, and while attending conferences. (This is a minimal goal, and in real life I usually will reply much sooner, even on weekends!)

Some background: I started my undergraduate career as a music education major, until I encountered a course in music history that answered questions I hadn’t known how to ask. While I don’t expect you to have a similar experience in this course (!), I hope you will come to value thinking and writing about music as useful in its own right, and as helpful to your work. 3

Textbooks and other materials to be purchased by student There will be no textbook for this course. Readings and listening assignments will be on reserve or accessible through on-line resources.

Class preparation and types of assignments A calendar of daily and weekly topics and assignments (with due dates) appears later in this syllabus; this section simply outlines basic expectations. More detail about these elements appears on Canvas.

Preparation for class will usually include some combination of listening and reading. All assigned material will be linked in Canvas and/or available through library resources (such as Oxford Music Online). Note that “preparation” means what it says: this work is to be done before class!

You will make comments on some readings through Perusall. My plan is not to ask you to do this more than once a week, but I reserve the right to change that if necessary. For each set of readings, you should make two-three substantive comments; details will be on Perusall. Since this assignment is designed to help you prepare, comments are due at 10am, and I will look at them before class as part of my preparation.

To do these assignments, you will need to set up a (free) personal account on Perusall: • Go to https://perusall.com/ and click on the “log in” tab at the upper right corner of the screen. • Register for a new account, if you don’t already have one. You may sign in using your Facebook, Google, or Twitter account if you wish, or you may register a new account using your e-mail address. • Once you are logged in, select “I am a student,” and use the course code CLARK- 2D7BN to enter the site. • I will post readings on this site for you to annotate. These will include both primary and secondary sources.

Post-class assignments will include: • Discussion board posts: These will be due most Fridays (by 10pm). Prompts will be rather open-ended and are intended to help you focus your thoughts and extend class discussion. The board is set up so that you can’t see other posts until you have made 4 your own initial post; that is so that you can contribute your thoughts without being overly influenced by others. Once that’s done, though, do check out what your classmates have written! I will not require you to respond to each others’ posts, but I hope you will want to; I will also try to respond to posts at least occasionally. • Essays: Twice you will write essays that will allow you to reconsider what we’ve done in the previous weeks. The prompts (which appear in the course outline below) are deliberately open-ended, so you can shape your response according to your interests. These will take the place of exams. o Essay 1: due by 10pm Friday 19 February o Essay 2: due by 10pm Friday 22 March

I reserve (but do not expect to use) the right to add other assignments as needed.

You will also complete an individual project on a topic of your choice (subject to approval) relating somehow to Mozart’s operas or those of his contemporaries. This assignment can take just about any format, including creative ones! For instance, you may choose to: • perform a medieval song about love (other than one of the songs we’re studying as a class) • create a new setting of a medieval text, or a modern arrangement of a medieval song (for instance, you could create a “cover” like those of Hildegard von Blingin’) • create a short story, poem, dramatic monologue, children’s book, graphic novel, etc. that extends in some way one of the pieces we’re studying, or a similar work • make a film, video, or podcast (fictional, documentary, etc.) that examines or extends in some way one of the pieces we’re studying, or a similar work • make a Buzzfeed-style quiz or listicle, or a Facebook wall or Instagram page, or other social media relating in some way to one of the pieces we’re studying, or a similar work • write an academic paper, annotated bibliography, digital exhibit, or web site

Due dates are given in the course outline below and also appear on Canvas: • proposal: due by 10pm Friday 5 March • project: due by 10pm Friday 30 April

In the end, this is your education—I’ve had mine—and if it’s going to be effective, you must take control of your learning. Like a personal trainer, I can help, but the ultimate responsibility, and the ultimate benefit, is yours. You are always welcome to come to me with questions or for study tips.

5 Class meetings One thing that makes a seminar different from a lecture class is that the students to a much larger extent determine what happens: basically, you will get out of this class what you put into it. That’s why your preparation, attendance, and participation are important! If your voice is missing, we all lose—just as if you were absent from a rehearsal or a performance. What that doesn’t mean is that you have all the answers; indeed, sometimes it’s more important to have questions, so try always to bring in something to ask or something you found interesting to contribute for each class. (Note that “interesting” doesn’t always mean “important”; the former is by definition highly personal.) If you come to class unprepared and looking to be passively enlightened, you may well be disappointed, but, if you come knowing the material and ready with opinions of your own, we can all learn something and have fun doing so.

Life is about showing up—physically and metaphorically.

When we meet, practice being fully present. That means in part limiting as much as possible other distractions--there’s certainly room for a guest appearance by a pet, but maybe you can wait an hour to return that text! Zoom meetings will be recorded and available on Canvas (and deleted at the end of the semester), but it’s not likely to be terribly interesting to watch a video of a discussion in which you can’t participate.

Some basics of Zoom etiquette: • Please mute yourself when you arrive. Background noises and such very quickly become distracting when multiplied. You can unmute yourself whenever you need to speak, then remute yourself. (HINT: in addition to clicking on the microphone on the screen, alt-A or the space bar can allow you to unmute yourself temporarily.) • Please use your video camera when possible. I understand that sometimes you may not want to be seen, for whatever reason, but I hope most of the time we can interact face to face. If you use a Zoom background, please don’t make it too distracting. If someone is sharing the screen, you may want to turn off your camera temporarily, to lower bandwidth for yourself or anyone else having internet issues, then turn it back on when we’re back in the Hollywood Squares / Brady Bunch square. • Feel free to use the chat box for questions or comments. I’ll try to keep an eye on that, as well as any raised hands, so we can deal with questions at any time, just as if we were together!

I value the voice of every student in this course. Our diversity as a class—in race, gender, sex, religion, language, ability, veteran status, place of origin—is an asset to our learning experience. 6 And we are all still learning! I will do my best to provide you with the opportunity to speak and be heard, explore your own understanding, and encounter each other. I want this to be more than a line in a syllabus, so if you have concerns at any time, please feel free to contact me.

Be aware that we may sometimes deal with difficult or controversial issues—but here we do it as historians, so our goal is not to defend our own beliefs or express our own feelings, but rather to learn about how others have thought and felt, whether or not we agree with those views and feelings today. Let’s all work to maintain an open atmosphere where ideas can be exchanged and challenged while still remembering the fundamental human dignity of everyone in the class. Free speech allows for speech that may offend, but not speech that threatens or harasses, and disruptive behavior is a violation of the Student Code of Conduct. Learning how to deal appropriately and effectively with ideas that may offend us (whether we choose to engage or let go) is a useful skill—especially in these difficult times. I’m glad to discuss any concerns you may have privately.

In this course and throughout your degree, you may encounter topics that you may find emotionally challenging, even difficult. If some of this makes you feel uncomfortable, that’s completely normal, and I encourage you to talk with me, your friends, and any campus resource that can help you. Keep in mind that education is supposed to challenge and sometimes even threaten your worldviews. If you feel intellectually or emotionally disturbed by what you learn in class, don’t assume that you should be concerned. It may only mean that you are engaging with new perspectives, which is what college is all about. (adapted from Stephen J. Ceci, Scott O. Lilienfeld, and Wendy M. Williams, “The One-Time- Only Trigger Warning,” Inside Higher Ed, 18 October 2016)

Evaluation This course will use an “ungrading” process, where you will reflect on your learning goals and achievements. This will happen at five points in the semester. Each time, I will ask you both to reflect on what you learned and evaluate how you performed; I will give some general guidelines to think about. Details can be found in the relevant assignments on Canvas. I reserve the right to adjust the grade you give yourself (in either direction), but those who use this kind of "ungrading" say that students usually grade themselves fairly, so I hope not to need to invoke that right.

These assessments, each worth 100 points, are due as follows (subject to change): 7 • Self-assessment 1: due by 10pm Friday 12 February (week 4) • Self-assessment 2: due by 10pm Friday 12 March (week 8) • Self-assessment 3: due by 10pm Friday 9 April (week 12) • Project self-assessment: due by 10pm Friday 30 April (week 15) • Self-assessment 4: due by 10pm Wednesday 5 May (week 16; last day of classes)

I will apply your total points to this scale: A excellent 465-500 points A- 450-464 B+ 435-449 B above average 415-434 B- 400-414 C+ 385-399 C average 350-384 D+ 335-349 D minimal pass 300-334 F fail below 300

University policies A number of University policies that apply to all classes are separately communicated, but I’ll call attention to some of them here: • Academic integrity: everything you submit for this class should represent your work, and I expect you to be ethical in how you use library materials and other resources. That includes respecting copyright law and properly attributing your use of the words, images, music, or ideas of others. This is a matter not only of intellectual property but of personal integrity, and it is also a service to your reader. Academic dishonesty (including, but not limited to, unauthorized collaboration on assignments, plagiarism on papers and essays, and cheating on exams) will receive a penalty; this goes for the person providing information for copying as much as for the person doing the copying. If you have any questions, please ask. • Accessible education: I am glad to do what I can to help students who need accommodations, but keep in mind that you must begin that process with the Office for Accessible Education. Once you have documentation from them, we can talk! • Emergency procedures: this is less of an issue in the spring semester than in the fall (since the beginning of the fall semester coincides with the height of hurricane season), but it’s worth remembering that there are official policies on this point, and in the event of an emergency we are required to continue class electronically. 8 • Finally, there are a wealth of support services available to all students, most housed in the Student Success Center and the University Counseling Center. Please don’t be afraid to get whatever help you need! I’ll add one more thing here: • Any student who faces challenges securing food or housing and believes this may affect performance in the course is urged to contact the office of Student Affairs, Danna Center 205, for support. (There is, for instance, a food pantry, Iggy’s Cupboard, in the basement of the Danna Center.) You may also contact me or another faculty member, if you are comfortable; we may be able to help you navigate University resources or identify other resources. (adapted from Sara Goldrick-Rab)

Course outline (subject to change!) Keep in mind that many of the secondary readings assigned are scholarly essays written on specific issues for specialists in the field. Try to focus on the big picture, and what matters for our purposes: I won’t quiz you on specific vocabulary or picky details, but I may ask questions to try to get discussion going, and you should feel free to bring questions to class.

Week 1 (week of Monday 18 January) Wednesday 20 January: introduction

Friday 22 January: National Seminar on Jesuit Higher Education (no class) • Read pages on misconceptions about the middle ages (Canvas)

Week 2: origins and sources (week of Monday 25 January) Monday 25 January: Classical sources – Ovid • Read: o Amores I.3, 9, 13; II.15; III.11b o Ars Amatoria I.1-134, 723-738; II.233-250, 641-732; III.128-250, 577-610, 769-812 o Remedia Amoris 293-356 • Perusall assignment: two comments posted by 8am

Wednesday 27 January: Biblical sources – The Song of Songs • Read: o The Song of Songs (also known as the Song of Solomon or the Canticle of Canticles) o Bernard of Clairvaux, Sermons on the Song of Songs (Sermons 2-4 and 9) 9

Friday 29 January: Andalusian sources • Read: o Ibn Hazm, excerpts from The Ring of the Dove (“Of the Nature of Love”) o poems by Ibn Zaydun and Yehuda Halevi o songs by Ibn Quzman, ibn Zuhr, al-Ama al-Tutili o María Rosa Menocal, “Love and Its Songs,” from The Ornament of the World: How Muslims, Jews, and Christians Created a Culture of Tolerance in Medieval (New York: Back Bay Books/Little, Brown and Company, 2002) • Discussion board post due by 10pm

Week 3: troubadours and troubairitz (week of Monday 1 February) Monday 1 February: troubadours • Read: vidas of Guillaume IX, duke of Aquitaine (1071-1126), (fl. c. 1129-50), Jaufre Rudel (f. 1120-47), Bernart de Ventadorn (c. 1130/40-c. 1190-1200), Peire d’Alvernhe (fl. 1149-70) • Listen / read (Here and elsewhere, recordings will mostly be found on class playlists in Naxos Music Library, accessible from the library page.): o Guilhem de Peiteus (Guillaume IX), Ab la dolchor del temps novel o Guilhem IX, Pus vezem de novelh florir o Marcabru, Bel m’es quan son li fruich madur o Jaufre Rudel, Lanquand li jorn son lonc en mai o Jaufre Rudel, Quan lo rius de la fontana o (revisit Bernart de Ventadorn, Can vei la lauzeta mover) • Perusall assignment: two comments posted by 8am

Wednesday 3 February: • Read: vidas of the (fl. late 12th-early 13th century), (fl. mid-12th century), , Gui d’Ussel (c. 1170-before 1225) • Listen/read: o Comtessa de Dia, Ab joi et ab joven m’apais o Comtessa de Dia, A chantar m’er de so qu’ieu non volria (only song by a trobairitz to survive with a melody) o Azalais de Porcairagues, Ar em el freg temps vengut o Maria de Ventadorn and Gui d’Ussel, Gui d’Ussel, be.m pesa de vos o , Mout avetz faich long estatge 10 o Comtessa de Proensa (Garsenda de Forcalquier) and Gui de Cavaillon, Vos que.m semblatz dels corals amadors

Friday 5 February: misogyny in troubadour song • Read: R. Howard Bloch, “The Love Lyric and the Paradox of Perfection,” chapter 6 of Medieval Misogyny and the Invention of Romantic Love (Chicago and London: University of Chicago Press, 1991. • Discussion board post due by 10pm

Week 4: from troubadours to trouvères (week of Monday 8 February) Personal self-assessment due by 10pm Friday 12 February Monday 8 February: the pastourelle • Read: Kathryn Gravdal, “The Game of Rape: Sexual Violence and Social Class in the Pastourelle,” chapter 4 of Ravishing Maidens: Writing Rape in Medieval French Literature and Law (Philadelphia: University of Pennsylvania Press, 1991), 104-21. (e-book available) • Listen / Read: o Marcabru, L’autrier jost’ una sebissa o L’autrier quant je chevauchoie o Enmi la roussee que nest la flor o La douçors del tens novel o L’autrier a doulz mois de mai o Quant voi la fleur nouvele • Perusall assignment: two comments posted by 8am

Wednesday 10 February: trouvères • Listen / Read: o Anonymous, Bele Yolanz en ses chambres seoit ( de toile) o Gace Brulé (c. 1160-after 1213), Les oxelés de mon païx o Gace Brulé, A la douçor de la bele seson o Chastelain de Couci (c. 1165-1203), Li nouviauz tanz et mais et violete o Chastelain de Couci, A vous, amant, plus qu’a nulle autre gent o Li chastelains de Couci ama tant o Guillaume le Vinier (c. 1190-1245) and Thibaut de Champagne, Sire, ne me celez mie o Thibaut de Champagne (1201-53), Ausi conme unicorne sui

11 Friday 12 February: writing and reading troubadour and trouvère song • Read: o Simon Gaunt, “Discourse Desired: Desire, Subjectivity, and Mouvance in Can vei la lauzeta mover,” in Desiring Discourse: The Literature of Love, Ovid through Chaucer, ed. James J. Paxson and Cynthia A. Gravlee (Selinsgrove: Susquehanna University Press and London: Associated University Presses, 1998), 89-110. o John Haines, “The First Readers,” chapter 1 of Eight Centuries of Troubadours and Trouvères: The Chainging Identity of Medieval Music (Cambridge: Cambridge University Press, 2004). (Don’t get bogged down in detail, but focus on the big picture.) • No discussion board post

Week 5: scholasticism and the discourse of love (week of Monday 15 February) Essay 1 due by 10pm Friday 19 February: • Write an essay about one aspect of love as manifested in troubadour and trouvère song. You may link your observations to other texts we have studied and secondary literature as appropriate, but ground your argument in primary sources. This is an essay, not a paper, so a couple of pages will likely suffice. You should not need to do research or use materials other than those we are studying as a class, but if you do, you must cite whatever you read. Of course, you also need to cite your source anytime you use the words or ideas of others! Let me know if you have any questions.

Monday 15 February: (Lundi Gras—TBA)

Wednesday 17 February: • Read: Andreas Capellanus, excerpts from De Amore • Perusall assignment: two comments posted by 8am

Friday 19 February: • Read: Bonnie Wheeler, “The Sic et Non of Andreas Capellanus’ De Amore,” in Words of Love and Love of Words, ed. Albrecht Classen (Tempe: Arizona Center for Medieval and Renaissance Studies, 2008) • Discussion board post due by 10pm

Week 6: Germany and the Low Countries (week of Monday 22 February) Monday 22 February: 12 • Read: Gottfried von Strassburg (fl. 1200-20), excerpts from Tristan on music and the ideal courtier • Listen / read: th o Der von Kürenberg (fl. mid-12 c.), Ich zoch mir einen valken (no music; YouTube recording of reimagined setting on Canvas) o Heinrich von Morungen (d. 1222), Owe, solaber mir iemer me (no music; YouTube recording of reimagined setting on Canvas) o Walther von der Vogelweide (c. 1200), Saget mir ieman, waz ist minne? (no music) o Walther von der Vogelweide, Unter den linden o Ulrich von Lichtenstein (c. 1200-1275), Wizzet, frouwe wol getan (no music) o Neidhart von Reuental (c. 1190-after 1236), Meie, din liehter schin • Perusall assignment: two comments posted by 8am

Wednesday 24 February: Beguines and erotic mysticism • Read: o Mechtild of Magdeburg (c. 1207-1282/94): excerpts from The Flowing Light of the Godhead (II.22-23 and 25) o Hadewijch (fl. c. 1240s): poems in stanzas (9, 28, 31, 21) and poems in couplets (15) o Barbara Newman, “The Beguine Knight of Love: Hadewijch’s Stanzaic Poems”, from Barbara Newman, God and the Goddesses: Vision, Poetry, and Belief in the Middle Ages (Philadelphia: University of Pennsylvania Press, 2003)

Friday 26 February: and love among nuns • Read: o letters from Tegernsee o Bruce W. Holsinger, “Sine tactu viri: The Musical Somatics of Hildegard of Bingen,” chapter 3 of Music, Body, and Desire in Medieval Culture: Hildegard of Bingen to Chaucer. Figurae (Stanford: Stanford University Press, 2001). (focus on the discussions of Ave generosa and O viridissima virga) • Listen / read: o Ave generosa (hymn to the Virgin) o O viridissima virga (song to the Virgin) • Discussion board post due by 10pm

Week 7: the (week of Monday 1 March) Project proposal due by 10pm Friday 5 March 13 Monday 1 March: zajal and muwashshah • Read: Dwight F. Reynolds, “North Africa and the Eastern Mediterranean: Andalusian Music,” in The Other Classical Musics: Fifteen Great Traditions, ed. Michael Church, 246-69 (Woodbridge, Suffolk: The Boydell Press, 2015). (e-book available from library catalog) (focus on sections on “History” and “Forms”) • Listen / read (recordings posted/linked on Canvas): o Ibn Zuhr (1113-98), “Ma li-l-muwallah” o Ibn Quzman (d. 1160), “Yahni-kum” o al-A’ma (d. 1126) or Ibn Baqi (d. 1145/50), “Adir la-na ‘akwab” • Perusall assignment: two comments posted by 8am

Wednesday 3 March: cantigas de amigo • Read / listen: o Martin Codax (fl. c. 1240-70), “Ondas do mar de ” and “Ai Deus, se sab’ ora meu amigo” o Nuno Fernandes Torneol (fl. c. 1225?), “Levad', amigo, que dormides as manhanas frias” and “Vieu, mia madr', andar” (no surviving music) o Martin de Ginzo, “Treides, ai mia madr', en romaria” (reconstructed setting on Canvas) o Pero Meogo, “Digades, filha, mia filha velida” (no surviving music) o Mendinho, “Sedia-m'eu na ermida de San Simion” o Airas Nunez, “Oí oj'eu ûa pastor cantar” and “Bailemos nós ja todas tres, ai amigas” o Dom Dinis (1261-1325), “Ai flores, ai flores do verde pino” (no surviving music) o Johan Zorro, “Cabelos, los meus cabelos” and “Pela ribeira do rio salido” (no surviving music)

Friday 5 March: Cantigas de Santa Maria • Read: introduction to Stephen Parkinson, ed., Alfonso X, the Learned, 'Cantigas de Santa Maria': An Anthology, MHRA Critical Texts 40 (Cambridge: Modern Humanities Research Association, 2015). (e-book available) • (optional) Ian Pittaway, " 'I wish from this day forth to be her troubadour': the Composition of the Cantigas de Santa Maria," CSM article 2/6, Early Music Muse (16 November 2017), https://earlymusicmuse.com/composition-cantigas/ • Listen / read (from Parkinson anthology):

o "Rose of Roses" (no. 10, "Rosa das rosas," cantiga 10, cantiga de loor) 14

o "The Woman Who Could Not Remove her Slipper" (no. 12, "Quen mui ben quiser o que ama guardar," cantiga 64)

o "The Wife and the Mistress" (no. 13, "A Groriosa grandes faz," cantiga 68) • Discussion board post due by 10pm

Week 8: the dolce stil novo and Trecento song (week of Monday 8 March) Personal self-assessment due by 10pm Wednesday 5 May Monday 8 March: the dolce stil novo and Trecento song • Read:

o Guido Guinizelli (c. 1230-76), Al cor gentil rempaira sempre Amore o Guido Cavalcanti (b. 1250-59, d. 1300), Donna me prega (with prefatory note) o Dante Alighieri (c. 1265-1321), excerpt from La vita nuova (including translation of sonnet Tanto gentile e tanto onesta pare, Vita nuova XXVI) • Perusall assignment: two comments posted by 8am

Wednesday 10 March: Trecento song • Listen / read (recordings on Naxos playlist): o (c. 1325-97), Ecco la primavera o (fl. 1340-86?), Non al suo amante (text by Petrarch) o Landini, Non avrà ma’ pietà

Friday 12 March: TBA • No discussion board post

Week 9: Marian lovesong (week of Monday 15 March) Monday 15 March: Marian lovesong • Read / listen: o L’autrier m’iere rendormiz o Douce dame virge Marie o , Chanson m’estuet chanteir de la meilleur o other examples TBA • Perusall assignment: two comments posted by 8am

Wednesday 17 March: intersections of fin’ amors and Marian devotion • Materials TBA

Friday 19 March: Marguerite Porete 15 • Readings TBA • Discussion board post due by 10pm

Week 10: the Roman de la Rose (week of Monday 22 March) Essay 2 due by 10pm Friday 26 March: • Write an essay about one aspect of love as manifested in the material we have covered in the past five weeks. You may link your observations to other texts we have studied and secondary literature as appropriate, but ground your argument in primary sources. This is an essay, not a paper, so a couple of pages will likely suffice. You should not need to do research or use materials other than those we are studying as a class, but if you do, you must cite whatever you read. Of course, you also need to cite your source anytime you use the words or ideas of others! Let me know if you have any questions.

Monday 22 March: the Roman de la Rose • excerpts TBA • Perusall assignment: two comments posted by 8am

Wednesday 24 March: Jean de Meung’s Rose • Excerpts TBA

Friday 26 March: TBA • Discussion board post due by 10pm

Week 11: Machaut’s Remede de Fortune (week of Monday 29 March) (These readings look terribly long, but it’s a side-by-side text and translation, and many of the English pages are not full—plus, it’s in many ways an easy read. This text includes a translation of the songs, but I’ll give music, text, and translation of some elsewhere as well.)

Monday 29 March: the lover’s failure • Read: lines 1-1480 (pp. 168-249), including the text of the and complainte • Perusall assignment: two comments posted by 8am Monday

Wednesday 31 March: Hope comforts and teaches the lover • Read: lines 1481-2892 (pp. 250-329), including the text of the royal and baladelle

Friday 2 April: Good Friday (no class)

16 Week 12: Remede II (week of Monday 5 April) Personal self-assessment due by 10pm Friday 9 April Monday 5 April: the lover returns to his Lady • Read: lines 2893-4301 (pp. 328-409), including the text of the remaining songs • Perusall assignment: two comments posted by 8am

Wednesday 7 April: the monophonic songs • Read / listen

Friday 9 April: the polyphonic songs • Read / listen • Look at the digitized manuscript of Machaut MS C (Paris, Bibliothèque Nationale de , MS fonds français 1586), the earliest source for the Remede, and possibly selected images from other sources of the Remede • Discussion board post due by 10pm

Week 13: Machaut’s as “turned-around love songs” (week of Monday 12 April) Monday 12 April: Machaut’s motets as “turned-around love songs” for a spiritual journey • Read Anne Walters Robertson, “Machaut’s Motets 1-17 and the Medieval Mystical Tradition,” chapter 3 of Guillaume de Machaut and Reims: Context and Meaning in his Musical Works (Cambridge: Cambridge University Press, 2002). • Selected motets and excerpts from Suso TBA • Perusall assignment: two comments posted by 8am

Wednesday 14 April: no class

Friday 16 April: National Seminar on Jesuit Higher Education (probably no class) • Discussion board post due by 10pm (will likely drop)

Week 14: Christine de Pizan and Jacqueline Hacqueville (week of Monday 19 April) Monday 26 April: • Read: excerpts from the Querelle de la Roman de la Rose • Perusall assignment: two comments posted by 8am

Wednesday 28 April: songs associated with Jacqueline Hacqueville and Margaret of Scotland 17 • Reading and listening TBA

Friday 30 April: TBA • Discussion board post due by 10pm

Week 15: projects (week of Monday 26 April) Project and project self-assessment due by 10pm Friday This week each of you will report briefly about your project. I expect this will take our class time Monday and part of Wednesday; if that’s the case, we won’t meet Friday while you’re finalizing and posting your project.

Week 16: overflow (week of Monday 3 May) Personal self-assessment due by 10pm Wednesday 5 May Monday 3 May: TBA Wednesday 5 May: TBA

We will not use the final exam time.