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LITERATURE by Mrchaelj Occitan Studies LITERATURE By MrcHAELj. RouTLEDGE, Senior Lecturer in French, Ro_yal Hollowa_y and Bedford New College, University ofLondon I. MEDlEY AL PERIOD Pride of place must go to Angelica Rieger, Trobairitz. Der Beitrag der Frau in der altokzitanischen hofischen Lyrik. Edition des Gesamtkorpus, Tiibingen, Niemeyer, xiv + 766 pp., a near-encyclopaedic edition including an extensive review of reception and scholarship, analysis oftheje lyrique and of linguistic and rhetorical peculiarities, together with an account of the manuscript tradition. Other work on trobairitz by A. Rieger includes 'Beruf: Joglaressa. Die Spielfrau im okzitani­ schen Mittelalter', Symposion (Paderborn), 22g--42, 'Alamanda de Castelnau - une trobairitz dans !'entourage des comtes de Tou­ louse?', ZRP, 107: 4 7-5 7, and 'La Poetesse de Carcassonne de Paul Heyse ou: comment "moraliser" lafin'amor?', Melanges Bee, 485-g6. Katha­ rina Stadtler, Altprovenzalische Frauendichtung ( nso-1 250). Historisch­ soziologische Untersuchungen und Interpretationen, Heidelberg, Winter ( GRM, Beiheft g), xii + 34 7 pp., is an important study of the status of the trobairitz and includes the text and translation of rg pieces. I. de Riquer, 'El guante robado de Castelloza', AF, 14: 4g--6o, shows how this trobairitz transforms the motif of the glove as love-token. U. Molk, 'Chansons de femme, trobairitz et Ia theorie romantique de Ia genese de la poesie lyrique romane', LS, 35, 1ggo: 135-46 examines the poetics of feminine writing. Amelia E. Van Vleck, Memory and Re-creation in Troubadour Lyric, Berkeley, California U.P., x + 283 pp., is a challenging study which, developing the notion of mouvance, rejects the idea of a 'perfect' or authentic written text as anachronistic and asserts the primacy of performance. Luciano Formisano, La lirica, Bologna, II Mulino, rggo, 448 pp., is an anthology of critical writing on the troubadours in Italian translation. Mario Mancini, II punto su: i trovatori, Rome, Laterza, viii+ 258 pp., is a very similar collection but includes extracts from Stendhal, De !'amour, Nietzsche on 'Frohliche Wissen­ schaft' and Lacan on courtly love andjouissance. Id., '"Gay Saber": Ia questione della stile', Melanges Bee, 307-23, is a review of critical approaches. S. Gaunt, 'Poetry of exclusion: a feminist reading of some troubadour lyrics', MLR, 85, rggo:31o-2g, through readings of Guilhem IX, Marcabru, B. de Ventadorn, A. de Marueil, and R. de Vaqueiras, persuasively deconstructs the critical myth that trou­ badour poetry is about women. V. Fraser, 'Figures and tropes of erotic implication in the Occitan lyric', Tenso, 7: 1-1 1, examines the Literature function of carientismos, diminutio, and aposiopesis in poems by P. Vidal, the Comtessa de Dia and Castelloza. P. Wunderli, 'Reflexions sur le systeme des genres lyriques en ancien occitan', Melanges Bee, 599-6 I 5, is a laborious reclassification, a departure from Kohler's system which gave centrality to the canso. D. Rieger, '"Chantar" und "faire". Zum Problem der trobadoresken Improvisation', ZRP, Io6, I990: 423-35, weighs arguments for and against improvisation in tensos and partimens. A. Torres-Alcala, 'Del libelo politico al sirventes provenzal: una analogia', RoQ, 38: 49-5 7, takes issue with Karen W. Klein (The Partisan Voice, Paris, Mouton, I 97 I) regarding the function of the sirventes and argues that the analogy of the political pamphlet is valid. P. T. Ricketts, 'L' estribot: forme et fond', Melanges Bee, 4 75-83, examines surviving examples (P. C. 3I5, 5 and 335, 64) to see whether the monorhymed alexandrine laisse is the standard form. G. M. Cropp, 'Les expressions mansjonchas et a {de) genolhos dans la poesie des troubadours', ib., I03-I2, catalogues these images and their connotations. G. Le Vot, 'Quelques indices du silence dans la canso des troubadours', ib., 295-306, suggests means whereby melodic discontinuity may have been effected and indicated. New editions of troubadours include Stefano Asperti (ed.), *Il trovatore Raimonjordan, edizione critica, Modena, Mucchi, I 990, 568 pp.' and]. Gourc, *Azemar lo Negre, troubadour albigeois duXfile siecle, Paris, CNRS, I09 pp. R. Taylor, 'Pons d'Ortaffa: images of exile and love', Melanges Bee, 567-75, edits the two surviving songs and shows how this early I 3th-c. poet renewed the dialectic of suffering and joy. U. Molk, "'Quan vei les praz verdesir" ', ib., 377-84, is an edition and commentary on this chanson de fimme. ]. H. Marshall, 'Les jeunes femmes et les vieilles: une tenso (P. C. 88.2 = I 73-5) et un echange de sirventes (P. C. I73.Ia + 88.I)', ib., 325-38, edits, translates, and identifies the participants in this unique cycle. G. Gouiran, 'Le cycle de la bataille des jeunes et des vieilles', Estudis Lafont, I 09-33, addresses precisely the same subject and draws the same conclusions. L. Lazzerini, 'Marcabru, A l'alena del vent doussa (BdT, 293, 2): proposte testuali e interpretative', Messana, 4, I990: 4 7-87, is a new edition and translation of this problematic piece. G. Brunel­ Lobrichon, 'Retlexions sur les manuscrits occitans medievaux', BAIEO, 8: I-I 2, is a guide to the location of 6o manuscripts and fragments. G. D. B. Brunetti, 'Per la storia del manoscritto provenzale T', CN, 5 I : 2 7-4 I, completes an earlier study ( CN, 50:45-73)- Work on individual troubadours includes N. Pasero, 'Due passi controversi di Guglielmo IX: Companho, Jarai un vers [ ... ] convinen (I, I); mandacarrei (u, 8) '' Melanges Bee, 4I 5-23, offering one solution .
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