LITERATURE, MEDIEVAL PERIOD Miriam Cabré and Sadurní Martí, University of Girona
1. Research Tools and Reference Works Narpan: Espai de Literatura i Cultura Medieval,
(45–52). The first volume of the new Història de la Literatura Catalana, dir. Àlex Broch, Literatura medieval (1): Dels orígens al segle XIV, ed. Lola Badia, Barcelona, Enciclopèdia Catalana– Barcino–Ajuntament de Barcelona, contains two chapters on 12th- to 14th-c. Occitan-Catalan literature: Miriam Cabré, ‘La lírica d’arrel trobadoresca’ (219–96), discusses the importance of the Occitan-Catalan cultural exchange and lays the emphasis on the role of troubadours in the Catalan tradition, following this thread from their presence in the Catalan courts, to the emergence of native troubadours and their influence in later Catalan poetry; and Miriam Cabré and Anton M. Espadaler, ‘La narrativa en vers’ (297–372), start their survey of narrative verse in the medieval Crown of Aragon by discussing Ramon Vidal de Besalú, Jaufre, Flamenca and other late troubadour narrative texts. Michel Zink, Les Troubadours: une histoire poétique, Perrin, 368 pp., combines updated research data, interpretative readings of troubadour texts, a wide-ranging knowledge of their contemporary culture, and elegant prose to give a vivid picture of troubadour literature, focusing especially on the earlier period.
2. Editions and Textual Criticism Editions. Sergio Vatteroni, Il trovatore Peire Cardenal, Modena, Mucchi, 2 vols, 1073 pp., offers a much-needed new annotated critical edition of the entire corpus, with Italian translation, and discussion of the order of the corpus, issues of attribution, manuscript witnesses, Miquel de la Tor’s compilation, metrical structure and linguistic features, as well as historical context and chronology. Fabio Barberini, Il trovatore Rostainh Berenguier de Marseilha, Modena, Mucchi, 368 pp., the first critical edition of this corpus of eight poems, pays particular attention to the single manuscript witness and the historical references as well as to the literary comment of the courtly pieces and the metrical analysis of the estampida. Canzoni occitane di disamore, ed. Francesca Sanguineti and Oriana Scarpati, Rome, Carocci, 246 pp., is an anthology of 24 poems, with Italian translations, in which troubadours, chronologically ranging from Bernart de Ventadorn to Bertran Carbonel, reject love, abandon their lady, or otherwise sing to the end of their love. Michel Adroher, Les Troubadours roussillonnais (XIIe-XIIIe siècles), Perpignan, Olivier, 2012, 344 pp., is an anthology comprising the six troubadours born in Roussillon, with French trans lations, biographical sketches and a survey of the motifs they favour. Arnaut Daniel, ‘Fin’amor’ et folie du verbe, ed. Pierre Bec, Gardonne, fédérop, 2012, and Guillaume d’Aquitaine, Le Néant et la Joie, ed. Katy Bernard, Gardonne, fédérop, include translations into modern French. Adriana Solimena, ‘Sordello ~ Carlo d’Angiò, Toz hom me van disen en esta maladia / Sordels diz mal de mi, e far no lo·m deuria (BdT 437.37, 114a.1)’, LT, 6, 8 pp. proposes maintaining the mansucript reading ‘mollir’ and interprets the coblas as a good-natured, satirical, exchange. Marco Grimaldi, ‘Il sirventese di Peire de la Caravana (BdT 334,1)’, CN, 73.1–2:25–72, thoroughly examines the basis for all proposed dates for this sirventes and discards them in favour of a new, later, one (1262), which ousts Peire as the first Italian troubadour. Saverio Guida, ‘Ancora sul sirventese di Peire de la Caravana’, ib., 73–99, adds some details to Grimaldi’s hypothesis, regarding the historical context of the piece and the author’s milieu. Federico Saviotti, ‘Raimbaut de Vaqueiras, Era·m requier sa costum’e son us (BdT 392.2)’, LT, 6, 44 pp., analyses the first conselh song in Rambaut’s corpus, focusing on the meanings of the term conselh, having questioned the foundation of the critical bias towards his ‘atypical’ pieces. Saverio Guida, ‘Raimbaut de Vaqueiras, [Oi] altas undas que venez suz la mar (BdT 392.5a)’, LT, 6, 21 pp., maintains the attribution to Raimbaut, previously questioned by Tavani (YWMLS 70, 281), on the grounds of its affinity with BdT 70.11 (also the work of Raimbaut according to Guida), and some stylistic and linguistic traits. Gerardo Larghi, ‘Per l’edizione critica dei trovatori minori guasconi: critica di un’edizione’, CN, 72.3–4, 2012:353–81,