Troubadour Studies

🔗.https://bit.ly/3dItcWj. Il volume raccoglie venticinque saggi sui trovatori, scritti da Pietro G. Beltrami in quarant’anni di costante indagine sulla storia, le singole personalità, il senso, la rilevanza stessa di una tradizione letteraria da sempre al centro della romanistica italiana. In questo panorama l’approccio e lo stile di Beltrami si distinguono per il rigore del metodo ecdotico, la perizia dell’analisi metrica, e soprattutto per un’attenzione estrema al momento interpretativo, motore essenziale del suo interesse. I. LEGGERE I TROVATORI. Leggere i trovatori oggi (e domani?). II. I ‘TROVATORI ANTICHI’. Ancora su Guglielmo IX e i trovatori antichi – Per la storia dei trovatori: una discussione – Cercamon ‘trovatore antico’: problemi e proposte – La canzone «Belhs m’es l’estius» di Jaufre Rudel – Per una rilettura di «Deiosta•ls breus jorns e•ls loncs sers» – Peire d’Alvernhe e l’interpretazione dei trovatori. III. GIRAUT DE BORNEIL. Giraut de Borneil «plan e clus» – Giraut de Borneil, la pastorella ‘alla provenzale’ e il moralismo cortese – Lettura di «Ben cove, pus ja baissa•l ram» (BdT 242,25) – Lettura di «Quan lo fregz e•l glatz e la neus» (BdT 242,60) – Un divertimento di Giraut de Borneil con Delfino d’Alvernia – La canzone «Per solatz revelhar» di Giraut de Borneil – Note su «Ans que venha» di Giraut de Borneil – Appunti per una nuova edizione di Giraut de Borneil – IV. BERTRAN DE BORN. Bertran de Born poeta galante: la canzone della domna soiseubuda – Bertran de Born il giovane e suo padre – Giochi di corte per Bertran de Born («Chazutz sui de mal en pena») – Bertran de Born fuori da Altaforte. Qualche nota su Ges no mi desconort – V. ARNAUT DANIEL. «Lo ferm voler» di Arnaut Daniel: noterella per una traduzione – Arnaut Daniel e la ‘bella scuola’ dei trovatori di Dante. VI. TROVATORI DEL DUECENTO. Appunti su «Razo e dreyt ay si•m chant e•m demori» – Spigolature su Sordello e la poesia italiana del Duecento. VII. QUESTIONI DI METRICA. Variazioni di schema e altre note di metrica provenzale – «Er auziretz» di Giraut de Borneil e «Abans qe•il blanc puoi» di autore incerto. Bibliografia. Indici.

Sonograms are images produced by sound; more specifically, they are produced by ultrasound—sound waves vibrating at frequencies well above the range of what humans can hear, but suitable for producing maps below surfaces such as skin or oceans. Long before scientific devices transduced vibrating air waves into graphics, cultural devices such as voices, instruments, pens and parchment, transmitted sounds in the form of love songs that had an ultrasonic function to produce sonograms that mapped subjects and objects of desire. This essay unites musicology’s concerns with the discursive force of organized sound, and sound studies’ concern with the discursive force sonic environments, recording formats, and media networks, to consider how the widely transmitted medieval song Lanqan li jorn son lonc en mai  by Jaufre Rudel, with its famous refrain of amor de lonh  (“love from afar”) and evocations of the Saracen kingdom, reverberates across time and space to map subjects and objects of desire below skin and across oceans. The first half of the essay examines Lanqan li jorn son lonc en mai  in the context the transcultural sound networks, medieval notions of global geography, and the material formatting of songs. The second half of this essay turns to two modern-day resoundings of Jaufre’s song of distant love:  these are the 1977 recording by the Clemencic Consort directed by René Clemencic; and the 2000 opera by Finish composer Kaija Saariaho called L’amour de loin with a libretto by the Lebanese author Amin Maalouf.  In both cases the song, and the medieval legend that sprung from it, are sonically reimagined to express twentieth-century strife in the Middle East.  Thus while the notes of Jaufre’s medieval song have all but disappeared from these reformattings, its ultrasonic function continues to produce sonograms of desire born of distance.

CONTENTS

October 17th, 2011 [pages 6-15]
I
Persecution and the Art of Writing or Towards a Hermeneutics of Suspicion
from interpretation of the meaning between lines to explanation of the transcendental effect of forms

1. ‘PERSECUTION’: from the threat of philosophical truth to the subversion of the verisimilitude of fiction

2. ‘THE ART OF WRITING’: protection for the author and selective communication with accomplices

i. The protective output: the censor’s impasse and authority outwitted

ii. The communicational output: separation of readerships and selective training in the subversive knowledge

3. The ‘ART OF READING’: from interpretation of the implicit message to explanation of the transcendental revolution in forms

i. The ‘interpretation’ stage: moving from the explicit sense to the implicit intended meaning—criteria for recognizing and reconstructing the concealed message.
  * First stage: criteria for recognizing anomalies that give grounds to suspect second intentions
  * Second stage: reconstruction criteria allowing the implicit meaning to be established

ii. The stage of ‘explanation’: from the sociology of knowledge to transcendental stylistics

October 18th, 2011 [pages 16-31]
II
The Latin Erotic Elegy and the Case of Propertius
from subversion of the Augustan imperial ethos to the metaphysics of dissimulatio

1. Introduction. From the elegiac paradox (irrepressible passion-love in an interruptive texture) to an art of writing between the lines

2. A historico-literary context of substitution: the Roman erotic elegy between poetic dissimulatio and Augustan auctoritas

i. Literary elements that contribute to ‘recognition’ of the elegiac art of writing: from literature as imitatio to irony as dissimulatio

ii. Political elements that contribute to the ‘reconstruction’ of the implied message: elegiac values versus the values of Augustan auctoritas—Propertius’ authorial situation vis-à-vis the vates, Horace and Virgil.

3. Interpretation: an amatory façade for the subversion of imperial values—progressive dissimulatio in Propertius’ writing

i. Propertius’ independence in the Monobiblos: from amatory etiology to the sphragis of political resistance

ii. Propertius’ precautions in Maecenas’ circle, or the art of writing in Books 2 and 3: from the amatory mask to the mask of literary rivalry
  * The love mask: frontal subversion of Augustan moral reforms and marriage laws sheltered in the imperative of ‘irregular elegiac passion’
  * The mask of literary rivalry in the programmatic elegies: from urban recusatio, the refusal to write epic on national themes, to subversion of the Augustan ideals expressed in the official poetry of Horace and Virgil.
  -Subversion of the imperial ideals in Virgil’s poetry: mocking the claims of the Aeneid. Propertius 2.34.
  -Subversion of Horace’s public stances in the Odes. Propertius 3.1-2.
  * The final mask: the use of hyperbole, bad taste and mythological harmonics to subvert the political values and legitimated triumphs of the imperial authority

iii. Propertius under Augustus’ eye: the final dissimulatio in Book 4—subversion by deliberate bad taste and allusion by mythological harmonics.

4. Explanation: from the counterworld of the elegiac fiction to the metaphysics of dissimulatio

i. The sociology of discourse: the counterworld of the elegiac fiction, or the Dionysiac inversion of Apollonian values

ii. Transcendental poetics: the metaphysics of dissimulatio


October 19th, 2011 [pages 32-56]
III
The Love Poetry of the Provençal Troubadours
from the sensualism of the gai saber to the synthesis of sound against the totalitarianism of vision

1. Introduction. A paradoxical contrast – the monotony of the motives of idealized love versus the originality of the couplings of rhyme – as promotion of the queen in a game of warfare

2. A historico-literary context of substitution. Troubadour joi: from the gai saber of Occitan dispersion to the linguistic joculum of the couplings of rhyme

i. The philosophico-discursive side: the naturalistic sensualism of the gai saber vs. Christian orthodox ontotheology

ii. The poetico-literary aspect: the promotion of musical joculum in the couplings of rhyme

3. Interpretation. The naturalistic sensualism of the gai saber: a provocative defense of ‘sensory passion’ in a ‘world governed by chance’

i. The trobar prim (naturau e cortes) of William of Aquitaine (1071-1126): from the paradox of a ‘double-faced poet’ to the game of con in a world of chance
  * The contradictions of a ‘double-faced poet.’ A reading in context
  * The natural register in the companion songs: a pornographic imaginary behind the explicit defense of natural passion.
  * The invention of the ‘courtly love’ register: a confession of unsatisfied desire and submission to the domna as a parody of the new ideals of monastic asceticism.
  * The pseudo-metaphysical register in Farai un vers de dreit nien: an ‘Enigma about Nothingness’ as a parody of the Hyperessence, or immanent naturalism against negative theology.

* Conclusion regarding the interwoven registers at the origin of the trobar: the promotion of passion-love in the immanence of the world behind the defensive façade of courtly love.

ii. Marcabrú’s trobar brau: the paradox of a moralizing but obscene condemnation of love as a parody of preachers that awakens desire.

iii. The courtly trobar or the classic canso in anamorphosis: from confession of a belligerent confrontation over sensory passion to staging of the experience of joi

iv. Arnaut Daniel’s trobar clus: concealment and final communication of the gai saber in the arts of the miglior fabbro del parlar materno
  * The trobar leu and the arrival of the trobar clus: the case of Arnaut Daniel’s trobar ric.
  * The concealment of meanings in the trobar clus.
  * Lexicon and images: the dir strano e bello or the subversion of the metaphorical order
  * Linguistic Marranism and barbarolexia: the Provençal parody of official Latin
  * Impossible images and dream allegories: subversion of the metaphorical order.
  * Verbal music: from the sensory materialization of the joi of the world to the experience of pleasure in the arts of delay
  * Daniel’s characteristic consonance: the song of nature as an invitation to joi
  * The cobla ‘dissoluta’: the arts of amatory delay, intensification of desire by deferred satisfaction, in the sensory field of rhyme. (Sim fos amors de joi donar tan larga).
  * The last stage of the trobar (Lo ferm voler qu’el cor m’intra): linguistic, sexual and metaphysical dissemination in the ‘sestina.’
-The involution of the sestina as the final stage of experimentation in the arts of delay of the trobar (mot refranh, rims estrams, permutations).
-The linguistic dissemination of the words in the poem: from the banal motifs of courtly love to the martial imagery and sensory experience of the pleasures of delay
-The sexual dissemination of images: the pornographic double meaning behind the mask of courtly love
-Metaphysical dissemination in the formal device: the imperative of a ‘game of chance’

4. Explanation. From the foundation of the space of modern lyrical fiction to the synthesis of sound against the totalitarianism of vision

i. Sociology of discourse: the forms of meaning of the trobar as the foundation for the sphere of modern lyrical fiction – from concealment of enjoyment in form to promotion of independent enjoyment of form

ii. Emancipation of the synthesis of hearing versus the totalitarianism of vision and the diurnal image
  * The oral forms of meaning of the Romance tongues versus the written Latinitas
  * From reversal of the hierarchy between material sound and spiritual light to the synthesis of listening vs. the epistemology of vision
  * The significant detail of the ‘alba’: explicit defense of natural passion in the context of a musical and nocturnal perception that turns away from the diurnal vision of the opponents of joi

* Coda. A detective’s art of reading of selective application

In: Danielle Buschinger, Martine Marzloff, Patricia Gillies u. Marie-Genevieve Grossel (Hg.): Literature is Comparative : Toute littérature est littérature comparée. Etudes de littérature et de linguistique offertes à Roy Rosenstein par ses collègues, ses disciples et ses amis. Amiens 2021, S. 519-528.

(Fr) : Cette étude vise  à  analyser  la  prise  de  conscience  de  l’existence  d’une tradition littéraire des troubadours de la première moitié du XVIe  siècle en France. On ne trouve, parmi les traités de ce temps, que des allusions mineures au passé des troubadours, même dans les œuvres relativement bien connues et influentes. Nous tenterons d’esquisser un panorama de ces passages qui, si bref soit-il, pourrait bien illustrer le climat culturel dans lequel intervint Jehan de Nostredame avec ses Vies.

A review of several origin myths relating to the creation of medieval Occitan lyric poetry. We see a preference for a “great man theory” of origins, though the “great man” may be a fictional woman. Medieval and Renaissance Occitan authors, including Uc de Saint Circ, Guilhem Molinier, and Jean de Nostredame, used differing origin myths to validate literature in a language that was perceived not to carry the prestige of twelfth- and thirteenth-century Latin or fifteenth- and
sixteenth-century French.

Tucci (12521737) Graduando em Letras pela FFLCH-USP Resumo: O objetivo deste artigo será estabelecer vínculos, através da análise comparativa, entre Cantigas de Amor, Amigo, Escárnio e Sátira e as diversas produções poéticas-principalmente nas que condizem à Música Popular Brasileira e suas especificidades-da língua portuguesa. Tais semelhanças poderão ser: expressivas, respectivo à mecanismos de linguagem utilizados que se mantém até os dias de hoje, que inspiraram outros que são populares atualmente ou que são parecidos com mecanismos atuais; temáticas, concernindo os assuntos tratados nos textos; linguísticas, na utilização de termos que conseguiram se manter relevantes ao longo dos séculos.

(En): Lois Bellaud de la Bellaudiera (1543-1588?) was one of the most outstanding Provencal poets of his time. Many scholars, such as Robert Lafont, claimed to see in him an important representative of language revival in the Provence region. In this context arises the question as to why Bellaud did not reflect neither use a reference to the antiquity of troubadour poetry, their literarily consecrated koiné, nor its traditional orthography, if he wanted to elevate and literarily re-establish his native language. That's despite the fact that the famous troubadour´s past was only very recently restored by Jehan de Nostredame (1507-1577?) with his troubadour biographies Vies des célèbres et anciens Poètes provençaux (i.e. troubadours) published in 1575. All the more, Bellaud was probably in personal contact with Jehan's nephew and continuator, César de Nostredame. The article attempts to explain this discrepancy by pointing to the change of literary canon in the 16th century. If Bellaud wanted to succeed as a poet, he had to lean towards the emerging postpetrarkistic poetics of the Pléiade and therefore totally reject any medieval literary connotations.

Chrétien de Troyes was one of the greatest French poets of his time, and is referred to as the father of Arthurian Romance. Not much is known about Chrétien's life and death. We do know that he is credited for developing the medieval tradition of courtly love and chivalric practices in poetic form. Twelfth century knights were idealized as being the strongest of warriors, while also upholding chivalric and romantic courtesy towards their women. The conventions of courtly love developed from common behavioral attributes in society, and became, in literary forms, a fantasized version of the ideal love story. Customs of courtly love and chivalry in poetic form were expressed superficially, ultimately creating fantasies of societal manners and morals while excluding the realities of a stratified political life. This paper attempts to show the underlying meanings of these customs found in one of Chrétien's romantic epics "Yvain, The Knight of the Lion".

Il s'agit ici, comme le titre l'indique, du mythe de Tristan et d'Iseult*. Deux ouvrages surtout ont inspiré ces lignes : L'amour et l'Occident de Denis de Rougemont, qui traite des origines culturelles et historiques du mythe dans ses rapports avec l' « hérésie » cathare et l'amour courtois au XIIè siècle, ainsi que We. Understanding the Psychology of Love dans sa traduction allemande Traumvorstellung Liebe – Der Irrtum des Abendlandes de Robert A. Johnson, ouvrage majeur qui semble cependant n'avoir pas été traduit en français mais qu'on pourrait rendre par : L'illusion d'amour ou l'erreur de l'Occident, étude où l'auteur s'essaye à une synthèse entre le Christianisme et l'oeuvre de C.G. Jung. Mais on ne peut traiter du mythe sans se référer au drame musical de Richard Wagner Tristan & Isolde. Il faudra alors souligner, pour une meilleure compréhension du mythe, en quoi Wagner s'est éloigné du modèle médiéval et ce qu'il en a supprimé. La démarche de Tristan à la recherche de l'Anima (au sens Jungien), les émergences de conscience telles des îles dans l'Océan de l'Inconscient, le philtre d'amour et de mort ainsi que le processus d'individuation feront la matière de ce bref essai. L'amour romantique, courtois ou amour passion tel que le mythe le décrit, serait, selon Robert A. Johnson, l'erreur capitale de l'Occident. Il y aurait, dans l'amour passion, confusion entre les niveaux de conscience que représentent l'Anima d'une part, et la conscience « consciente », objective, celle du moi, de l'autre ; l'erreur consisterait selon cet auteur à vouloir « vivre » l'Anima en ce monde, à l'y ramener, alors qu'elle n'est pas de ce monde. Alors la dualité propre à ce plan terrestre ne peut mener à l'Unité, au Un retrouvé, à l'ultime synthèse, que dans la mort. Il faudra voir enfin s'il en est bien ainsi, et pourquoi. Puis, en considérant la mystique et les arts, se demander si l'amour passion, qu'il vaudrait mieux alors appeler « amour mystique », reste une erreur ou bien si, partant d'un niveau de conscience supérieur, il ne s'agit pas là d'une initiation et de la condition même à l'oeuvre d'art. Si, tout simplement, il ne s'agit pas de la Voie royale… * « Yseut » ou « Yseult » ou « Iseut » ou « Iseult » dans les textes médiévaux. Cette graphie sera donc respectée. Mais quand il s'agira du libretto de Richard Wagner dans ce texte, on préférera « Isolde ».

This paper is relevant both to the teaching of classical authors of world literature and the didactic unit of Catalan as a foreign language (CLE), since it presents a didactic activity that introduces the troubadours, their world and their language, by taking their medieval biographies (vidas) as a starting point. The first session is a workshop (about three-hour long), part of a larger didactic unit dedicated to the troubadours. It aims at introducing students to these authors and to Old Occitan by means of biographic sources, images, listening comprehension and a website. This paper also presents TrobEu (www.trob-eu.net/), a new on-line tool about troubadour culture and its context that can prove very useful to secondary-school teachers and lectors of Catalan in non-Catalan universities, to prepare their classes about literature or culture.

Review of Charles Dowsett. Sayat-Nova, An 18th-century Troubadour: A Biographical and Literary Study. Louvain, Belgium/Washington, D.C.: Peeters Publishers/Corpus Scriptorum Christianorum Orientalium of the Catholic University of Louvain and the Catholic University of America, 1997, xviii, 507 pp., in Central Asian Survey, Vol. 21, No. 2, June 2002, pp. 211-215.

Conference paper version. Revised and published as two articles: “The Lyrics of the Troubadour Marcabru: Vocabulary for Love as an Aid to Chronology.”  Neuphilologische Mitteilungen  94 (1993): 323–344 and “The Cansos of the Troubadour Marcabru: Critical Texts and a Commentary.”  Romania  118,3/4 (2000): 336–374

This article gives a general survey of the presence in Hungarian poetry of poetical forms constructed by medieval courtly poets: cansos, sestinas, ballades, rondeaux, and sonnets. The rhyming patterns of medieval and early modern poems in Hungarian were extremely simple, compared to those of the troubadours and their heirs: Hungarian poems having a complicated rhyming and metrical structure are late, and extremely rare till the beginning of the 19 th century. We show how slowly this difference diminished, how, step by step, complicated formal genres entered in the canon of poetry in Hungary. We call the attention to the paradox character of this change, that this formal renewal was more or less parallel with the appearance of free verse and the disappearance of prosodical constraints in the 20 th century poetry in Western Europe, and all over the world. The " radical archaism " of some Hungarian poets in the spirit of Ezra Pound means in this case a " return " to Western poetical forms unparalleled in Hungary before that time. András Ferenc Kovács resolved this by some role-plays, creating poetic alter egos who are presented as forgotten earlier reformers of the poetical tradition of the national literature.

En el contexto del creciente interés filosófico por el modelo de la ‘traducción’, se lo interrogará como clave posible de un pensamiento frágil que, tras el cuestionamiento de los discursos universales de la modernidad, sea capaz de dar cuenta tanto del creciente número de traspasos contemporáneos como de la lectura del pasado, sentando ciertas bases estéticas, éticas e historiográficas. Tomando el caso extremo de la traducción ‘poética’ –F. Hölderlin, E. Pound– el hilo conductor estará dado por “La Tarea del Traductor” de Walter Benjamin, examinando algunas de sus concepciones más radicales –traducción como significación no intencional que deja atrás la mimesis clásica, irrupción violenta del extranjero en lo propio, post-vida del pasado, promesa de lenguaje puro– a la luz de otros textos/testimonios decisivos en la historia de la traducción occidental (Jerónimo, M. Lutero, Cervantes, J. D’Alembert, Th. More, J. G. Herder, J. W. Goethe, W. von Humboldt, F. Schleiermacher, M. Arnold, F. Nietzsche, B. Croce, J. Ortega y Gasset, P. Valéry, M. Blanchot, J. L. Borges, O. Paz, P. De Man, J. Derrida, A. Berman, etc.). Se pondrá especial atención a las implicaciones de ciertas metáforas recurrentes para describir la tarea del traductor –transporte o imitación; injerto de una planta exótica o pintura de un modelo; conquista o visitación del extranjero; asesinato o resurrección del autor; rescate o traición del pasado– así como a ciertos momentos históricos –clasicismo francés, romanticismo alemán, modernismo angloamericano y posmodernismo continental– en los que unas y otras han sido dominantes.

Gli argomenti proposti da Folena e alcuni aggiuntivi relativi al planh di Aimeric de Peguilhan suggeriscono la possibilità che Dante, delineando i tratti della sua Beatrice, possa aver messo in relazione su un piano figurale varie caratteristiche già associate al personaggio della Beata Beatrix. A dare corpo a questo sospetto parrebbe concorrere un ulteriore, significativo argomento, che cioè Giovanna, Lagia e Selvaggia, insomma i più importanti elementi del canone onomastico degli stilnovisti corrispondono a nomi di ben note nobildonne italiane e provenzali cantate dai trovatori. Dunque la genesi dell’intero canone onomastico delle donne cantate dai poeti stilnovisti potrebbe effettivamente implicare procedimenti di mutuazione dall’esperienza lirica dei trovatori occitanici attivi presso le corti italiane a cavallo dei secoli XII e XIII. Si aggiungerà che la lezione «nover de le trenta», attestata per il sonetto sonetto «Guido, i’ vorrei», suggerisce un riferimento ai canoni onomastici trobadorici composti da un numero “tondo” di dame (o gruppi omogenei di esse), trenta il più delle volte. Dante potrebbe essersi attenuto a questa regola, componendo il suo sirventese sulla base di questo numero, che peraltro ben rispondeva alla sua estetica numerologica e che tornava benissimo anche con il nome di Beatrix, nel quale è celato proprio il trenta, XXX = “tri X”.

Brief exposition of the importance of Music in Western aesthetic thought. From Plato, and later, in the Middle Ages, San Isidore of Seville, Guido of Arezzo and Ramon Llull, all thinkers who did meditations on the importance of the aesthetics of harmonic sounds for human existence. In relation to Llull, we deal with the subject from the works "Doctrina pueril" (c. 1274-1276), "Fèlix o el Libre de meravelles" (c. 1289), "Arbre de Ciència" (c. 1295-1296), "Ars generalis ultima" (c. 1305), "Ars brevis" (1308) and especially, the "Libre de contemplació en Déu" (c. 1273-1274).

The Middle Ages greatly valued originality and creativity, although these qualities were not only linked in the long chain of imagination (as we usually do today), but they were also framed in the field of memory. Therefore, the usual assumption that memory is an exclusive resource of an oral society does not seem to be entirely satisfactory: in the Middle Ages the memory was equally present in the more cultured and literary social strata. In fact, during the medieval period, the influence of an inherited pedagogy (from Classical rhetorical roots) meant that the cultivated memory (and the affective appropiation of preexistent material) remained fundamental to medieval literary culture because it was understood as essential not only to reading and composition, but also to the formation of character. This paper suggest some thoughts and sacred and profane examples on this issue.

A cura di Lorenzo Geri, Marco Grimaldi, Nicolò Maldina e Maria Rita Traina. 🔗 https://bit.ly/2YUiIgo. Premessa di L. Geri, M. Grimaldi, N. Maldina, M. R. Traina. GUITTONE MORALE. TRADIZIONE E INTERPRETAZIONE. L. Leonardi, Guittone morale, o la precaria egemonia di un intellettuale rivoluzionario. I. TESTI, TRADIZIONE. A. Beretta, I sonetti morali di Guittone d’Arezzo nella tradizione manoscritta: appunti per una nuova edizione (con un saggio in appendice) - V. Brancato, Per una nuova edizione delle canzoni morali - M. R. Traina, Appunti sulle «Lettere» guittoniane (con una nota su Finfo) - R. Mercuri, Dante storico e critico della letteratura: Guittone (s)canonizzato. II. POLITICA, RELIGIONE, MORALE. L. Geri, La poesia religiosa di Guittone - C. Menichetti, Guittone e la lirica moralistica dei trovatori - A. Montefusco, Politica, religione e società: Guittone e i frati gaudenti - E. Fenzi, Guittone d’Arezzo, ovvero l’etica del «ben fare» V. Torregiani, Guittone d’Arezzo: le parole della politica - F. Fusaroli, Per il lessico morale di Guittone d’Arezzo “Amico” e “Filosofo” III. GUITTONE NEL TRECENTO. S. Finazzi, Le canzoni morali di un guittoniano della metà del Trecento: Gregorio d’Arezzo - M. S. Lannutti, «Ama chi t’ama». Petrarca interprete di Guittone. - F. Zinelli, Guittone civile: le canzoni di Bindo Bonichi (e altri episodi di guittonismo trecentesco). Indici.

A presente dissertação tem como objetivo principal analisar os jograis como sujeitos políticos nas cortes régias e senhoriais em Leão, Castela e Portugal, no século XIII. Identificamos, no decorrer da pesquisa, as várias tendências historiográficas, das mais variadas nacionalidades, que se detêm sobre o assunto jogralesco e, em estreito diálogo com esses autores, buscamos aprofundar as suas especificidades no contexto ibérico. A hipótese que propomos é a de que, no trovadorismo peninsular, os jograis registrados nos cancioneiros são, através de sua produção de cantigas de escárnio e maldizer, agentes politicamente ativos. Especificamente, procuraremos estabelecer as características gerais do jogral peninsular; investigar as redes de poder às quais estavam relacionados com o intuito de mapear as ligações que mantinham com o poder régio e senhorial; conceituar o jogral ibérico como agente politicamente ativo através da produção satírica. As fontes com as quais trabalhamos são, principalmente, as cantigas de escárnio e maldizer dos próprios jograis e as tenções nas quais tenham participado, com o auxílio de documentos de ordem político-jurídica, como Las Siete Partidas del Rey Don Alfonso El Sabio e o Regimento da Casa Real de 1258 de Afonso III de Portugal, e de fontes teológicas, como a Suma Teológica, de Tomás de Aquino (1225-1274), e Príncipes y Juglares, de Raimundo Lúlio (1232-1315).

¿Qué ocurriría si en medio de la aceleración vertiginosa de los traspasos de fronteras
que redefinen el habitar contemporáneo, al punto de exigir una nueva simbolización
del mundo y lo comunitario, todo aquello que ha sido concebido tradicionalmente
a partir de modelos de comunicación transparente e ideal –la constitución
y relación entre los sujetos, las culturas, las cosmovisiones y los tiempos– fuese
refundado a partir de los límites y soluciones de paso que se reconocen en la experiencia
y reflexión de la tarea del traductor?
En el horizonte de una perspectiva trascendental sobre el lenguaje –la lengua
como síntesis y puesta en común de un mundo–, y sin perder jamás de vista la estricta
especificidad de la tarea literaria –lo que lleva a incluir un verdadero curso de
poética–, las cuatro variaciones de esta obra despliegan las implicaciones epistemológicas, éticas, historiográficas y utópicas de una poética de la traducción. Organizadas en torno al estallido del simbolismo de las “vasijas quebradas” que Benjamin utilizara para figurar las relaciones entre las lenguas, tras discernir los límites, diferencias y resistencias de paso entre las partes, la tarea se perfila como una hospitalidad a las formas de significar de lo extranjero en lo propio, como un rescate de la significación pendiente del pasado y como la constitución de una contaminación lingüística ejemplar, nuevo fundamento de la comunidad por venir.

Coniugando i dati provenienti dallo studio della tradizione manoscritta a quelli desumibili dall’analisi di testi particolarmente significativi, questo articolo traccia un profilo critico delle modalità con le quali la tradizione manoscritta trobadorica si è diffusa in area toscana nel corso del Duecento. Si individua cosí un canale di accesso privilegiato alla regione attivo almeno dagli anni Sessanta del XIII secolo in corrispondenza dell’asse Monferrato-Genova-Malaspina. In relazione a questo itinerario fondamentale si definiscono inoltre le tracce di tradizioni minoritarie e si individua un ancora piú antico sostrato di produzione trobadorica legata a quest’area.

As the title shows, these lines deal with the myth of Tristan and Isolde, the myth of the Christian Occident. On the basis of two works―L'amour et l'Occident, by Denis de Rougemont, who primarily considered the myth from the point of view of cultural history in its relationship to Catharism and to courtly love in the twelfth century,; and, We: Understanding the Psychology of Romantic Love, by Robert A. Johnson, which was an attempt to synthesize Christianity and the work of C.G. Jung―the content of the myth is presented using the libretto of Richard Wagner's opera, at the same time pointing out what Wagner omitted and changed in the medieval originals. Tristan's search for his anima (in the Jungian sense), " the islands of consciousness " beyond the sea of unconsciousness, the love and death potion, and the process of individuation are also dealt with. " Romantic love, " as described by the myth, is a mistake according to Robert A. Johnson―in fact it is the Occidental mistake par excellence. The levels of the anima on the one hand and of ego-awareness on the other are confused in that an attempt is made to live out at the earthly level the anima, which is not of this world. In that case, it is only in death that this duality can be made a unity, one whole, a synthesis. Here a further investigation is made as to whether this is really so, and why. Finally, the question is asked whether " romantic love " occurs also by mistake in mysticism and in art, or whether it is due rather to the development of a higher level of consciousness that is required for passing through an essential initiation process and as a precondition for a work of art, if not perhaps part of the Royal Road …