Poetry, Knowledge and Community in Late Medieval France (Gallica)

Poetry, Knowledge and Community in Late Medieval France (Gallica)

Language: English

Pages: 266

ISBN: 1843841770

Format: PDF / Kindle (mobi) / ePub


Covering the period from the late thirteenth to the early sixteenth century, Poetry, Knowledge, and Community examines the role of poetry in French culture in transmitting and shaping knowledge. The volume reveals the interplay between poet, text, and audience, and explores the key dynamics of later medieval French poetry and of the communities in which it was produced. Essays in both English and French are organised into three inter-related sections, 'Learned Poetry/ Poetry and Learning', 'Poetry or Prose?', and 'Poetic Communities', and address both canonical and less well-known French and Occitan verse literature, together with a wide range of complementary subject areas. The international cast of contributors to the volume includes many of the best-known scholars in the field: the introductory essay is by Jacqueline Cerquiglini-Toulet (Université de Paris IV, Sorbonne), and keynote essays are provided by David F. Hult (University of California, Berkeley), Michel Zink (Collège de France), and Nancy Freeman Regalado (New York University). Edited by REBECCA DIXON (University of Manchester) and FINN E. SINCLAIR (University of Cambridge), with the participation of Adrian Armstrong (University of Manchester), Sylvia Huot (University of Cambridge), and Sarah Kay (University of Princeton). CONTRIBUTORS: Suzanne Conklin Akbari, Mishtooni Bose, Jacqueline Cerquiglini-Toulet, Rebecca Dixon, Thelma Fenster, Denis Hüe, David Hult, Stephanie Kamath, Deborah McGrady, Amandine Mussou, Nancy Freeman Regalado, Jennifer Saltzstein, Finn E. Sinclair, Lori J. Walters, David Wrisley, Michel Zink

Vertigo

Géronimo a mal au dos

The Root and the Flower

The Mystic Fable, Volume 2: The Sixteenth And Seventeenth Centuries (Religion and Postmodernism)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

provides the context for the changing response of prose redactors to Guillaume de Deguileville’s diverse lyrics, as new lyric insertions provided a grafting of knowledge to supplement the reinterpretation of existing modes of poetic discourse. A complementary study of lyric insertions is provided by Wrisley, whose ‘Prosifying Lyric Insertions in the Fifteenth-Century Violette (Gérard de Nevers)’ explores the importance of poetic performance, as the strategic preservation and reinterpretation of

ades de far tot so qu’el volia. Si que la nueit ac lo reis tot so que˙ill plac de leis. E l’endema fo saubut per tota la gen del castel et per tota la cort del rei. E˙N Miraval, que atendia esser ricx de joi per los precx del rei, auzit aquesta novella. Fo˙n tritz e dolens. (Boutière, pp. 392–400) [Et il l’exalta dans ses chansons et dans ses dires, autant qu’il put et sut le faire; et fit sur elle maintes bonnes chansons, célébrant son mérite, sa valeur et sa courtoisie; et il la mit en si grand

the work. To discover the truth hidden within, we must ‘regarder’ and ‘s’arrester’ or linger over obscure, weighty words – ‘les paroles … poisent’. The translator-commentator’s frequent revelation that the songs of women and the sayings of elderly men contain deeper meaning than initially expected primes the reader to recognize that vernacular insertions merit as much attention as the master text – if not more. The physical fragmentation of the source text contributes to the instability of the

writings. Far from praising either women or amorous feelings, the MS 881 selection of 96 from the 256 poems from the Loange series underscores the dangers of such relations. An examination of the opening lines of ballades included in MS 881 makes this clear: we move from ‘Gentil cuer souviengne vous / Des maulx que li mien sentit (Lo 236/fol. 102v) [Gentle heart, remember the pain that mine has felt]’ to ‘Helas amours que vous ay je meffait (Lo 84/fol. 108r) [Alas, Love, how have I wronged you?]’

components of language.13 Not only the acrostic but the meaning of the acrostic’s voice depends upon metaleptic reading, since the text envisions a narrator who claims to write the allegory yet at the same time clearly acts as an allegorical figure for all humans, especially the text’s readers. The dérimage maintains the attention of its source to the ABC’s multiplied voices, within and beyond the allegorical text, so that the ABC lyric retained within prose uses a shift in form to call attention

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