Relevant bibliographies by topics / Courtly love – Poetry

Academic literature on the topic 'Courtly love – Poetry'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Contents

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Courtly love – Poetry.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Courtly love – Poetry"

1

Yoonhee Park. "Courtly Love Poetry: Language for Seduction." Medieval and Early Modern English Studies 15, no. 2 (August 2007): 355–82. http://dx.doi.org/10.17054/memes.2007.15.2.355.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Dahami, Yahya Saleh Hasan, and Abdullah Al Ghamdi. "MUA'LLAGAT ZOHAYR IBN ABI SOLMA: ELEGANT PIECE OF ARABIC POETRY (1)." International Journal of Applied Research in Social Sciences 3, no. 1 (March 29, 2021): 1–11. http://dx.doi.org/10.51594/ijarss.v3i1.208.

Full text
Abstract:
Zohayr ibn Abi Solma is identified as an eminent poet who produced poetry distinguished with preeminence in courtly and virtuous love. The study employs an analytical and critical methodology, attempting to elucidate the influence of virtuous love narrated by the poet in the first verse lines of his great Mua'llagah. It commences with a terse introductory synopsis shedding light on the importance of classical Arabic and its involvement with poetry. The paper attempts to prove, via the poetry of Zohayr ibn Abi Solma, the greatness of the Arabic classical poetry and demonstrate the aptitudes of the poet through his Mua'llagah. It is divided into four main parts. The first part deals with the greatness of the Arabic language then it moves to the second section that focuses on Arabic Poetry: Treasure of Wisdom. The third one sheds light on the poet's 'The Man and the Poet', and the last main part goes with an analytical and critical endeavor of the first ten verse lines of Al-Mua'llagah of Zohayr. It comes to an end with a conclusion. Keywords: Arabic Literature, Arabic Poetry, Courtly Love Poetry, Courteous Arabic Poetry, Umm Awfa, Virtuous Poetry.
APA, Harvard, Vancouver, ISO, and other styles
3

Ecklund Farrell, Dianne. "Rear Cover: Courtly Love in the Caucasus: Rustaveli’s Georgian Epic, The Knight in the Panther Skin." Carl Beck Papers in Russian and East European Studies, no. 2205 (November 13, 2012): A. http://dx.doi.org/10.5195/cbp.2012.193.

Full text
Abstract:
The Knight in the Panther Skin by Shota Rustaveli is the great medieval (ca. 1200) epic of Georgia, and its most distinctive feature is courtly or romantic love, which is its basic motivating force. This article seeks to establish in which respects The Knight in the Panther Skin resembles Western courtly love, and what the explanation for this resemblance might be. In this endeavor I have had to challenge a common (mis-) conception that Western courtly love was essentially illicit loveOne can easily demonstrate that the literary roots of The Knight in the Panther Skin lie in Persian literature rather than in direct contact with Western courtly love, but the reason for the resemblance to Western courtly love is more problematic. Various possibilities are entertained: namely, (1) that Arab love poetry gave rise to it in Georgia (and possibly also in the West, as has been held); (2) that Neoplatonism produced or constituted a philosophic underpinning for courtly love and that it was transmitted to Georgia and/or Western Europe (a) by Arab Neoplatonists; (b) by Western Christian Neoplatonists or (c) by Byzantine Neoplatonists. A third possibility is (3) that it arose due to social and political conditions. And what were the social and political circumstances in Georgia and in Western Europe which, at the same historical period, produced and elaborated a culture so deferential to the ladies? And which, being absent in the Islamic world, did not produce courtly love there? In Georgia a sovereign queen presided in the era of Georgia’s greatest power, wealth and extent. Feudal servitors crowded the court, eager to gain honors and riches for themselves through preferment by the queen, virtually guaranteeing a cult of adoration of the queen. It is Sovereign Queen Tamar to whom Rustaveli dedicates his poem, and to her that he declares his undying love. In Provence, where there were many feudal heiresses, a similar incentive to “please the ladies” prevailed. No direct influence from the troubadours and minnesaenger of Southwestern Europe can be found. The evidence does not support Arab love poetry as a source of or conduit for courtly love, nor can Arab Neoplatonism have played a role. Byzantine Neoplatonism, however, was prominent in the courtly culture of Rustaveli’s time, and the social and political conditions in Georgia likewise were favorable to the rise of a culture of courtly love. Thus both intellectual and socio-political conditions favored the blooming of courtly love in twelfth-century Georgia.
APA, Harvard, Vancouver, ISO, and other styles
4

Khoddam, Salwa. "The God Amor, the Cruel Lady, and the Suppliant Lover: C.S. Lewis and Courtly Love in Chapter One of The Allegory of Love." Journal of Inklings Studies 3, no. 2 (October 2013): 153–81. http://dx.doi.org/10.3366/ink.2013.3.2.9.

Full text
Abstract:
Lewis’s “effort of the historical imagination” in The Allegory of Love: A Study in Medieval Tradition—commensurate with his innate romanticism—bolstered by like-minded writers as his sources, resulted in his reconstructing of Courtly Love and its characters as a fantasy. While this approach limited his understanding of Courtly Love, its origins and its relationship to marriage and adultery, it allowed him to create a mythology of a Religion of Love: a “quasi-religion” of “service love” between a chevalier/poet and his sovereign lady, under the auspices of the god Amor. This view would elevate the medieval Anglo-French allegorical poem, which he will discuss in the following chapters of his book, as the foundation of the best of poetry that led to Chaucer and Edmund Spenser, his favorite poet.
APA, Harvard, Vancouver, ISO, and other styles
5

Prats, Arturo. "The love poetry of Shelomoh ben Reuben Bonafed: Hebrew poems and courtly love." Journal of Medieval Iberian Studies 3, no. 2 (September 2011): 149–63. http://dx.doi.org/10.1080/17546559.2011.610173.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Eckhardt, Joshua. ""Love-song weeds, and Satyrique thornes": Anti-Courtly Love Poetry and Somerset Libels." Huntington Library Quarterly 69, no. 1 (March 2006): 47–66. http://dx.doi.org/10.1525/hlq.2006.69.1.47.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Pintarič, Miha. "Hate Speech and French Mediaeval Literature." Acta Neophilologica 51, no. 1-2 (November 21, 2018): 63–70. http://dx.doi.org/10.4312/an.51.1-2.63-70.

Full text
Abstract:
Hate speech is spoken or written word which expresses a hostile attitude of a dominating majority towards any kind of minority. The author analyses a few examples of hate speech in literary history and concludes that such a phenomenon is typical of The Song of Roland, whether uttered in a direct way or spoken between the lines. One will expect hate speech in epic and heroic poetry, less in the Troubadour poetry. Yet we come across this awkward characteristic even in their love poetry. To be quite clear, in the poetry of Bernart de Ventadorn. The last part of the article is about the courtly romance. The author concludes that hate speech can only be controlled by love, not any, but the love that makes one a better person, and which the Troubadours called fin’amors.
APA, Harvard, Vancouver, ISO, and other styles
8

Meisami, Julie Scott. "Allegorical Gardens in the Persian Poetic Tradition: Nezami, Rumi, Hafez." International Journal of Middle East Studies 17, no. 2 (May 1985): 229–60. http://dx.doi.org/10.1017/s0020743800029019.

Full text
Abstract:
A striking feature of medieval Persian poetry is the abundance of nature imagery that permeates every poetic genre, and especially imagery relating to gardens. The royal gardens and parks evoked in the descriptive exordia of the qasīda, the luxuriant gardens of romance that provide settings for tales of love, the spiritual gardens of mystical writings, the flowery haunts of rose and nightingale in the courtly ghazal—all provide eloquent testimony to the importance of the garden in Persian culture.
APA, Harvard, Vancouver, ISO, and other styles
9

Piña Pérez, Marucha Claudia. "Amor y guerra en la poesía de Jorge Manrique. Análisis del decir “Castillo de amor”." Medievalia 52, no. 2 (December 2, 2020): 83–98. http://dx.doi.org/10.19130/medievalia.2020.52.2.171865.

Full text
Abstract:
Courtly love poetry from the 15th century has currently become one of the main fields of study of Medieval literature. Among the most prominent authors in this field is Jorge Manrique, author of 26 lyrical dits, and highly known for the Coplas a la muerte de su padre. This investigation proposes the study of the amplificatio resources as a constitutive element of the construction of the love discourse. The loving qualities of the lyrical lover are emphasized in the “Castillo de amor” dit through the repetitive use of the collatio occulta and the prosopopoeia, amplificatio techniques defined by Godofredo de Vinsauf in Poetria Nova.
APA, Harvard, Vancouver, ISO, and other styles
10

Alareer, Refaat, Noritah Omar, and Hardev Kaur. "A Bakhtinian Reading of John Donne’s Parody Poem “The Bait”." Advances in Language and Literary Studies 8, no. 1 (February 1, 2017): 200. http://dx.doi.org/10.7575/aiac.alls.v.8n.1p.200.

Full text
Abstract:
While conventional critics seek the comic aspect of parody, modernist critics credit parody with questioning mainstream literary trends and subverting literary production. For instance, Mikhail Bakhtin believes in parody’s power to create “a decrowning double” by turning the official worldview up-side-down. For experimental poets like John Donne, parody transcends mere comical imitation into a serious practice. Donne, having lived in the heyday of the Renaissance with its overemphasis on decorum and courtly love, sought refuge in parody to resist and disturb existing norms of versification and offer an alternative worldview. This paper examines John Donne’s parody poem “The Bait” in the light of Bakhtin’s concept of parody as a decrowning double. The analysis shows that not only had Donne resorted to parody to criticize the society, but he also employed it to undermine established rules of poetry. The study concludes that Donne used parody to create an important platform to liberate poetry from dominant modes of versification, invite readers, often by means of defamiliarisation, to reconsider their stance and literary taste, and promote experimental styles; thus, Donne transcends the norms of prevalent courtly love poetry once and for all.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Courtly love – Poetry"

1

Del, Pulgar Manuel-Jesús Moreno García. "La poesía de Nicolás Núńez." Thesis, Durham University, 1996. http://etheses.dur.ac.uk/5199/.

Full text
Abstract:
An exponent of the much maligned form cancionero poetry, Nicolás Núńez was one of the few poets writing in this genre who received some recognition. Some years ago Keith Whinnom produced and edition of Continuación of Cárcel de Amor, Nicolás Núńez's poetic works however remain almost entirely unstudied. The aim of this thesis is to produce a critical study and edition of the poetry of Nicolás Núńez, who epitomises a generation of writers devoted to the game of poetry or the game of love. Exploring this definition of love as a 'courtly pastime', I have sifted the formulaic critical appraisal of courtly love, with the aim of clarifying and revising this critical stand point. In the light of the Herculean effort of Keith Whinnom to bring a breath of fresh air to this rather state field of criticism, the first part of my work, based in 15(^th)C Spain, will seek to define the theme of love in the cancioneros in relation to the theory of love as a play phenomenon, and will proceed to the close examination of a seminal text which reveals the ludic characteristics of this genre. Here I elucidate features essential to an understanding of cancionero poetry, which represents a confluence of three strands: the courtly, the religious and sexual. Unfortunately I have been unable to discover any new details relatives to the identity of Nicolás Núńez. My edition upon his poetic opus which proposes new additions to the canon suggested by Alan Deyermond, precedes my critical study of a poet who represents the final work in a chain of learning originating with the Cancionero de Baena, and who is a magnificent exponent of this highly individual 15(^th)C poetic form. In addition, I have considered issues such as the dating and authorship of LBl. Fundamental to my thesis is the first of the four appendices which make up part three. The remaining appendices are a compilation of previously published texts and critical studies, which provide information germane to the understanding of certain chapters.
APA, Harvard, Vancouver, ISO, and other styles
2

McCullough, Eleanor G. ""Except you ravish me" [microform] : the images of Christ as courtly knight, bridegroom, and mother of the soul as woven through the religious love lyric "In a valey of this restles mynde" /." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p048-0326.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

O'Brien, Erica F. ""FLIPPING THE SCRIPT": FEMININE CULPABILITY MODELS IN FIFTEENTH-CENTURY IBERIAN TEXTS." Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/577421.

Full text
Abstract:
Spanish
Ph.D.
This dissertation explores the ways in which feminine culpability is verbally articulated by the male courtly lover to his beloved lady within the amorous relationship in three fifteenth-century Spanish sentimental novels: Diego de San Pedro’s Cárcel de amor, published in 1492, and two of Juan de Flores' sentimental novels, Grimalte y Gradissa and Grisel and Mirabella, both published in approximately 1495, and how these motifs of feminine culpability are subverted in the anonymous fifteenth-century Catalan chivalric novel Curial e Güelfa. This subversion of culpability motifs is facilitated in Curial e Güelfa since there is also a subversion of gender roles within the amorous relationship of the novel's protagonists: a female lover, Güelfa, who courts her male beloved, Curial. To execute this study, I begin by discussing the origins of this rhetoric of feminine culpability in patristic, Biblical and philosophical texts, illustrating their sedimentation into the collective ideologies of medieval audiences. I also examine these feminine culpability models in Provençal lyric poetry written and recited by Occitan troubadours between the eleventh and thirteenth centuries, as one of its particular genres, the mala cansó, aims to not only blame the beloved lady, but also to publicly defame her, a threat that is also ever-present in the words of the male lover in the sentimental novel. After analyzing the tactics used by the male courtly lover to blame the beloved lady for his suffering and the demise of the relationship, I demonstrate how these same tactics are employed by the female characters of Curial e Güelfa toward the beloved man. However, feminine blame still occurs in Curial e Güelfa, manifested as feminine self-blame and blame between women, while the male characters engage in self-absolution, absolution of other men, and utter shirking of the blame. The theoretical framework employed is that of medieval canon law, and the way in which culpability was determined under this law from the twelfth century onward, which was by the intentions of the offender at the time of the crime or transgression rather than the consequences of the transgression. If we examine these fifteenth-century courtly love texts, it becomes clear that the beloved lady is innocent, while the male lover himself is the culpable party. Finally, following Rouben C. Cholakian's reading of the troubadour poetry through the work of twentieth-century psychoanalyst Jacques Lacan, I conclude that although the poet-lover verbally enunciates erotic metaphors and adulating language toward his beloved lady in the guise of courtly love, the true desire that he cannot articulate is to dominate, to overpower, and possibly to eradicate the feminine. Thus, in a Lacanian sense the notion that courtly love literature praises the woman is a fallacy. Both the poet-lover of the Provençal lyric and the courtly lover of the sentimental novel subvert the concept of alleged feminine superiority and exaltation in these texts.
Temple University--Theses
APA, Harvard, Vancouver, ISO, and other styles
4

McCullough, Eleanor G. "Except you ravish me [electronic resource] : the images of Christ as courtly knight, bridegroom, and mother of the soul as woven through the religious love lyric In a valey of this restles mynde /." Theological Research Exchange Network (TREN) Theological Research Exchange Network (TREN) Access this title online, 2006. http://www.tren.com.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Hostert, Thomas. "L'amor cortese provenzale fra hohe Minne e dolce stil novo." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79948.

Full text
Abstract:
In this thesis, a literary historic path on the development of the lyric expression of courtly love will be created. The path will take us from the Provence through Germany and Sicily, and up to the Tuscany of the thirteen's century. The poetic characteristics of the hohe Minne and dolce stil novo will be particularly highlighted in order to facilitate the comprehension of their similarities and differences. It is understood that it will not be possible to offer a complete interpretation of the two lyric expressions. Rather, this thesis wishes to offer a basis for the development of further comparative studies between the German and Italian lyric expressions that were inspired by the Provencal courtly love. As representatives of the evolution of the poetry of love in Germany and Italy, Walther von der Vogelweide and Guido Cavalcanti were chosen for the innovative character of their poetry and the artistic quality of the results they achieved.
APA, Harvard, Vancouver, ISO, and other styles
6

Rueda, Sánchez Marina. "«En cada desdén un rayo»: la impronta del amor cortés en la lírica áurea española." Doctoral thesis, Universitat de Barcelona, 2020. http://hdl.handle.net/10803/671087.

Full text
Abstract:
El amor cortés puede considerarse una revolución en la lírica profana de tipo amoroso que nació en las cortes occitanas del siglo XII y se extendió rápidamente por el país galo hasta pro- pagarse por toda la Europa medieval. La influencia de esta nueva forma poética de entender el amor y a la mujer resulta ostensible en múltiples manifestaciones líricas tanto en la época que la vio nacer como en siglos posteriores, lo cual se observa, especialmente, en la poesía amorosa del Siglo de Oro español, donde los paralelismos entre la corriente trovadoresca y la lírica del mentado siglo afloran prácticamente en toda rima amatoria. El presente estudio ahonda en la repercusión que tuvo la fin’amors en la península ibérica por medio de un análisis en profundidad tanto conceptual como estructural del juego entre imitación e innovación que impregna esta poesía, siempre a partir de la obra de los autores que enmarcan, como hilo conductor ejemplar, lo que llegó a ser la evolución de la fin’amors al amor cortés áureo.
Courtly love can be considered a revolution in the love secular lyric ambit. This lyric born in the courts of the twelfth century and quickly spread throughout the Gallic country up to the medieval Europe, and its influence is present in many lyric works in the way of understanding the poetic figure of love and the woman, especially in the case of the Spanish Golden Age poetry. The intention of this paper it to offer an explanation of the impact of the fin’amors in Hispanic peninsula and, chiefly, in the parallelism between the medieval troubadour and the lyric of Golden Age through a conceptual and structural analysis of the game between imitation and innovation that permeates this poetry, always based on the work of the authors who frame, as an exemplary conductive thread, what became the evolution of the fin’amors for the golden courtly love.
APA, Harvard, Vancouver, ISO, and other styles
7

Säll, Ellen. "Att älska högt och på avstånd : En komparativ analys av kärleksuttrycket inom hövisk kärlek och klassisk persisk poesi av Jalal al-din Rumi och Fakhr al-din Araqi." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-183001.

Full text
Abstract:
This essay aims to examine the expressions of love in classical Persian poetry and the European, medieval courtly love. The main focus is to analyze the Persian divine love using a selection of poems from Jalal al-din Rumis Vassflöjtens sång and Fakhr al-din Araqis Gnistornas bok, both translated and commented by Ashk Dahlén. The method used for this study is to analyze the Persian divine love with the perspective of the courtly love using the questions how the love in the poems are expressed and how it relates to the rules of courtly love. The knowledge behind the Persian poetry is mostly provided by Ashk Dahlén, Bo Utas and Simon Sorgenfrei with Kärleken begär att detta tal skall fram. The divine love is in the analysis compared with different expressions of medieval courtly love throughout the century supported by Anders Cullheds chapter about courtly love in Tidens guld: essayer om kanon, liv, poesi and Carin Franzéns Jag gav honom inte min kärlek: Om hövisk kärlek som kvinnlig strategi. I do a comparative analysis between the Persian poetry and different examples from the courtly love highlighting mostly the similarities but also some important differences. It also examines the use of eros and agape with the help of Anders Johanssons Kärleksförklaring: Subjektiveringens dialektik for a more in depth analyze. In conclusion, I found that there are a lot of similarities in the expression of both worldly and divine contexts but that it is built on different foundations. The essay ends by discussing the predominant similarities and why it might be similar but also problematizes and highlights a few differences like the use of eros and agape and the use of motives. The intention of this essay is to open up for further research regarding the subject and examine why it is possible to find such similarities at the same historical time but in two different parts of the world.
Denna uppsats ämnar jämföra kärleksuttrycket i klassisk persisk poesi med den europeiska, medeltida höviska kärleken. Syftet med denna uppsats är att utifrån ett höviskt kärleksperspektiv analysera hur kärleken kommer till uttryck hos två namn inom den klassiska persiska poesin, Jalal al-din Rumi och Fakhr al-din Araqi. Den gudomliga kärleken har analyserats med hjälp av Rumis samling Vassflöjtens sång och Araqis Gnistornas bok, båda översatta och kommenterade av Ashk Dahlén. Metoden för denna uppsats är att analysera den persiska poesin med hjälp av den höviska kärleken som ett verktyg. Detta kommer att göras med hjälp av frågorna hur kärleken i poesin tar sig uttryck och hur den förhåller sig till den höviska kärleksmodellen. Vetskapen om den persiska poesin tillhandahålls av bland annat Ashk Dahlén, Bo Utas och Simon Sorgenfrei med antologin Kärleken begär att detta tal skall fram. Den gudomliga kärleken jämförs i analysen med olika uttryck av höviska kärlek genom århundradet med hjälp av Anders Cullheds kapitel om hövisk kärlek i Tidens guld: essay om kanon, liv, poesi och Carin Franzéns Jag gav honom inte min kärlek: Om hövisk kärlek som kvinnlig strategi. Jag gör en komparativ analys mellan den persiska poesin och diverse exempel från den höviska kärleken och framhäver framförallt dess likheter men också en del större olikheter. Uppsatsen undersöker också användningen av eros och agape med hjälp av Anders Johanssons Kärleksförklaring: Subjektiveringens dialektik för en djupare analys. Sammanfattningsvis visar analysen en rad likheter i uttrycket inom både värdsliga och andliga sammanhang men också att dessa likheter grundar sig på olika utgångspunkter. Uppsatsen avslutas med att diskutera de övervägande likheterna och varför dessa går att finna men problematiserar och framhäver även de olikheter som går att finna som användadet av eros och agape samt användningen av motiv. Intentionen med denna uppsats är att öppna upp för mer forskning inom området och att undersöka varför det är möjligt att finna dessa likheter under samma tidsperiod i olika delar av världen.
APA, Harvard, Vancouver, ISO, and other styles
8

Whetnall, J. L. "Manuscript love poetry of the Spanish fifteenth century : Developing standards and continuing traditions." Thesis, University of Cambridge, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.377232.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

VELICKÁ, Olga. "Minnesang a dvorská literatura na dvoře posledních Přemyslovců a prvních Lucemburků." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-119457.

Full text
Abstract:
Qualifying work has interdisciplinary charakter. This work is concentrate on knowledge of history and culture of age last members of Přemysl´s dynasty and the first members of Luxembourg´s dynasty. The primary aim of work is to identify the conditions under which there is courtly literature and minnesing on the courts of these rulers. Next aim is using the comparative method to define the basic topics in prose and poetry. The secondary aim is recognizing influence of German and Latin literature domestic and foreign on literature written in Czech. The work ?Minnesing and court literature at the court of last members of Přemysl's dynasty and the first members of Luxembourg's dynasty? deals with years 1283?1306 and 1310?1333 taking into account also past years.
APA, Harvard, Vancouver, ISO, and other styles
10

Jaluška, Matouš. "Dvorná láska v kontextu herních aspektů dvorské kultury (Cantigas de Santa Maria a trubadúrský zpěvník R)." Doctoral thesis, 2017. http://www.nusl.cz/ntk/nusl-357878.

Full text
Abstract:
1./1 Courtly Love in the context of ludic elements of courtly culture (Cantigas de Santa Maria and the troubadour chansonnier R) Matouš Jaluška Abstract Dissertation Courtly Love in the context of ludic elements of courtly culture (Cantigas de Santa Maria and the troubadour chansonnier R) strives to refine on the common notion that the me- dieval courtly poetry is a kind of game. It is based in the tradition of thinking about playing, which is based on the essay Homo ludens of Johan Huizinga and continues through works of Roger Cailloise, Jacques Henriot and Eugen Fink to the current trend of Game Studies. Close reading of the authorities in the introductory chapter shows that each of them assigns an im- portant role to the notion of discontinuity or rupture that enables them to establish the game as a non-binding and safe world. The concept of troubadour poetic creation as a safe activity is explored in the second chapter based on the works of the two founding figures of the trouba- dour tradition, Guilhem de Peitieu ("the Count of Poitiers") and Marcabru. The comparison shows that the safety of troubadour poetry is closely connected with the idea of binding or non-binding language. Binding speech is strongly linked to the image of female power and the ability of women to breed offspring and thus to keep...
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Courtly love – Poetry"

1

Hughes, Cassidy. Petrarch, Dante and the Troubadours: The religion of love and poetry. Kidderminster, Worcestershire: Crescent Moon, 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Christine. Le livre duduc des vrais amans. Binghamton, NY: Medieval and Renaissance Texts and Studies, 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

editor, Demartini Dominique, and Lechat Didier editor, eds. Le livre du duc des vrais amants. Paris: Honoré Champion, 2013.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Manuscript verse collectors and the politics of anti-courtly love poetry. Oxford: Oxford University Press, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Christine. Le livre du duc des vrais amans. Binghamton, NY: Medieval and Renaissance Texts and Studies, 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Cherchi, Paolo. Andreas and the ambiguity of courtly love. Toronto: University of Toronto Press, 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

E, Winters Margaret, and Bibliothèque nationale (France), eds. The Lai de l'ombre. Birmingham, Ala: Summa Publications, 1986.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Castillo, Hernando del. Cancionero general. Madrid: Editorial Castalia, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Castillo, Hernando del. Cancionero general. Madrid: Editorial Castalia, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Manuscripts of English courtly love lyrics in the later Middle Ages. Cambridge [Cambridgeshire]: D.S. Brewer, 1985.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Courtly love – Poetry"

1

Birrell, Anne M. "The Dusty Mirror: Courtly Portraits of Woman in Southern Dynasties Love Poetry." In Expressions of Self in Chinese Literature, edited by Robert E. Hegel and Richard C. Hessney, 33–69. New York Chichester, West Sussex: Columbia University Press, 1985. http://dx.doi.org/10.7312/hege91090-004.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Dunnigan, Sarah M. "Heretical Love-Words: The Poetry of William Fowler." In Eros and Poetry at the Courts of Mary Queen of Scots and James VI, 149–63. London: Palgrave Macmillan UK, 2002. http://dx.doi.org/10.1057/9781403932709_7.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

"‘Words of Seduction’: Courtly Love Poetry." In Sex and Eroticism in Mesopotamian Literature, 124–42. Routledge, 2013. http://dx.doi.org/10.4324/9780203414286-23.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Reynaert, J. "Hadewijch: mystic poetry and courtly love." In Medieval Dutch Literature in its European Context, 208–25. Cambridge University Press, 1994. http://dx.doi.org/10.1017/cbo9780511553967.015.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Eckhardt, Joshua. "Epilogue: Redeploying Anti‐Courtly Love Poetry Against the Protectorate." In Manuscript Verse Collectors and the Politics of Anti-Courtly Love Poetry, 162–72. Oxford University Press, 2009. http://dx.doi.org/10.1093/acprof:oso/9780199559503.003.0006.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Eckhardt, Joshua. "The Politics of Courtly and Anti‐Courtly Love Poetry in the Hands of Collectors." In Manuscript Verse Collectors and the Politics of Anti-Courtly Love Poetry, 33–66. Oxford University Press, 2009. http://dx.doi.org/10.1093/acprof:oso/9780199559503.003.0002.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Sierhuis, Freya. "Centaurs of the Mind." In Fulke Greville and the Culture of the English Renaissance, 99–118. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198823445.003.0006.

Full text
Abstract:
This chapter champions the erotic sonnets of the Caelica cycle, often ignored in favour of the philosophical and religious poems of the middle, and final section of the sequence; highlighting both their playful eroticism and philosophical depth. The love poetry which scrutinizes the relationship between the mistress and the lover in terms of projection and fetishization, on closer inspection turns out to share the same philosophical grounds as the poems which examine the mechanisms of spiritual slavery later in the cycle. While certain poems, such as Caelica 39, 43, and 56 explicate the link between courtly love and idolatry, this chapter argues how Greville’s poetry contributes to the debates on the status of the imagination in Renaissance poetics, faculty psychology, and religious controversy, by exploring its affective investment in the act of poetic fiction-making.
APA, Harvard, Vancouver, ISO, and other styles
8

Eckhardt, Joshua. "‘Love‐song weeds, and Satyrique thornes’: Anti‐Courtly Love Poetry and Somerset Libels." In Manuscript Verse Collectors and the Politics of Anti-Courtly Love Poetry, 67–92. Oxford University Press, 2009. http://dx.doi.org/10.1093/acprof:oso/9780199559503.003.0003.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

"THE DEATH OF COURTLY LOVE AND THE POETRY OF PROSE:." In Jewish Literary Eros, 112–43. Indiana University Press, 2022. http://dx.doi.org/10.2307/j.ctv2b6z9gb.10.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Dickason, Kathryn. "Romancing the Dance." In Ringleaders of Redemption, 174–206. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197527276.003.0007.

Full text
Abstract:
This chapter addresses the relationship between religion and dance in popular, vernacular literature. While some scholars view secular and religious works as separate, unrelated phenomena, I demonstrate how medieval romances co-opted sacred dance motifs. In these texts, dance functioned as a ritual, deifying courtly love (including troubadour lyric) and conferring a sacred aura onto courtliness. The first section uses Guillaume de Lorris’s section of Le Roman de la Rose (The Romance of the Rose) to show how dance in romance championed aristocratic values (including the chivalry of medieval knights), the gift economy, and enchantment. The second section focuses on Jean de Meun’s section of Le Roman de la Rose. It shows how Jean co-opted the Rose’s dance content to critique the project of courtly love. The third section analyzes Dante’s poetry from the Paradiso (Paradise), in which the poeticization of dance enabled Dante to best express divine love.
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Courtly love – Poetry"

1

Мир-Багирзаде, Ф. А. "Oriental symbolism of the ballet "Seven beauties" based on the poem by Nizami Ganjavi." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.91.54.086.

Full text
Abstract:
автор исследует творческие интерпретации произведения поэта-гуманиста Низами Гянджеви (XII в.) из цикла «Хамсе» «Семь красавиц». Поэт, был подлинным эрудитом, знатоком не только коранических текстов, истории, античной и мусульманской философии, но и астрономии. Данная статья – попытка проследить ориентальную символику образов Гянджеви в одной из творческих интерпретаций поэмы «Семь красавиц», через призму хореографического и сценографического искусства. Метод исследования – семиотический анализ, объект исследования – балет «Семь красавиц», объединивший достижения современной европейской хореографии и средневековую восточную поэзию с присущей ей образностью, поставленный на музыку азербайджанского композитора Кары Караева. Композитор К. Караев активно использовал самобытные музыкальные традиции Азербайджана (музыкальные гармонии, мелодика ашугов и элементы народных азербайджанских ладов), сочетая их с европейскими мелодиями и ритмами. Анализируя фильм-балет «Семь красавиц» (1982, режиссер Федор Слидовкер) и новую постановку театра оперы и балета им. М.Ф. Ахундова (2011), автор прослеживает трансформацию либретто и предлагает собственное прочтение символики метафоричного произведения классика Низами Гянджеви. Поиски истины, красоты и справедливости всегда были уделом мыслящего человека. Восточные поэты воспевали этот поиск, этот долгий и трудный путь к истине, идеальному миру. Придворные интриги, роскошь дворца и повседневная жизнь простого народа, благородство, коварство и любовь переплелись в этой метафоричной восточной притче, которая легла в основу нескольких интерпретаций балета «Семь красавиц». Несмотря на большую степень условности, свойственной этому жанру сценического искусства, фильм-балет характеризуется драматургической многоплановостью, органическим сплетением развивающихся сюжетных линий, динамической взаимосвязью социального и лирико-психологического конфликтов. Трансформация либретто балета «Семь красавиц» свидетельствует о новом, более глубоком прочтении, приближению его к идейно-философской метафоричной концепции оригинальной поэмы Низами Гянджеви, воспетому поэтом вечному поиску истины, любви и справедливости со свойственной ему ориентальной образностью. the author explores creative interpretations of the work of the humanist poet Nizami Ganjavi (XII century) from the cycle "Khamse" – "Seven beauties". The poet was a true polymath, an expert not only in Quranic texts, history, ancient and Muslim philosophy, but also in astronomy. This article is an attempt to trace the Oriental symbolism of Ganjavi's images in one of the creative interpretations of the poem "Seven beauties", through the prism of choreographic and scenographic art. The method of research is semiotic analysis, the object of research is the ballet "Seven beauties", which combines the achievements of modern European choreography and medieval Eastern poetry with its inherent imagery, set to the music of the Azerbaijani composer Gara Garayev. The composer G. Garayev actively used the original musical traditions of Azerbaijan (musical harmonies, melodies of ashugs and elements of Azerbaijani folk modes), combining them with European melodies and rhythms. Analyzing the film-ballet "Seven beauties" (1982, directed by Fyodor Slidovker) and the new production of the Opera and ballet theater named after M. F. Akhundov (2011), the author traces the transformation of the libretto and offers his own interpretation of the symbolism of the metaphorical work of the classic Nizami Ganjavi. The search for truth, beauty, and justice has always been the province of the thinking man. Eastern poets sang of this search, this long and difficult path to the truth, the ideal world. Court intrigues, the luxury of the Palace and the daily life of the common people, nobility, guile and love are intertwined in this metaphorical Eastern parable, which formed the basis of several interpretations of the ballet "Seven beauties". Despite the great degree of conventionality inherent in this genre of stage art, the film-ballet is characterized by a dramatic diversity, an organic interweaving of developing storylines, and a dynamic relationship between social and lyrical-psychological conflicts. The transformation of the libretto of the ballet "Seven beauties" indicates a new, deeper reading, approaching it to the ideological and philosophical metaphorical concept of the original poem by Nizami Ganjavi, the poet's eternal search for truth, love and justice with its characteristic Oriental imagery.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Courtly love – Poetry' for particular source types:
Journal articles Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography