Articoli di riviste: "Les Troyens"

1

McKee, D. "Les Troyens. Hector Berlioz". Opera Quarterly 13, n. 1 (1 gennaio 1996): 125–30. http://dx.doi.org/10.1093/oq/13.1.125.

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Rishoi, N. "Les Troyens. Hector Berlioz". Opera Quarterly 19, n. 3 (1 luglio 2003): 521–25. http://dx.doi.org/10.1093/oq/19.3.521.

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3

Glasow, E. T. "Les Troyens. Hector Berlioz". Opera Quarterly 19, n. 3 (1 luglio 2003): 525–27. http://dx.doi.org/10.1093/oq/19.3.525.

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4

Fitzgerald, William. "Fatalis Machina: Berlioz's Les Troyens". Materiali e discussioni per l’analisi dei testi classici, n. 52 (2004): 199. http://dx.doi.org/10.2307/40236452.

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5

Rushton, Julian. "The Overture to 'Les troyens'". Music Analysis 4, n. 1/2 (marzo 1985): 119. http://dx.doi.org/10.2307/854239.

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Van Rij, Inge. ""There is no anachronism": Indian Dancing Girls in Ancient Carthage in Berlioz's Les Troyens". 19th-Century Music 33, n. 1 (2009): 3–24. http://dx.doi.org/10.1525/ncm.2009.33.1.003.

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Abstract Relatively early in the composition of Les Troyens Berlioz declared his intention to include a "pas d'alméées with the music and dancing exactly like the Bayadèères' ballet which I saw here sixteen or seventeen years ago." Despite Berlioz's claim that he had "gone into it" and "there is no anachronism," historical evidence would suggest that the presence of Indian dancing girls in Dido's Carthage is actually highly inauthentic and anachronistic. Indeed, Berlioz's immediate inspiration for the ballet in question was not ancient history but, rather, a group of Indian dancers and musicians who had visited Paris in 1838. An investigation of the context of the bayadèères' performances and the reception of the dancers and their music reveals that issues of authenticity and anachronism were a constant preoccupation for their French audiences, most of whom had previously encountered bayadèères only through the exoticizing lens of Western representations. Berlioz's own references to the bayadèères are examined in relation to contemporary reviews and the text of a highly self-reflexive play that was performed as a prologue and that shaped audiences' responses to the bayadèères' performances at the Thééââtre des Variéétéés in Paris. Although Berlioz is generally thought to have abandoned his intention to embody the 1838 bayadèères in Les Troyens, I argue that he actually retained aspects of his original Indian inspiration in the act IV ballet; moreover, an awareness of the impact of the bayadèères' performances on Berlioz and his contemporaries greatly informs our appreciation of the contribution of the act IV ballet to the wider imperial subtext of Les Troyens. If, rather than simply dismissing anachronism, we are willing to embrace it as a concept fundamental to Berlioz's opera, the act IV ballet——often cut in recent productions——can be newly appreciated as occupying a significant role in the historical dialectic of Les Troyens as a whole.

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Brillet-Dubois, Pascale. "Les dons divins faits aux Troyens". Gaia : revue interdisciplinaire sur la Grèce Archaïque 4, n. 1 (2000): 9–16. http://dx.doi.org/10.3406/gaia.2000.1346.

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PILLINGER, EMILY. "Translating Classical Visions in Berlioz's "Les Troyens"". Arion: A Journal of the Humanities and the Classics 18, n. 2 (2010): 65–104. http://dx.doi.org/10.1353/arn.2010.0005.

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9

Alamichel, M. F. "Brutus et les Troyens: une histoire européenne". Revue belge de philologie et d'histoire 84, n. 1 (2006): 77–106. http://dx.doi.org/10.3406/rbph.2006.5007.

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Dicks, R. C. "A Review of the Met's New Troyens". Opera Quarterly 19, n. 3 (1 luglio 2003): 495–500. http://dx.doi.org/10.1093/oq/19.3.495.

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BUJIC, B. "Review. Hector Berlioz: 'Les Troyens'. Kemp, Ian". French Studies 44, n. 2 (1 aprile 1990): 226. http://dx.doi.org/10.1093/fs/44.2.226.

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12

Sagan, Sandrine, Fabienne Burlina, Diane Delaroche, Baptiste Aussedat, Soline Aubry, Gérard Bolbach, Solange Lavielle e Gérard Chassaing. "Dosage et pistage de peptides Troyens dans les cellules". Journal de la Société de Biologie 200, n. 3 (2006): 213–19. http://dx.doi.org/10.1051/jbio:2006024.

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13

Goldberg, Louise. "Aspects of dramatic and musical unity in Berlioz'sLes Troyens". Journal of Musicological Research 13, n. 1-2 (gennaio 1993): 99–112. http://dx.doi.org/10.1080/01411899308574687.

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Bauzá, Hugo Francisco. "Homère face aux Grecs et aux Troyens ou comment dépasser l’altérité". Caietele Echinox 37 (7 gennaio 2020): 11–18. http://dx.doi.org/10.24193/cechinox.2019.37.01.

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Stalcup, Dane. "Poetic Jolts, Autobiographical Infatuations: The Origins of Hector Berlioz's Les Troyens". Nineteenth-Century French Studies 47, n. 1-2 (2018): 66–81. http://dx.doi.org/10.1353/ncf.2018.0020.

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Hart, B. "The Loves of Hector Berlioz, in His Life and in Les Troyens". Opera Quarterly 19, n. 3 (1 luglio 2003): 331–56. http://dx.doi.org/10.1093/oq/19.3.331.

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17

Westra, Haijo. "Références classiques implicites et explicites dans les écrits des Jésuites surla Nouvelle-France 1". Tangence, n. 92 (24 novembre 2010): 27–37. http://dx.doi.org/10.7202/044940ar.

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Cet article s’intéresse à la pratique de la citation implicite des sourcesclassiques dans les écrits latins des Jésuites sur le Canada, que l’on compare aveccelle de la citation explicite, en usage chez les mêmes auteurs dans les Relations qui, elles, sont écrites en languevernaculaire. L’analyse d’un poème latin figurant en tête du Journal des Jésuites permettra d’illustrer lepropos, en montrant en quoi l’inspiration virgilienne dont il procède met enparallèle la situation désastreuse de la mission jésuite en Nouvelle-France vers1650 avec celle des Troyens exilés dans l’Énéide de Virgile. Ce poème, dont la signification n’a pas étéreconnue jusqu’à ce jour, témoigne d’une sensibilité se démarquant tout-à-fait decelle qui s’exprime dans les Relations.

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18

Anderson, Martin. "London, Wigmore Hall: Erik Chisholm and Ronald Stevenson". Tempo 58, n. 228 (aprile 2004): 75. http://dx.doi.org/10.1017/s0040298204340155.

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Murray McLachlan's première of Erik Chisholm's Sonata in A minor on 4 January marked the centenary of Chisholm's birth (in Cathcart, outside Glasgow) to the day itself. Chisholm was a considerable force for good while he was busy in Scotland: the first British performances of Les Troyens, Béatrice et Bénédicte and Idomeneo; visits to his ‘Active Society for the Propagation of Contemporary Music’ in Glasgow from Bartók, Casella, Schmitt, Sorabji (a close friend), Szymanowski and other luminaries. But he could, apparently, be a difficult man, and with his posting to Singapore by ENSA in 1943, to conduct the Singapore Symphony Orchestra, and subsequent nomination to the chair of the music department of the University of Cape Town in 1946, his native land seems to have been content to forget the outsized personality whom Arnold Bax called ‘the most progressive composer that Scotland has produced’.

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Mafra, Johnny José. "O canto VI da Eneida, a descida aos infernos ou a prefiguração da história de Roma". Cadernos de Linguística e Teoria da Literatura 6, n. 12 (31 dicembre 2016): 103. http://dx.doi.org/10.17851/0101-3548.6.12.103-119.

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Resumo: Este estudo faz uma leitura do Canto VI da Eneida, particularmente do episódio que narra o encontro de Enéias e Anquises nos Infernos e a fala profética do velho patriarca. Porque o poema virgiliano possui conotação histórica, pretende-se aqui mostrar seu valor como fonte da história romana. O poeta volta ao passado, buscando entre os troianos ilustres, como era tradição, as origens da gens romana. A par disso, também se apresenta a doutrina pitagórica e platônica da origem das almas e da metempsicose.Résumé: Cette écude fait une lecture du Chant VI de l' Enéide, spécialement de l' épisode qui raconte la rencontre d' Enée et Anchises dans les Enfers et le discours prophétique du vieux patriarche. C' est parce que le poème virgilen a une connotation historique, qu'on veut ici montrer sa valeur pour l' étude de l' histoire romaine. Le poète retourne au passé, à la recherche, entre les Troyens illustres, comme on pensait, des origines de la gens romana. On présente aussi la doctrine pythagorique et platonique de l'origine des âmes e de la métempsycose.

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Howaldt-Bouhey, Alice. "La Matière de Troie en Terre d'Empire: Les Récits Troyens Allemands (fin du XIIe- fin du XVe Siècle)". Troianalexandrina 19 (gennaio 2019): 395–403. http://dx.doi.org/10.1484/j.troia.5.117051.

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Bedel, Marie. "« Trouver la paix au Moyen Âge » : les ambassades pour un consensus entre Grecs et Troyens chez Guido delle Colonne". Questes, n. 26 (25 settembre 2013): 75–90. http://dx.doi.org/10.4000/questes.1351.

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Bryant-Bertail, Sarah. "The Trojan Women a Love Story: A Postmodern Semiotics of the Tragic". Theatre Research International 25, n. 1 (2000): 40–52. http://dx.doi.org/10.1017/s0307883300013948.

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Charles Mee, before turning to playwriting, authored several well-known political histories. To the last of these, from 1993, he gave the ironically portentous title of Playing God: Seven Fateful Moments When Great Men Met to Change the World. With this deconstructive final word after two decades as a historian, he did not in fact abandon history, but began to write it in the medium of theatre. In doing so Mee has come to share a view articulated by Roland Barthes, who was once a university student of theatre and actor in Greek tragedies: the view that theatre, and Greek tragedy in particular, can illuminate our history as a story unfolding before us, allowing us to connect critically past with present as our best hope for the future. The American director Tina Landau, a frequent collaborator with Charles Mee, likewise believes that the ancient Greek tragedies helped constitute, articulate, and today still codify the structural base in myth and history of Western civilization. Accordingly, Mee and Landau have created a number of what they call ‘site-specific pieces’ adapted from Greek drama, site-specific in that they are created out of the specific material space and time at hand. One of these is The Trojan Women a Love Story which was developed and premiered at the University of Washington in Seattle in the spring of 1996. The production was based on Euripides' play The Trojan Women and Hector Berlioz's 1859 opera Les Troyens, which in turn retells the story of Aeneas and Queen Dido of Carthage from Virgil's epic, The Aeneid.

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Kolb, Katherine. "Flying Leaves: Between Berlioz and Wagner". 19th-Century Music 33, n. 1 (2009): 25–61. http://dx.doi.org/10.1525/ncm.2009.33.1.025.

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Abstract This article analyzes the writings of Berlioz on Wagner and, to a lesser extent, of Wagner on Berlioz, emphasizing the covert innuendoes of their verbal sparring during the period surrounding the Tannhääuser debacle at the Paris Opééra (1860) and Berlioz's tribulations with Les Troyens (ca. 1853––63). Because Berlioz's style and subtlety have worked against him in this famous rivalry, the priority goes to him, and especially to his magnum opus as critic, the volume A travers chants (1862). A selection from thirty years of music criticism both serious and light ("flying leaves"), A travers chants reveals itself as an unconventional counterpart to Wagner's treatises; as a tactical response to Wagner, both in the reprinted review of his 1860 concerts and in the structure, themes, and allusions of the text as a whole; as an object lesson in reading Berlioz, whose engaging clarity and humor can be more deceptive, in their ironic undertones, than the thickets of Wagner's famously tangled prose. This article interrogates some of that prose, revealing Wagner's deep ambivalence toward a predecessor of intimidating prestige to whom his music is frequently indebted——as Berlioz occasionally finds coded ways of reminding him. It shows Berlioz, for his part, continually sympathetic to the younger man's practical difficulties and high artistic ideals. And it shows him eventually coming to acknowledge the power and legitimacy of his music, despite strong aversion to Wagner's harmonic idiom and to the two cardinal points of his aesthetic: an "impious" insistence on the primacy of the word; belief in a musical progress culminating in his own Gesamtkunstwerk. In a late letter wrongly omitted from the Correspondance géénéérale (its authenticity and correct date are here established), Berlioz movingly implies the injustice of his earlier prejudice toward a practice sanctioned by his own unshakeable creed of artistic freedom.

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Postlethwaite, N. "Trojan Prosopography - Paul Wathelet: Les Troyens de l'Iliade.Mythe et Histoire. (Bibliothèque de la Faculté de Philosophie et Lettres de l'Université de Liège, 252.) Pp. 292. Paris: Les Belles Lettres, 1989. Paper. - Paul Wathelet: Dictionnaire des Troyens de l'Iliade. (Documenta et Instrumenta, 1.) 2 vols. Pp. iv + 1603. Université de Liège, Bibliothèque de la Faculté de Philosophie et Lettres, 1988. Paper." Classical Review 41, n. 1 (aprile 1991): 7–9. http://dx.doi.org/10.1017/s0009840x00276920.

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Boeva, Luc. "Culturele collaboratie en “het terrein der Kunst”. Een document rond de repressie en epuratie van Prosper De Troyer". WT. Tijdschrift over de geschiedenis van de Vlaamse beweging 66, n. 2 (1 gennaio 2007): 163–73. http://dx.doi.org/10.21825/wt.v66i2.12542.

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Kunstschilder Prosper De Troyer (1880-1961) behoorde tot de Vlaamse potentiële avant-garde, die zich bewoog in de rand van het activisme. Tijdens de twintiger jaren evolueerde hij in figuratieve, expressionistische zin, waarbij hij steeds sterker tendeerde naar een beeldentaal die kon gelden als de Identitätsnachweis van het Vlaamse volk. Dat beeld was overigens in overeenstemming met de smaak (en de doelstellingen) van de Nieuwe Orde; De Troyer ging uiteindelijk de weg van de culturele collaboratie en kwam na de Tweede Wereldoorlog in aanraking met de repressie en de epuratie. In deze bronnenpublicatie stelt Luc Boeva een pleitnota voor van zijn advocaat, Frans van der Elst, die daarin de relatie tussen kunst en politiek centraal stelt. De tekst vormt daardoor een bron voor het vergelijkend kwalitatiief onderzoek van de culturele collaboratie c.q. de repressie.________Cultural collaboration and the "Art sector". A document dealing with the repression and purgation of Prosper De TroyerThe painter Prosper De Troyer (1880-1961) belonged to the Flemish potential avant-garde, which operated in the margins of activism. During the nineteen twenties he evolved in a figurative, expressionistic sense, and he tended to increasingly use an evocative language which could refer to the Identitätsnachweis of the Flemish nation. At any rate, that image agreed with the taste (and the objectives) of the New Order; De Troyer ultimately followed the path of cultural collaboration and after the Second World War he experienced repression and purgation. In this source publication Luc Boeva presents the memoranda of oral pleadings of De Troyer's solicitor, Frans Van der Elst, in which he focuses on the relationship between art and politics. For that reason the text constitutes a source for comparative qualitative research of cultural collaboration and/or the repression.

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Movellán Luis, Mireia. "La leyenda troyana en la Antigüedad Tardía. Una aproximación a los poemas de Dioscoro de Afrodito = The Trojan Legend in Late Antiquity. An Approach to the Poetry of Dioscorus of Aphrodito". Espacio Tiempo y Forma. Serie II, Historia Antigua, n. 30 (3 dicembre 2017): 255. http://dx.doi.org/10.5944/etfii.30.2017.19869.

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La leyenda troyana se configura como relato literario a lo largo de la Antigüedad expandiendo y modificando los diferentes episodios que la componen. El estudio de la utilización de la leyenda en los poemas conservados del puño y letra de Dioscoro de Afrodito, autor del siglo VI, nos permiten aproximarnos a la evolución y configuración del canon troyano, así como a las obras clásicas todavía disponibles en su época y al resto de fuentes que le sirvieron como modelo para sus composiciones.The Trojan legend becomes a literary narrative throughout Antiquity expanding and modifying its different episodes. The study of this legend in Dioscorus of Aphrodito’s autograph poems (from 6th century BC), allows us to grasp the evolution and configuration of the Trojan canon, the classical works still available in his time, and other sources used as a model for his compositions.

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Gamba Corradine, Jimena. "El Corpus de Romances Troyanos (Siglo XVI) y la Crónica Troyana de 1490". Troianalexandrina 15 (gennaio 2015): 51–98. http://dx.doi.org/10.1484/j.troia.5.109874.

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Vannier, Martin. "L'économie troyenne et ses expériences de reconversion industrielle (The knitting industry in Troyes and its reconversions)". Bulletin de l'Association de géographes français 66, n. 4 (1989): 315–25. http://dx.doi.org/10.3406/bagf.1989.1497.

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Lin, David C., Emilios K. Dimitriadis e Ferenc Horkay. "Robust Strategies for Automated AFM Force Curve Analysis—II: Adhesion-Influenced Indentation of Soft, Elastic Materials". Journal of Biomechanical Engineering 129, n. 6 (6 aprile 2007): 904–12. http://dx.doi.org/10.1115/1.2800826.

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In the first of this two-part discourse on the extraction of elastic properties from atomic force microscopy (AFM) data, a scheme for automating the analysis of force-distance curves was introduced and experimentally validated for the Hertzian (i.e., linearly elastic and noninteractive probe-sample pairs) indentation of soft, inhomogeneous materials. In the presence of probe-sample adhesive interactions, which are common especially during retraction of the rigid tip from soft materials, the Hertzian models are no longer adequate. A number of theories (e.g., Johnson–Kendall–Roberts and Derjaguin–Muller–Toporov), covering the full range of sample compliance relative to adhesive force and tip radius, are available for analysis of such data. We incorporated Pietrement and Troyon’s approximation (2000, “General Equations Describing Elastic Indentation Depth and Normal Contact Stiffness Versus Load,” J. Colloid Interface Sci., 226(1), pp. 166–171) of the Maugis–Dugdale model into the automated procedure. The scheme developed for the processing of Hertzian data was extended to allow for adhesive contact by applying the Pietrement–Troyon equation. Retraction force-displacement data from the indentation of polyvinyl alcohol gels were processed using the customized software. Many of the retraction curves exhibited strong adhesive interactions that were absent in extension. We compared the values of Young’s modulus extracted from the retraction data to the values obtained from the extension data and from macroscopic uniaxial compression tests. Application of adhesive contact models and the automated scheme to the retraction curves yielded average values of Young’s modulus close to those obtained with Hertzian models for the extension curves. The Pietrement–Troyon equation provided a good fit to the data as indicated by small values of the mean-square error. The Maugis–Dugdale theory is capable of accurately modeling adhesive contact between a rigid spherical indenter and a soft, elastic sample. Pietrement and Troyon’s empirical equation greatly simplifies the theory and renders it compatible with the general automation strategies that we developed for Hertzian analysis. Our comprehensive algorithm for automated extraction of Young’s moduli from AFM indentation data has been expanded to recognize the presence of either adhesive or Hertzian behavior and apply the appropriate contact model.

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Jones, Michael J., M. Lenoble, J. Deborde, J. Troadec, F. Gama e C. Sapin. "Troyes". Britannia 32 (2001): 414. http://dx.doi.org/10.2307/526978.

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Larrea Velasco, Nuria. "La Historia troyana polimétrica y el Poema de Alfonso XI: ¿dos obras de un mismo taller?" Epos : Revista de filología, n. 28 (1 gennaio 2012): 91. http://dx.doi.org/10.5944/epos.28.2012.12266.

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La Historia Troyana Polimétrica fue datada por Ramón Menéndez Pidal en 1270, basándose para ello en el empleo de ciertos términos y en una utilización de la dialefa mucho menor que en el Libro de Alexandre. Sin embargo, en los últimos años se ha tendido a retrasar esta fecha de composición. En este artículo se defiende una datación posterior a la de 1270, concretamente en el segundo cuarto del siglo xiv, durante el reinado de Alfonso XI, y se presenta la existencia de una estrecha relación entre la Polimétrica y el Poema de Alfonso XI (1344-48), dadas sus abundantes coincidencias y similitudes, por lo cual se propone la hipótesis de que ambas obras pudieron haber sido compuestas en el mismo taller.The Polymetrical Troyan History dates back to 1270, according to Ramón Menéndez Pidal, who based this on the use of certains terms and expressions, as well as the use of hiato, lesser than in Alexandre’s Book. However, in the past few years the date of the work has been put back. This essay intends to defend the dating of the work to de second quarter of the XIVth Century, during the reign of King Alfonso XI. Also the essay puts forward the hypothesis that the Polymetrical Troyan History and the Poem of Alfonso XI (1344-48) had a close relationship, given their similarities. What’s more both could even have been written in the same workshop.

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LANTING, SHAWNDA, NICOLE HAUGRUD e MARGARET CROSSLEY. "The effect of age and sex on clustering and switching during speeded verbal fluency tasks". Journal of the International Neuropsychological Society 15, n. 2 (marzo 2009): 196–204. http://dx.doi.org/10.1017/s1355617709090237.

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AbstractPast research has been inconsistent with regard to the effects of normal aging and sex on strategy use during verbal fluency performance. In the present study, both Troyer et al.’s (1997) and Abwender et al.’s (2001) scoring methods were used to measure switching and clustering strategies in 60 young and 72 older adults, equated on verbal ability. Young adults produced more words overall and switched more often during both phonemic and semantic fluency tasks, but performed similarly to older adults on measures of clustering. Although there were no sex differences in total words produced on either fluency task, males produced larger clusters on both tasks, and females switched more frequently than males on the semantic but not on the phonemic fluency task. Although clustering strategies appear to be relatively age-insensitive, age-related changes in switching strategies resulted in fewer overall words produced by older adults. This study provides evidence of age and sex differences in strategy use during verbal fluency tests, and illustrates the utility of combining Troyer’s and Abwender’s scoring procedures with in-depth categorization of clustering to understand interactions between age and sex during semantic fluency tasks. (JINS, 2009, 15, 196–204.)

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Wilkins, Ron. "Revelation in Troyes". Antipodes 33, n. 1 (giugno 2019): 60. http://dx.doi.org/10.1353/apo.2019.0007.

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Wilkins. "Revelation in Troyes". Antipodes 33, n. 1 (2019): 60. http://dx.doi.org/10.13110/antipodes.33.1.0060.

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Pastan, Elizabeth Carson. "Process and Patronage in the Decorative Arts of the Early Campaigns of Troyes Cathedral, ca. 1200-1220s". Journal of the Society of Architectural Historians 53, n. 2 (1 giugno 1994): 215–31. http://dx.doi.org/10.2307/990894.

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A methodology that exploits all aspects of the building program of Troyes Cathedral is here employed to reveal more about the cathedral's early history. Little-known grisailles from the early campaigns are differentiated from each other and dated in relation to the figural windows, and thus confirm the existence of separate campaigns in ca. 1200 and ca. 1210-20s. In particular, the characterization of the first campaign as regional in nature and the second campaign as drawing on new Parisian sources, is upheld by the analysis of the stained glass. In addition, the interior choir statue cycle is compared with other examples in the region. While interior statuary is shown to be widespread, there is no precise analogy for the eight bishops represented in the hemicycle of Troyes Cathedral. The bishops are here interpreted as evidence of the ascendancy of the church in the changing political climate of the early thirteenth century in Troyes.

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Mira Bohórquez, Paula Cristina. "Justicia en Troyanas de Eurípides". Circe, de clásicos y moderno 2, n. 25 (1 dicembre 2021): 39–59. http://dx.doi.org/10.19137/circe-2021-250202.

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Franceschini, Baptiste. "« Qui sème peu récolte peu » : Chrétien de Troyes au champ romanesque". Études littéraires 40, n. 2 (14 settembre 2009): 69–77. http://dx.doi.org/10.7202/037964ar.

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Résumé Chrétien de Troyes ouvre son Conte du Graal sur une étonnante métaphore de l’écrivain semeur en train de répandre ses graines romanesques. Cette représentation paysanne d’un auteur qui travaille le texte comme on travaillerait la terre permet alors de légitimer une écriture littéraire toujours susceptible, au Moyen Âge, de constituer un affront aux Écritures. En se peignant dans l’effort rustique, Chrétien de Troyes choisit donc de reconduire sa soumission, tant à l’ordre divin (le labeur est bien le destin de tout bon chrétien depuis le péché originel) qu’à la hiérarchie féodale où le fruit de l’activité n’est qu’une exigence du fief que le travailleur ne saurait réclamer.

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Kay, Sarah, Lucie Polak e Paula Clifford. "Chretien de Troyes: Cliges". Modern Language Review 80, n. 2 (aprile 1985): 456. http://dx.doi.org/10.2307/3728710.

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39

Marchaisseau, Vincent. "Troyes (Aube), Planche Clément". Archéologie médiévale, n. 50 (30 dicembre 2020): 229–30. http://dx.doi.org/10.4000/archeomed.36611.

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Colombo Timelli, Maria. "Chrétien de Troyes, Cligès". Studi Francesi, n. 151 (LI | I) (1 aprile 2007): 146–47. http://dx.doi.org/10.4000/studifrancesi.25937.

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41

Busby, Keith. "Chrétien de troyes English'd". Neophilologus 71, n. 4 (ottobre 1987): 596–613. http://dx.doi.org/10.1007/bf00636813.

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42

Uitti, Karl D., Keith Busby, Terry Nixon, Alison Stones e Lori Walters. "Les Manuscrits de Chretien de Troyes: The Manuscripts of Chretien de Troyes". South Atlantic Review 60, n. 1 (gennaio 1995): 131. http://dx.doi.org/10.2307/3200717.

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43

Lacy, Norris J. "The Complete Romances of Chrétien de Troyes. Chrétien de Troyes , David Staines". Speculum 67, n. 3 (luglio 1992): 650–51. http://dx.doi.org/10.2307/2863672.

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44

SILVA, CAROLINA GUAL DA, CLÁUDIA REGINA BOVO e FLÁVIA AMARAL. "Do Verso à Prosa: o potencial Histórico dos Romances de Cavalaria (Séculos XII-XIV) * From Verse to Prose: the Historical potential of Chivalry Romances (Eleventh-Fourteenth Centuries)". História e Cultura 2, n. 3 (4 febbraio 2014): 414. http://dx.doi.org/10.18223/hiscult.v2i3.1115.

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Abstract (sommario):

Resumo: Nesse artigo pretendemos problematizar o uso dos romances de cavalaria como documento histórico para investigação da Idade Média. Preocupados em refletir sobre o surgimento desse gênero textual, sua função e seu potencial de investigação histórica, nos dedicamos a analisar um conjunto de obras – os Romans de Chrétien de Troyes, o Tristão de Béroul e o Romance da Melusina de Jean D’Arras. Nosso objetivo é verificar como elas veiculam determinadas representações sociais, cuja finalidade era formalizar uma ação pedagógica em meio às cortes francesas, onde foram proclamados. Palavras-chave: Literatura – História – Idade Média. Abstract: This article’s intention is to problematize the use of chivalry romances as historical documents for the investigation of the Middle Ages. Concerned with understanding the appearance of this textual genre, its function and historical investigative potential, we have analyzed a group of works – Chrétien de troyes’s Romans, Béroul’s Tristan, and Jean d’Arras’s Melusine Romance. Our goal is to verify how these works portray certain social representations, whose finality was to formalize a pedagogic action in the French courts where they were recited.Keywords: Literature – History – Middle Ages.

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Bruce, Scott G. "Nunc homo, cras humus: A Twelfth-Century Cluniac Poem on the Certainty of Death (Troyes, Médiathèque de l’Agglomération troyenne 918, fols. 78v–79v)". Journal of Medieval Latin 16 (gennaio 2006): 95–110. http://dx.doi.org/10.1484/j.jml.2.303230.

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Barney, Madeline Dorothy. "Women's Influence on Chrétien de Troyes". Journal of Student Research 4, n. 2 (3 giugno 2015): 64–68. http://dx.doi.org/10.47611/jsr.v4i2.243.

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After researching tourbadours, historical women, and the French courts of love, I came to the conclusion that Guinevere is a fictional character in Chrétien de Troyes Lancelot or The Knight of the Cart.

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Canet, Sylvain. "Troyes (Aube). 44 boulevard Danton". Archéologie médiévale, n. 49 (20 dicembre 2019): 358–59. http://dx.doi.org/10.4000/archeomed.24603.

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Kasprzyk, Michel, Cédric Roms, Anne Delor-Ahü e Cyril Driard. "Troyes/Augustobona, cité des Tricasses". Gallia 72, n. 1 (30 dicembre 2015): 247–60. http://dx.doi.org/10.4000/gallia.1554.

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Foster, Brett. "After the Calamities: Troyes, 1129". Anglican Theological Review 100, n. 3 (giugno 2018): 602. http://dx.doi.org/10.1177/000332861810000324.

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Neaud, Pascal. "Troyes (Aube). Place Saint-Pierre". Archéologie médiévale, n. 48 (20 dicembre 2018): 233. http://dx.doi.org/10.4000/archeomed.16813.

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