Gotowe bibliografie tematyczne / Guillaume de Machaut

Gotowa bibliografia na temat „Guillaume de Machaut”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 25 kwietnia 2022

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Artykuły w czasopismach na temat "Guillaume de Machaut"

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Bowers, Roger. "Guillaume de Machaut". Early Music XVIII, nr 3 (1990): 489–91. http://dx.doi.org/10.1093/earlyj/xviii.3.489.

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Roccati, G. Matteo. "Guillaume de Machaut, Quatre dits". Studi Francesi, nr 161 (LIV | II) (1.09.2010): 334–35. http://dx.doi.org/10.4000/studifrancesi.6535.

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Lacassagne, Miren. "Actualité de Guillaume de Machaut". Le Moyen Age CIX, nr 1 (2003): 129. http://dx.doi.org/10.3917/rma.091.0129.

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Sewright, Kathleen. "The Ferrell-Vogüé Machaut Manuscript by Guillaume de Machaut". Notes 73, nr 3 (2017): 584–87. http://dx.doi.org/10.1353/not.2017.0029.

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Boulton, Maureen. "‘Anonymous’ Machaut: Guillaume de Machaut in Paris, BnF, NAF 6221". Digital Philology: A Journal of Medieval Cultures 5, nr 1 (2016): 116–26. http://dx.doi.org/10.1353/dph.2016.0008.

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Monson, A., i Kevin Brownlee. "Poetic Identity in Guillaume de Machaut". Modern Language Review 81, nr 2 (kwiecień 1986): 477. http://dx.doi.org/10.2307/3729748.

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Plumley, Yolanda. "Guillaume de Machaut 700 years on". Early Music XXVIII, nr 3 (sierpień 2000): 487–89. http://dx.doi.org/10.1093/earlyj/xxviii.3.487.

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Clark, Alice V. "The Motets by Guillaume de Machaut". Notes 76, nr 3 (2020): 491–95. http://dx.doi.org/10.1353/not.2020.0028.

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Zenck, Martin. "Karel Goeyvaerts und Guillaume de Machaut". Die Musikforschung 43, nr 4 (22.09.2021): 336–51. http://dx.doi.org/10.52412/mf.1990.h4.1290.

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Plumley, Yolanda. "Citation and allusion in the late Ars nova: The case of Esperance and the En attendant songs". Early Music History 18 (październik 1999): 287–363. http://dx.doi.org/10.1017/s0261127900001881.

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Streszczenie:
In his Prologue, Guillaume de Machaut lists the ballade entée, or ‘grafted ballade’, as one of the many genres he is inspired to write to praise and honour all ladies. It is unclear from this fleeting reference, however, exactly what type of work Machaut meant by this term and whether he was referring to a purely poetic form or to one that involved music. That the practice of citation in lyric poetry was well established at this time is demonstrated by Machaut's own output, which reveals him to have been a master of this art; this literary tradition was to continue to thrive in the later fourteenth century.
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Rozprawy doktorskie na temat "Guillaume de Machaut"

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Beer, Lewis. "Fortune and desire in Guillaume de Machaut". Thesis, University of Warwick, 2010. http://wrap.warwick.ac.uk/3896/.

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There is a pervasive tendency, in Machaut scholarship, to read his poetry as having value only insofar as it speaks to our postmodern age: either it is fragmented and riven with ambiguities, or it celebrates eroticism and the things of this world for their own sake; in any case, it resists religious and moral orthodoxy. Such readings, while often valuable in themselves, fail to take sufficient account of the influence which Boethian and Neoplatonic ideas had upon Machaut, and thus misunderstand his work on a fundamental level. By paying attention to the Boethian content in the narrative dits, and by analysing Machaut's verse more thoroughly than has been done before, my thesis demonstrates not only this author's moral orthodoxy, but also his extremely sophisticated didactic methods. I begin with the Confort d'ami, Machaut's most overtly moral work. The Confort engages with the supposed 'worldly' perspective of its imprisoned addressee, adapting biblical and classical exempla in order to coax Charles of Navarre towards a deeper understanding of worldly fortune. In Chapter 2 I show how, in the Prologue and the Dit du vergier, the ambiguity so beloved of critics can serve as a moral commentary on the carnality and self-absorption of the erotic and artistic points of view. Having established, in the preceding chapters, that this author's approach to his subject is ambiguous and critical, in Chapter 3 I explore the extremes of his pessimism, and show how his love poetry can incorporate sophisticated philosophical ideas, through my analysis of the Jugement du roy de Behaigne. The thesis culminates in a detailed reading of the Remede de Fortune. Through his deliberately idealised statements about education, through his application of these views to the art of courtly love, through his composition (and setting to music) of a sequence of virtuoso lyrics, and through his explicit invocations of and borrowings from Boethius, Machaut develops an empathic but ultimately, as I argue, deeply sceptical vision of earthly love.
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Bétemps, Isabelle. "L'imaginaire dans l'oeuvre de Guillaume de Machaut /". Paris : H. Champion, 1998. http://catalogue.bnf.fr/ark:/12148/cb36711463v.

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Montefu, Jennette Lauren, i res cand@acu edu au. "The Latin Texted Motets of Guillaume de Machaut". Australian Catholic University. School of Arts and Sciences, 2003. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp37.29082005.

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Guillaume de Machaut’s motets constitute a cycle. This study focuses upon Machaut’s six Latin texted motets and their influence upon these cyclical contexts. Former research into these motets has uncovered references to contemporary poetry, liturgical texts, literary sources, particular persons, and historical events. Through an examination of recent research into the cyclical nature of the motets it is possible to critically evaluate these hypotheses in the light of the past historical, codicological, liturgical, musical and poetic analysis of these works to create a rounded picture of each motet. In this way it was found that many of the previously researched aspects of the motets follow in line with recent theories surrounding motet grouping structures. In this way when placing these works within a mystical theological literary context their sacred nature, evident within the tenor chant fragments upon which many of them are built, becomes evident and a greater plan apparent. Beyond this, with an examination of Machaut’s life and the events which occurred in his lifetime the context for composition of the remaining motets is unearthed. Within these motets elements have now been identified which link them to Machaut’s canonries at both Saint Quentin and Reims as well as the events of the Hundred Years’ War. In this way the deep connection between Machaut’s motets and all levels of his life is becoming increasingly apparent. Through an examination of these six Latin texted motets it is found that a liturgical context is key to the analysis of all voices. This is apparent in the mere use of vocabulary idiomatic to the liturgy present within these texts. In this way the selection of words within motet 21 points to a Marian allusion and the apocalyptic, drawing motet 21 even closer in context to motets 22-23. This apocalyptic reference is also seen in specific words within in triplum text of motet 22. Furthermore, the Marian allusions discovered throughout these last three motets in their upper voices are apparent only with a close examination of the Salve Regina texts. In this way the influence and importance of liturgical context to the analysis of the motet has been extended to all voices. This study has also uncovered allusions to other fourteenth century works in the analysis of Machaut’s motets. In the case of motet 9 a connection between its chant tenor and another from the Roman de Fauvel reveals a political context which brings an added richness to the interpretation of these texts. Furthermore, as with motets 18-19, it may be gleaned that as Machaut and Vitry were both canons at Saint Quentin that perhaps it was here and with these two motets that Machaut began his tutelage with the older master of the motet. These conclusions may be drawn by the striking similarities between Machaut’s works and those believed to have originated from within the Vitry circle. In the course of this study there have been additions to evidence the necessity of looking to all aspects of Guillaume de Machaut’s motets in their analysis. This includes use of numerical symbolism in varying aspects as shown in motet 9 as well as a thorough exploration of Machaut’s use of vocabulary within his texts to find its literary, historical, motet, and liturgical allusions. The identification of these sources may either serve to reinforce or expand the context of the motet leading to a deeper understanding of its purpose within a group of motets or individually.
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Bétemps, Isabelle. "Imaginaire et savoir dans l'œuvre de Guillaume de Machaut". Paris 4, 1993. http://www.theses.fr/1994PA040021.

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Cette thèse est une étude litteraire et synchronique des dits et des poésies lyriques de Guillaume de Machaut. Elle vise a rendre compte de l'imaginaire du poete lié à differentes formes de savoir. Ce travail, divisé en trois parties : "le miroir du monde", "miroir en eclats, eclats de miroir", "l'observatoire", propose un itineraire. Dans la première partie, nous montrons que Machaut exprime la relation de l'homme au monde en recourant aux sciences du quadrivium, en faisant appel aux métaphores naturelles, tirées des différents règnes, animal, végetal, minéral. Dans la deuxième partie, nous constatons que le "miroir" de Machaut, travaille par l'ambiguité et l'instabilité des signes, traverse une crise et vole en éclats. Dans la troisième partie, nous proposons de substituer au "miroir" "l'observatoire" qui conduit le poête à s'ouvrir sur le monde afin d'en observer les divers phénomenes et les mouvements. La poésie de Machaut se deprend des codes symboliques pour aboutir à une phénomènologie
This dissertation is a synchronic literary study of the narratives and lyrical poetry of guillaume de machaut. It aims at giving an account of the poet's imagination connected to different forms of knowledge. This work which falls into three parts : - 'the mirror of the world', 'splinted mirror, splinters of mirror', 'the observatory', offers a route. In the first part we show that machaut expresses the relationship of man to the world by resorting to the sciences of the quadrivium ; with the use of natural metaphores drawn from the different kingdoms - the animal, the vegetable and the mineral. In the second part we notice that the 'mirror of the world', tormented by the ambiguity and the instability of signs, undergoes a crisis and goes to pieces. In the third part we suggest substituting to the 'mirror' 'the observatory' that leads the poet to open his mind to the world so as to observe its phenomena and its motion. Machaut's poetry frees itself from the symbolic codes into a phenomenology
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Vlcek, Hannah Paulette. "Manuscript accidentals in the music of Guillaume de Machaut". Thesis, King's College London (University of London), 2002. https://kclpure.kcl.ac.uk/portal/en/theses/manuscript-accidentals-in-the-music-of-guillaume-de-machaut(18a8d3a9-9094-48e4-b449-f7b4de3a90a9).html.

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Bullock, Alison Julia. "The musical readings of the Machaut manuscripts". Thesis, University of Southampton, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284572.

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Weber, Horst. "Zu Strawinskys Machaut-Rezeption". Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A38336.

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Hardy, Sophie. "Edition critique de la Prise d'Alexandrie de Guillaume de Machaut". Phd thesis, Université d'Orléans, 2011. http://tel.archives-ouvertes.fr/tel-00688948.

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La Prise d'Alexandrie est une chronique rimée retraçant les exploits de Pierre Ier de Lusignan (1328-1369), roi de Chypre et de Jérusalem, nouveau Godefroy de Bouillon ; elle a été composée par Guillaume deMachaut vers 1370, peu après le meurtre de Pierre Ier ; ce régicide avait soulevé une très vive émotion enOccident, en particulier en France, qui connaissait par ailleurs une grave crise. Cette chronique, à la fois récithistorique, épopée, éloge posthume, hagiographie, poème lyrique, est la dernière oeuvre d'un auteur connu etreconnu ; on peut considérer cette biographie royale comme le testament de Guillaume de Machaut, lecouronnement de son oeuvre. La Prise d'Alexandrie est le récit d'une croisade, une croisade qui ne se vit plus surles champs de bataille, mais qui se joue dans les cours royales et papales ; une croisade qui ne se vit plus, maisqui se dit ; une croisade qui se marchande aussi ; une croisade menée par un poète : Machaut a en effet composéici une véritable satire de son siècle.A travers notre travail, nous souhaitons faire découvrir ou redécouvrir cette oeuvre mal connue ; nousfournissons, avec le texte original et sa traduction, la description des manuscrits, une présentation de l'auteur etde son oeuvre, une étude littéraire et une analyse linguistique du texte, des notes critiques, un glossaire, un indexdes noms propres, la liste des proverbes et expressions, une chronologie des événements et une bibliographiesélective.
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Maw, David Nicholas. "Words and music in the secular songs of Guillaume de Machaut". Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395229.

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Basso, Hélène. "La poétique de la répétition chez Guillaume de Machaut : diffraction et réfection". Bordeaux 3, 2004. http://www.theses.fr/2004BOR30026.

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Les répétitions structurent la poésie médiévale, qualifiée d'art de la variation. Cependant leurs effets de sens et le rapport à la langue qu'elles engagent restent à analyser. L'étude, portant sur la poésie lyrique française du XIVe s, dissociable de la musique, part du cas exemplaire de la production de Guillaume de Machaut. Les interprétations de la répétition se fondent sur des analyses stylistiques de pièces du recueil lyrique non noté : La Louange des dames, que cautionne la présence de procédés équivalents dans des dits narratifs. Ainsi se dégage une poétique de la répétition. Pour savoir si elle est propre à Machaut, ou si elle s'enracine dans un fait culturel quelques arts poétiques et traités de rhétorique sont étudiés. Le faible poids d'une doctrine établie amène à interroger plutôt les productions des disciples avoués de Machaut : Eustache Deschamps et Oton de Grandson. Chez eux, la poétique de la répétition prend de nouvelles orientations. Elle se diffracte, traduisant le rapport singulier de chaque poète à sa langue. Différentes, ces poétiques de la répétition témoignent cependant d'un même présupposé sur la langue : le sens des mots déborde leur première compréhension. Cette conviction légitime le recours à la répétition, et ouvre les poèmes à de multiples lectures et ré-appropriations. Ainsi, Machaut, Deschamps, Grandson, participent d'une communauté poétique : en atteste l'existence de recueils collectifs associant leur production. Trois exemples (manuscrit français 15 de Pennsylvanie, Recueil de galanteries, manuscrit 8 bibliothèque de Catalogne) permettent de comprendre comment elles peuvent être réunies et se prêter à de véritables réfections
Repetitions structure medieval poetry, often called as art of variation. However, their shift of meaning and their relationship to some idea on language should be further analyzed. Therefore, we shall focus on the French lyric poetry of the XIVth century in Guillaume de Machaut's exemplary work. The interpretations on repetitions, lie in stylistic analysis of pieces of the lyric collection, leaving music aside : La Louange des dames which testifies the use of similar techniques in Machaut's narrative stories. Thus, we can say there is a poetic pattern of repetition. We shall study some poetical arts and rhetorical treatrises in order to know whether the repetitions are directly linked to Machaut or else whether rooted in cultural facts. The established doctrine shall be enlightened by the study of Machaut's recognized
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Książki na temat "Guillaume de Machaut"

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A companion to Guillaume de Machaut. Boston: Brill, 2012.

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Guillaume de Machaut: Secretary, poet, musician. Ithaca, N.Y: Cornell University Press, 2011.

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Guillaume de Machaut: The capture of Alexandria. Aldershot: Ashgate, 2001.

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Guillaume de Machaut: A guide to research. New York: Garland Pub., 1995.

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Hélix, Laurence. "Le Livre du voir dit" de Guillaume de Machaut. Neuilly: Atlande, 2001.

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Laurence, Hélix, i Ott Muriel, red. Le Livre du voir dit de Guillaume de Machaut. Neuilly: Atlante, 2001.

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Imbs, Paul. Le Voir-Dit de Guillaume de Machaut: Étude littéraire. Paris: Klincksieck, 1991.

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Guillaume de Machaut et l'écriture au XIVe siècle: "un engin si soutil". Paris: H. Champion, 1985.

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Cerquiglini-Toulet, Jacqueline. Guillaume de Machaut et l'écriture au XIVe siècle: "un engin si soutil". Genève: Slatkine, 1985.

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Cerquiglini, Jacqueline. Guillaume de Machaut et l'écriture au XIVe siècle: "Un engin si soutil". Paris: H. Champion, 2001.

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Części książek na temat "Guillaume de Machaut"

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Berger, Christian. "Guillaume de Machaut". W Komponisten, 97–101. Stuttgart: J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02947-8_20.

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Wild, Gerhard. "Guillaume de Machaut". W Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3912-1.

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Berger, Christian. "Guillaume de Machaut". W Komponisten Lexikon, 232–35. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_125.

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Berger, Christian. "Guillaume de Machaut". W Metzler Komponisten Lexikon, 301–5. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_126.

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Magnani, Francesca. "Machaut siehe Guillaume de Machaut". W Metzler Komponisten Lexikon, 453–55. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_178.

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Shirley, Janet, i Peter W. Edbury. "Peter's Calling to be a Crusader 1". W Guillaume de Machaut, 24–31. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315253732-4.

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Shirley, Janet, i Peter W. Edbury. "The Murder of the King (1369) 1". W Guillaume de Machaut, 173–92. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315253732-12.

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Shirley, Janet, i Peter W. Edbury. "Introduction". W Guillaume de Machaut, 1–16. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315253732-1.

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Shirley, Janet, i Peter W. Edbury. "The Attack on Tripoli and Ayas (1367) 1". W Guillaume de Machaut, 146–54. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315253732-10.

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Shirley, Janet, i Peter W. Edbury. "Attacks on the Syrian Coast in 1367". W Guillaume de Machaut, 195–99. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315253732-14.

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