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Статті в журналах з теми "Jaufré rudel"

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Автор: Grafiati

Опубліковано: 26 липня 2024

Оновлено: 27 липня 2024

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1

Rosenwein, Barbara H. "Jaufre Rudel, Contrarian." Viator 47, no. 3 (September 2016): 129–47. http://dx.doi.org/10.1484/j.viator.5.112355.

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2

KAY. "CONTINUATION AS CRITICISM: THE CASE OF JAUFRE RUDEL." Medium Ævum 56, no. 1 (1987): 46. http://dx.doi.org/10.2307/43629059.

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3

Spillenger, Paul. "Memory and Distance in Dante and Jaufre Rudel." Tenso 5, no. 1 (1989): 11–32. http://dx.doi.org/10.1353/ten.1989.0012.

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4

Rosenstein, Roy. "Jaufre Rudel de Blaye à Florence : Dante, Pétrarque, Boccace." Revue des langues romanes CXX, no. 1 (January 1, 2016): 189–210. http://dx.doi.org/10.4000/rlr.379.

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5

Barbiellini Amidei, Beatrice. "Jaufre Rudel: Longinquus amor, amor de lonh, amors loingtaignes. Dallo spazio al tempo?" Carte Romanze. Rivista di Filologia e Linguistica Romanze dalle Origini al Rinascimento 11, no. 2 (December 28, 2023): 239–75. http://dx.doi.org/10.54103/2282-7447/21593.

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Il saggio si sofferma sulla celebre formula amor de lonh nel vers Lanquan li jorn di Jaufre Rudel. Il meccanismo strutturale del componimento appare costruito sul mot-refrain lonh e il sintagma amor de lonh utilizzati prima con aequivocatio e poi con ripresa anaforica, rispettivamente nelle coblas I-V e VI-VII. Tale dato e rimandi testuali quali il longinquus amor di Properzio – già additato da Roncaglia e Patrizia Onesta come vero e proprio topos letterario utilizzato nella lirica di Jaufre – e gli amors loingtaignes del Lai d'Aristote farebbero ipotizzare che Lanquan li jorn utilizzi il sintagma poi cristallizzatosi e di enorme e inuguagliato successo letterario nell'accezione temporale di "amore costante, durevole, di lungo corso".

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6

Rosenstein, Roy. "New Perspectives on Distant Love: Jaufre Rudel, Uc Bru, and Sarrazina." Modern Philology 87, no. 3 (February 1990): 225–38. http://dx.doi.org/10.1086/391781.

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7

Manzari, Francesca. "Amor maldito, motor da poesia: a Provença e a modernidade." Teresa, no. 15 (December 29, 2014): 130. http://dx.doi.org/10.11606/issn.2447-8997.teresa.2014.98600.

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É a composição das vidas dos trovadores que confere ao Grand Chant a dimensão romanesca e ficcional que permitiu a construção de figuras “malditas” como Jaufre Rudel, Bertrand de Born, Raimon Jordan... Do amor cantado pelo trobar nasce o seu oposto destruidor: a melancolia, decorrente da ausência da dama, espreita o trovador, acenando-lhe o risco de não mais compor. tal reflexão vai conduzir autores como Ezra pound, Haroldo e Augusto de Campos a reconhecer na provence dos séculos XII a XIII o lugar original, o topos outopos da poesia.

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8

Fratta, Aniello. "Una possibile parabola corellana: dal paradosso amoroso rivisitato alla poesia religiosa." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 14 (December 26, 2019): 229. http://dx.doi.org/10.7203/scripta.0.16367.

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Riassunto: L’articolo, partendo dall’analisi dell’evoluzione della filoginia corellana, propone un possibile percorso poetico di Joan Roís de Corella: da una rivisitazione del paradosso amoroso di rudelliana memoria, che avrebbe potuto ispirare la sua concezione della ver’amor, alla poesia religiosa.Parole chiave: Joan Roís de Corella, filoginia, paradosso amoroso, ver’amor, poesia religiosa..Abstract: Moving from an analysis of the evolution of Joan Roís de Corella’s philogyny, this paper will attempt to trace the development of his poetry: from a return to the paradox of love as formulated by Jaufre Rudel, which could have inspired his conception of ver’amor, through to religious poetry.Keywords: Joan Roís de Corella, philogyny, paradox of love, ver’amor, religious poetry.

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9

Rosenstein, Roy. "Les années d'apprentissage du troubadour Jaufre Rudel : de l'escola n'eblo à la segura escola." Annales du Midi : revue archéologique, historique et philologique de la France méridionale 100, no. 181 (1988): 7–15. http://dx.doi.org/10.3406/anami.1988.2149.

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10

Bardin, Gay. "The Poetics of Nullity: “Nonsense” Verses of William of Aquitaine, Jaufre Rudel, and Raimbaut D’Orange." Comitatus: A Journal of Medieval and Renaissance Studies 34, no. 1 (2003): 1–23. http://dx.doi.org/10.1353/cjm.2003.0034.

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11

Peraino, Judith A. "Sonograms of Desire, Medieval and Modern." Paragraph 41, no. 1 (March 2018): 26–41. http://dx.doi.org/10.3366/para.2018.0248.

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This essay unites musicology's concern with the discursive force of organized sound, and sound studies' concern with the discursive force of sonic environments, recording formats and media networks, to consider how the widely transmitted medieval song ‘Lanqan li jorn son lonc en mai’ attributed to Jaufre Rudel produces sonograms that map distance and desire in the chasm between the Islamic East and the Christian West. The first half of the essay examines ‘Lanqan li jorn son lonc en mai’ in the context of transcultural sound networks, medieval notions of global geography and the material formatting of songs. The second half considers a 1977 recording of the song by the Clemencic Consort, and the 2000 opera by Finish composer Kaija Saariaho called L'Amour de loin with a libretto by the Lebanese author Amin Maalouf. In both cases, the song is sonically reimagined to express modern-day strife in the Middle East.

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12

Evdokimova, Ludmilla V. "The Sestina of Arnaut Daniel in the Mirror of Philological Researchers and Critical Editions." Studia Litterarum 7, no. 2 (2022): 344–65. http://dx.doi.org/10.22455/2500-4247-2022-7-2-344-365.

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The editions of Arnaut’s sestina and the history of its study reflect the general trend: both its editors and researchers endow trobadours’ lyrics with an elevated meaning. This is also noticeable when referring to their other poems; however, this tendency can be traced especially clearly in the case of sestina. In the early manuscripts A, B and S (13th century) its text is obscene: the key words-rhymes “cambra” (room) and “verja” (branch) have the meaning of obscene euphemisms, and the tornada itself frankly expresses the poet’s hope for a carnal union with his beloved. This variant of tornada seems to us a possible author’s ending of the poem, since it corresponds to its other verses. In addition, we believe that by singing the carnal and “close” love Arnaut argues with the famous song of love from afar by Jaufre Rudel. In the later manuscripts, the obscene sense of tornada became more obscure, and in the two of them — U (turn of the 13th–14th centuries) and C (15th century) — obvious is the intention of the scribes to put accent on the beauty of the poem rather than its content. In the editions of 19th–21st centuries the sense of the sestina and of its tornada has continued to be transformed in the same direction.

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13

Diaconu, Luminiţa. "De Jaufre Rudel à la littérature en langue d’oïl : échos du topos de l’amor de lonh et poétique de la mémoire affective." Revue des langues romanes, Tome CXXV n°1 (May 1, 2021): 39–60. http://dx.doi.org/10.4000/rlr.3974.

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14

Rosenstein, Roy. "Avant la vida : aux origines de la légende de Jaufre Rudel, grand amour ou petite mort ? Les témoignages de Rofian et de Pétrarque." Revue des langues romanes, Tome CXXV n°1 (May 1, 2021): 109–20. http://dx.doi.org/10.4000/rlr.4139.

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15

Meneghetti, Maria Luisa. "De l'art d'éditer Jaufré Rudel." Cahiers de civilisation médiévale 34, no. 134 (1991): 167–75. http://dx.doi.org/10.3406/ccmed.1991.2493.

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16

Monson, Don A. "Jaufré Rudel et l'amour lointain : les origines d'une légende." Romania 106, no. 421 (1985): 36–56. http://dx.doi.org/10.3406/roma.1985.1736.

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17

Ursini, Francesco. "Genealogia di un'immagine carducciana (Jaufré Rudel, vv. 73-74)." Giornale Italiano di Filologia 58, no. 1 (May 2006): 155–71. http://dx.doi.org/10.1484/j.gif.5.102013.

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18

Spence, Sarah. "The Poetry of Cercamon and Jaufré Rudel. George Wolf , Roy Rosenstein." Speculum 61, no. 2 (April 1986): 486–88. http://dx.doi.org/10.2307/2854094.

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19

ACAR GÖKTEPE, Gülay. "“JULIOPOLIS’İN YÜZLERİ” SERGİSİNİN KÜRATÖRLERİ ALİ METİN BÜYÜKKARAKAYA ve EVREN SERTALP İLE SÖYLEŞİ." Moment Journal 9, no. 1 (June 27, 2022): 270–80. http://dx.doi.org/10.17572/mj2022.1.270280.

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JULIOPOLIS, Ankara’nın yaklaşık 122 km kuzeybatısında, Nallıhan İlçesi Çayırhan Mahallesi’nde konumlanan bir antik kenttir. Antik kente ilişkin çalışmalar 2009 yılından günümüze dek Anadolu Medeniyetleri Müzesi başkanlığı tarafından yürütülen kurtarma kazılarıyla sürmüştür. 2017 yılında Hacettepe Üniversitesi Antropoloji Bölümü’nden Doç. Dr. Ali Metin Büyükkarakaya yürütücülüğünde, Koç Üniversitesi VEKAM desteği ve Anadolu Medeniyetleri Müzesi iş birliğiyle Juliopolis Antropolojik Araştırma Projesi başlatılmıştır. Juliopolis’in Yüzleri sergisi de bu projenin bir çıktısıdır. Sergi ana bileşenlerin yanında ABD Ankara Büyükelçiliği, Nallıhan Belediyesi, Ankara Büyükşehir Belediyesi, Akdeniz Kültürel Miras Araştırmaları Derneği ve Accademia Jaufré Rudel di Studi Medievali katkılarıyla hayata geçirilmiştir. Günümüzden yaklaşık 2 bin yıl önce Roma döneminde yaşamış olan Juliopolisliler’in mezar alanlarından çıkarılan eser ve iskelet kalıntılarını içeren sergi, izleyenleri Juliopolisliler’in holografik, üç boyutlu ve animasyon yüzleriyle de karşılaştırıyor. Sergi, 7-25 Aralık 2021 tarihlerinde Anadolu Medeniyetleri Müzesi’nde, 3-7 Ocak 2022 tarihlerinde Hacettepe Üniversitesi Beytepe Sanat Galerisi’nde, 8-9 Şubat tarihlerinde Nallıhan Ayhan Sümer Kültür Merkezi’nde ve 10-11 Şubat 2022 tarihlerinde ise Çayırhan 23 Nisan Parkı & Düğün Salonu’nda ziyaretçilerle buluştu.

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20

Anderson, Martin. "London, Barbican: Saariaho's ‘L'amour de loin’." Tempo 57, no. 224 (April 2003): 42–43. http://dx.doi.org/10.1017/s0040298203220155.

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Kaija Saariaho's opera L'amour de loin – her first – was completed in 2000 and given its first production at the Salzburg Festival that year; it toured to Paris in late 2001 and to Santa Fe in 2002; it has also been staged in Darmstadt. Its concert presentation at the Barbican on 21 November was thus the first performance without the support of stage business – and, not having seen those earlier productions, one wonders how it can have been staged at all: the work is a drama-less, interiorized dreamscape-cum-ritual which proceeds in the imaginations of its symbolic characters. Those are the troubadour Jaufré Rudel, Prince de Blaye (baritone – on this occasion Gerald Finley), whose idealized love Clémence, Princess of Tripoli (soprano – Dawn Upshaw) lives at a (literally) respectable distance, at the other end of the Mediterranean; the go-between is a pilgrim (mezzo soprano – Beth Clayton); male and female choruses, deployed separately and only intermittently, represent the outside world, their matter-of-factness contrasting with the high-flown unrealism of the principals.

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21

Sivuoja-Gunaratnam, Anne. "Desire and distance in Kaija Saariaho's Lonh." Organised Sound 8, no. 1 (April 2003): 71–84. http://dx.doi.org/10.1017/s1355771803001080.

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This article explores the relationship of desire and distance in Kaija Saariaho's Lonh (1996) for soprano and electronics. The subject matter of Lonh is desire and romantic pleasures, anchored to feminine subjectivity, represented on stage by a soprano singer. Electronics provide the environmental sounds and amplify the singer's voice. Through Lonh looms a medieval song in the Occitan language, ‘Lanquan li jorn son lonc en mai’ by Jaufré Rudel, a famous troubadour in twelfth-century Provence. Saariaho reverses the narrative convention of love stories by presenting the most intimate encounter at the very beginning. In their succeeding encounters, the lovers move further away from each other. Similarly, in the course of Lonh the distance to Jaufré's song also increases. Luce Irigaray's concepts of love are used for an analysis of the relationship of the loving pair. By the end of Lonh the borderlines of speaking, singing, electronics, language and music collapse in Barthesian jouissance (bliss). The electronic technology in Lonh enables the re-investiture of cultural values, and the construction of flexible identities, crossing boundaries between the self and the other.

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22

Tajani, Ornella. "Against Deforming Tendencies: To Open the Italian Language to Rimbaud’s Poems." Accueillir l’Autre dans sa langue. La traduction comme dispositif de médiation, no. 103 (September 17, 2021): 110–23. http://dx.doi.org/10.31861/pytlit2021.103.110.

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In his book La Traduction et la Lettre ou l’auberge du lointain, Antoine Berman states that literary translation must respect the “Strangeness” of the source-text to produce an “ethical translation”. Using the expression of the troubadour poet Jaufré Rudel, the author proposes to consider the translational space as a place of welcome for the strangeness of the source-text; translating the “letter” of the text thus means respecting this strangeness. In order to achieve this goal, Berman outlines thirteen “deforming tendencies”, i.e. tendencies to be avoided because they would destroy the “letter” of the text: the Rationalisation; the Clarification; the Expansion; the Ennoblement and the Vulgarization; the Qualitative impoverishment; the Quantitative impoverishment; the Destruction of rhythms; the Destruction of underlying networks of signification; the Destruction of linguistic patternings; the Destruction of vernacular network or their exoticization; the Destruction of expressions and idioms; the Effacement of the superimposition of languages. In this article, we will focus on the analysis and discussion of three deforming tendencies – the rationalisation, the clarification, and the destruction of linguistic patternings – identified in Ivos Margoni’s Italian translation of Arthur Rimbaud’s poem Roman, and will try to show how this alters the “letter” of the text.

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23

Luchitskaya, Svetlana I. "“LA PRINCESSE LOINTAINE”. BETWEEN LITERARY IMAGE AND HISTORICAL CHARACTER." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 4 (2022): 32–49. http://dx.doi.org/10.28995/2686-7249-2022-4-32-49.

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This article attempts to reconstruct the historical context in which the well-known verses on “distant love” (amor de lohn), composed by the Provençal poet Jaufré Rudel, gave rise to a legend that became popular in medieval literature. A romantic story about a troubadour who fell in love with a Beautiful Lady gained extraordinary popularity among the romantics of the 19th century. It was used in a number of literary works of various genres – from the poems of Francesco Petrarca, Heinrich Heine, Ludwig Uhland, to Edmond Rostand’s play “The Distant Princess” (La Princesse Lointaine). For the first time the Distant Princess, with whom the troubadour supposedly fell in love without ever seeing her, was identified with the Countess of Tripoli in the legendary vida of the troubadour dating from the mid-13th century. Later, we see the story repeated many times in the literary monuments including the works of romantics of the 19th and 20th centuries. Traditionally, literary scholars debate the question whether the Countess of Tripoli should be considered as a fictitious character or a historical figure. Avoiding that dispute, the author seeks to single out those events and facts in the history of the house of Tripoli and its members that could be reinterpreted in the folk imagination and historical memory

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24

Manzari, Francesca. "On the Haunting of Hospitality." Pázmány Papers – Journal of Languages and Cultures 1, no. 1 (June 13, 2024): 113–27. http://dx.doi.org/10.69706/pp.2023.1.1.7.

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Marcabru noted that Jaufré Rudel calls ‘inn of the afar / alberc de lohn’ both the remote place where his beloved lady of Tripoli resides, and the locus where the poets situates himself: an ideal place that Giorgio Agamben calls topos outopos. In the N voice or difficult voice of the trobar, this figures the contradiction on which the troubadour lives: at once the desire for the inaccessible body of his beloved, and the desire never to reach it. This issue is addressed here as a medieval instance of Derrida’s ‘hostipitality’, with the ungraspable as the most precious good ever hosted in the rooms or stanze of the poem, and it is argued that this is primarily a question of translation. As a case in point, this article presents the Magna Curia of Frederick II of Hohenstaufen as a magisterial example of the alberc de lohn topos, where the Emperor became his guests’ guest in a deliberate cultural transference policy that translated Aristotle and his Muslim and Jewish commentators, thus setting in motion a process of reciprocal acclimatization. The article further argues with Walter Benjamin and Antoine Berman, that translation as hostipitality or ‘auberge de loin’ inscribes itself in futurity and reaches beyond the linguistic being of man.

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25

Gubbini, Gaia. "Soupir, esprit : Bernard de Ventadour, Can lo boschatges es floritz." Romanistisches Jahrbuch 66, no. 1 (January 13, 2015). http://dx.doi.org/10.1515/roja-2015-0006.

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AbstractThis article analyses the poem Can lo boschatges es floritz by the troubadour Bernard de Ventadour. In the text there are two terms - the verb sospirar (“to sigh”, v. 7), and (in the plural) the term esperitz (“spirits”, v. 60) - that share the same etymological root, the Latin verb spiro. In using these terms, Bernard de Ventadour follows the previous troubadour tradition, and particularly the poems by Jaufre Rudel. Yet his use is also innovative, seeing that he associates these terms with poetic metaphors concerning the links between life, death, and desire that adorn the poem. The article at hand investigates the possible references to Medieval theological, philosophical, and medical texts, which may be concealed in the use of these terms and metaphors. Traces of texts by William of Saint-Thierry and William of Conches may be identified; these were eminent philosophers at the center of one of the most important twelfth century querelles. In its stratification of elements drawn from different sources, and combined with a masterful poetic force, the poem by Bernard de Ventadour attains to a novel depth.

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26

Gerez, Pau. "Jaufré Rudel's "love from afar" and distant love via chat; a metaphorical approach." Digithum, no. 8 (May 25, 2006). http://dx.doi.org/10.7238/d.v0i8.527.

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27

Caiti-Russo, Gilda. "I trovatori come fondamento dell'identità occitana: la linea Jaufré Rudèl-Jean de Nostredame-Frédéric Mistral." Lengas, no. 79 (November 21, 2016). http://dx.doi.org/10.4000/lengas.1023.

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28

"L'unicorno: Periodico di cultura medievale, n.s. 1 (gennaio 1997). Ed. Paolo Zuliani. Gradisca d'Isonzo, Italy: Accademia Jaufré Rudel di studi medievali, 1997. Paper. Pp. 48; black-and-white figures. Annual subscription: L 20,000. Distributed by AKTIS, Via Dieci Settembre 15, Piombino, Italy." Speculum 73, no. 01 (January 1998): 289. http://dx.doi.org/10.1017/s0038713400128805.

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