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Статті в журналах з теми "Romanzi francesi medievali"
1
Vai, Massimo. "Osservazioni sul soggetto espletivo tra fiorentino del Due-Trecento, antico francese e volgari dell’Italia Settentrionale." Cuadernos de Filología Italiana 26 (October 2, 2019): 119–42. http://dx.doi.org/10.5209/cfit.57387.
Повний текст джерелаАнотація:
Il soggetto espletivo caratterizza la sintassi dell’italiano antico, dell’antico fracese e dell’antico provenzale. Se ne trovano numerosi esempi anche nei volgari medievali dell’Italia Settentrionale. Dal momento che le lingue romanze sono continuazione di una lingua pro-drop, il latino, non stupisce di trovare fasi pro-drop nelle più antiche testimonianze delle stesse. Tuttavia, la non obbligatorietà del pronome soggetto espresso si organizza diversamente nelle varietà medievali, che manifestano una sintassi caratterizzata da pro-drop asimmetrico: comportamento pro-drop per le proposizioni principali, rispetto a una spiccata tendenza alla presenza del pronome soggetto nelle frasi subordinate. Questo fenomeno sembra collegato a una sintassi V2: il verbo si muove nella periferia (CP) e legittima un soggetto nullo. Il movimento a CP non è possibile o comunque molto limitato nelle dipendenti (CP è occupato dai subordinatori) e il soggetto deve essere espresso con un pronome. È con questa sintassi che si intreccia la storia del pronome soggetto espletivo in antico francese, anatico provenzale, italiano antico e volgari medievali dell’Italia settentrionale. La struttura V2 è indipendente dal carattere pro-drop della lingua, ma il soggetto obbligatorio mostra più chiaramente il fenomeno V2.
Parole chiave: soggetto espletivo; Verb Second; pro-drop asimmetrico; periferia sinistra della frase; sintassi delle lingue romanze medievali.
2
Yllera, Alicia. "Rasgos misóginos en la novela artúrica medieval francesa." Cuadernos del CEMyR, no. 29 (2021): 107–45. http://dx.doi.org/10.25145/j.cemyr.2021.29.05.
Повний текст джерелаАнотація:
This paper proposes an analysis of various misogynistic anecdotes that are inserted within the idealized framework of the Arthurian romance, generally considered as an exaltation of courtly love. The study starts with a reflection on this ideal of courtly love and an analysis of some of the misogynistic examples taken from various examples of the Arthurian cycle. It essentially deals with the episodes of the «magic horn» and the «badly cut coat», which appear in independent stories and also in several Arthurian romances.
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Meliga, Walter. "Alvaro Barbieri – Alessandra Favero – Francesca Gambino, L’eclissi dell’artefice. Sondaggi sull’anonimato nei canzonieri medievali romanzi." Studi Francesi, no. 142 (XLVIII | I) (July 1, 2004): 157. http://dx.doi.org/10.4000/studifrancesi.40312.
Повний текст джерела
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Mascitelli, Cesare. "Gli amori giovanili di Carlo Magno dalla Francia all’Italia: varianti e riscritture di un’educazione sentimentale." AOQU (Achilles Orlando Quixote Ulysses). Rivista di epica 3, no. I (July 15, 2022): 129–68. http://dx.doi.org/10.54103/2724-3346/18438.
Повний текст джерелаАнотація:
Il contributo esamina la leggenda medievale degli amori giovanili di Carlo Magno e ne analizza l’evoluzione attraverso lo studio comparativo di alcune delle sue principali riscritture francesi e italiane. In particolare, l’indagine si sofferma sui frammenti del Mainet e sul primo libro dell’Istoire le roy Charlemaine di Girart d’Amiens, sulla riscrittura franco-italiana nota come Karleto e sui Reali di Francia di Andrea da Barberino. Di quest’ultima opera si rilevano inoltre gli elementi di adesione alla cultura letteraria toscana del Medioevo (specialmente stilnovistica e novellistica) e il debito formale e contenutistico rispetto alla leggenda, anch’essa tramandata dal romanzo di Andrea, degli amori di Buovo d’Antona e Drusiana.
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O'Grady, Deirdre. "Da Dante a Mercadante: Francesca da Rimini voce del belcanto ottocentesco." Dante e l'Arte 8 (March 7, 2022): 183–202. http://dx.doi.org/10.5565/rev/dea.145.
Повний текст джерелаАнотація:
Questo studio rintraccia l’evoluzione della figura di Francesca da Rimini da voce poetica dantesca, a voce scenica del Romanticismo italiano per arrivare sulla scena lirica ottocentesca in veste di primadonna, espressione del belcanto ottocentesco. In questo nuovo contesto Francesca si esprime come voce del Romanticismo medievale. Questo itinerario la libera dall’essere strumento della dottrina tomistica per diventare una figura che medita su una filosofia tutta nuova, che la spinge a riflettere sulla natura della colpevolezza e sul suo rapporto con l’innocenza. Nel campo della musica, il manoscritto riscoperto ci spinge a una rivisitazione delle voci e della tecnica vocale dei grandi interpreti dell’Ottocento e anche a una riconsiderazione della voce di tenore del periodo. Dalla poesia di Dante si passa al teatro di Pellico, al libretto di Romani per riscoprire il Personaggio lirico senza Interprete.
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Alvar, Carlos. "Amis y Amiles: la difusión de un tema medieval en España." Estudios Humanísticos. Filología, no. 32 (December 1, 2010): 15. http://dx.doi.org/10.18002/ehf.v0i32.2868.
Повний текст джерелаАнотація:
Recorrido por las diferentes versiones latinas y francesas de la leyenda de Amís y Amile para detenerse posteriormente en las obras derivadas de esta leyenda en la literatura española: entre las versiones catalanas, se encuentra el Recull de exemples y miracles per alfabeto, el Llibre de les nobleses dels reys y la Història d’Amic i Melis, y entre las castellanas, destaca la Historia de Amic y Meliz y el Oliveros de Castilla y Artús d’Algarbe, además del capítulo 21 de los Siete sabios de Roma. Considera por último la conexión con esta leyenda del romance de Melisenda o Melusina y otros romances y obras dramaticas
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Roberto González, Javier. "A formação da ficção cavaleiresca: do heroísmo épico ao cortesão (Séculos XII-XIV)." SIGNUM - Revista da ABREM 14, no. 2 (February 1, 2014): 205. http://dx.doi.org/10.21572/2177-7306.2014.v14.n2.10.
Повний текст джерелаАнотація:
A ficção cavaleiresca medieval, identificada com a matéria artúrica, reconhece, ainda no seu processo de formação, outros componentes e antecedentes que é necessário assinalar e analisar com precisão, como a épica dos cantares de gesta, a historiografia latina e o romance, a hagiografia, entre outros. Se o século XIII vê nascer as primeiras traduções da matéria artúrica francesa na Península Ibérica, o século XIV produzirá as duas primeiras “novelas” vernáculas essencialmente cavaleirescas: o Libro del caballero Zifar e o Amadis de Gaula. Este estudo analisará a configuração ficcional do heroísmo cavaleiresco manifestada nestes romances artúricos e nas obras castelhanas fundamentais, à luz da teoria das três matrizes narrativas (cosmogônica, heroica, novelesca), em cujo marco o heroísmo épico dos cantares de gesta se define como acabadamente inscrito na matriz heroica, enquanto o heroísmo cavaleiresco-cortês apresenta uma natureza mista que o situa na transição da matriz heroica à novelesca.
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Ayerbe Linares, Miguel. "¿Qué verbos se utilizaban para «traducir» en alto alemán medio?" Hermēneus. Revista de traducción e interpretación, no. 19 (December 14, 2017): 18. http://dx.doi.org/10.24197/her.19.2017.18-59.
Повний текст джерелаАнотація:
La literatura alemana medieval ha sido frecuentemente calificada expresamente como Übersetzungsliteratur (Literatura de traducción), sobre todo su primera fase, conocida como antiguo alto alemán (750-1050). El periodo siguiente, el del alto alemán medio (1050-1350), también se caracterizó por una considerable labor traductora, si bien no tan conocida como la anterior. Ahora bien, dados estos antecedentes, llama la atención la ausencia de estudios terminológicos en torno a verbos empleados por los autores de esas traducciones para referirse a la acción de «traducir», que, sin embargo, sí están documentados en otras lenguas vernáculas como la inglesa o la francesa. El presente trabajo intenta ocuparse de esta cuestión en el alto alemán medio. Para ello, se ha procedido a reunir un corpus de textos consistentes en traducciones del latín, árabe o romance al alto alemán medio, documentando los verbos que los respectivos autores (conocidos o anónimos) empleaban para nombrar la acción de «traducir».
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Olmo, Francisco Javier Calvo del. "As línguas românicas do/no Magrebe: percurso histórico e presença contemporânea." Caligrama: Revista de Estudos Românicos 20, no. 2 (January 27, 2016): 35. http://dx.doi.org/10.17851/2238-3824.20.2.35-52.
Повний текст джерелаАнотація:
<p>Este artigo propõe-se reunir e examinar elementos que permitam traçar o percurso histórico das línguas românicas no Magrebe. Desde uma abordagem interdisciplinar, apresentam-se as comunidades latinizadas durante a dominação romana, os contatos linguísticos que produziram a Língua Franca mediterrânea no período medieval, as minorias de <em>mouriscos </em>e <em>sefardim </em>procedentes da Península Ibérica estabelecidas no norte da África nos séculos XIV e XV, o processo da colonização francesa nos séc. XIX e XX e o mosaico linguístico das últimas décadas, após a independência. Dessa forma, identificam-se os componentes linguísticos latinos e românicos, cindidos e descontínuos, constitutivos do Magrebe enquanto espaço geográfico, cultural e humano. </p><p>This paper aims to gather and examine some elements to draw the historical course of the Romance languages in the Maghreb. It employs an interdisciplinary approach to present the Latinized communities during Roman domination, language contacts that produced the Mediterranean <em>Lingua Franca </em>during Middle Age, <em>Moorish </em>and <em>Sephardic </em>minorities settled in fifteenth and sixteenth centuries, the process of French colonization in nineteenth and twentieth centuries and the linguistic mosaic of last decades, after national independences. This itinerary permits to pinpoint a linguistic Latin-Romance component, fragmented and discontinuous, constitutive of the Maghreb as a geographic, cultural and human space.</p>
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García Única, Juan. "La escritura de la humilitas : o el falso problema de lo nacional y lo europeo en la configuración del mester de clerecía." Verba Hispanica 17, no. 1 (December 31, 2009): 39–52. http://dx.doi.org/10.4312/vh.17.1.39-52.
Повний текст джерелаАнотація:
Entre los tratadistas del siglo XIX surgió la idea de que el llamado mester de clerecía no era sino la plasmación en lengua castellana de un movimiento de amplitud europea que, irradiado desde Francia y con un fuerte apego a la cultura latina eclesiástica, habría de desarrollarse en contraste con una supuesta tradición poética autóctona llamada mester de juglaría1. Así, en el quehacer de la Historia literaria decimonónica, prácticamente toda la poesía castellana del siglo XIII acabó por reducirse a la confrontación de una escuela clerical en lengua romance, de raíces a un tiempo francesas y latinas, con otra popular netamente castellana. Fue a partir de este esquematismo desde donde se asentaron las bases para que la historiografía literaria española terminase por establecer una insólita distinción entre dos mesteres que, siéndonos muy familiar en España por la insistencia con la que ha sido elaborada en la literatura de los manuales, ha suscitado en cambio una comprensible extrañeza a los medievalistas de vocación panrománica, quienes nunca han encontrado motivos serios para instaurar una partición tan tajante en sus respectivas tradiciones críticas (Zumthor, 1989: 84). Eso no obsta, insistimos, para que dentro del hispanomedievalis- mo el mencionado esquema haya jugado –y siga jugando– persistentemente la baza de que tal escisión se habría de entender como plasmación concreta en las letras medievales de Castilla de una suerte de división natural, más amplia, no ya sólo entre lo culto clerical y lo popular juglaresco, sino incluso entre lo nacional juglaresco y lo europeo clerical.
Дисертації з теми "Romanzi francesi medievali"
1
Berardi, Lucia. "Metrica e racconto: la versificazione dei romanzi di Chrétien de Troyes. Un'analisi sistematica." Doctoral thesis, Università degli studi di Padova, 2017. http://hdl.handle.net/11577/3424850.
Повний текст джерелаАнотація:
The aim of the thesis is to provide a systematic analysis of the metrical features of Chretien de Troyes’ romances (Erec et Enide, Cligès, Chevalier de la Charrete, Chevalier au lion and Conte du Graal). The work is divided into three sections: the first part focuses on the rhymes employed by Chrétien (the most frequent rhymes; their variety and the degree of richness; etymological and phonetic connections between the word-rhymes). The second chapter analyses the rhythmic structure of the octosyllable (the distribution and the frequency of stresses; the placement of internal breaks). The third part aims to investigate the relationship between metrical structure and syntactical construction: the coincidence or the lack of coincidence between sentence and couplet (the so-called ʻbrisure du coupletʼ), the extension of the periods and the employ of enjambments.Il presente lavoro si configura come uno studio analitico e sistematico delle varie componenti della versificazione dei cinque romanzi di Chrétien de Troyes (Erec et Enide, Cligès, Chevalier de la Charrete, Chevalier au lion e Conte du Graal), con l’obiettivo di riunire, vagliare e ampliare i precedenti sondaggi, cui fa per lo più difetto un’ottica complessiva. La tesi si struttura in tre sezioni: nel primo capitolo vengono illustrati i tratti principali della tecnica rimica di Chrétien (la varietà, la consistenza e la ricchezza delle terminazioni, i rimanti più frequenti, le rime tecniche, le connessioni foniche ed etimologiche i tra le parole-rima). Nel secondo capitolo viene, invece, analizzata la struttura ritmico-prosodica dell’ottosillabo: la distribuzione e la frequenza degli ictus nelle varie posizioni del verso, la collocazione delle pause interne e le combinazioni accentuali utilizzate dal romanziere. Il terzo capito verte, infine, sul rapporto tra la struttura metrica e la struttura sintattica: la coincidenza o l’assenza di coincidenza tra frase e distico (la cosiddetta ʽbrisure du coupletʼ), l’estensione dei periodi e il ricorso all’enjambement.
2
Scavello, Susanna <1990>. "Les Femmes Fortes de la Scene Medievale : Martyres entre Ciel et Terre Etude comparative des heroines du theatre francais des XIVe-XVIe siecles." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amsdottorato.unibo.it/9918/1/Scavello_Susanna_tesi.pdf.
Повний текст джерелаАнотація:
Le travail offre une vision d’ensemble des représentations du Moyen Âge tardif (XIVe-XVIe siècles), consacrées à des héroïnes féminines, en vue d’une étude de synthèse encore manquante sur le sujet. Le domaine culturel examiné est français, mais le panorama est élargi aux représentations provençales et toscanes quand on a de traces de représentation en France, même si le texte original est perdu. Les protagonistes des drames conservés sont des héroïnes de la foi : l’étude se focalise en particulier sur les drames qui mettent en scène des martyres. En outre, sont analysés d’un côté deux dialogues dramatiques latins de Hrotsvita (Xe siècle), qui constituent l’exemple le plus ancien d’un drame médiéval consacré à une sainte martyre, dans une perspective comparatiste qui prend aussi en compte la diachronie ; de l’autre côté, sont proposés des excursus sur le culte et l’iconographie ainsi qu’une comparaison avec les légendes hagiographiques. Le commentaire des textes du corpus révèle non seulement leurs qualités poétiques et leurs potentialités performatives, mais il présente aussi les constantes dramaturgiques qui les relient ainsi que les singularités qui les distinguent. Enfin, la comparaison avec deux exemples de drames européens de la même époque qui mettent en scène respectivement une héroïne historique et une figure légendaire, placées dans un horizon mondain et non saint, vient enrichir la lecture de l’héroïne martyre. La thèse se donne pour perspective de montrer que les problèmes posés par les textes (la stigmatisation du sujet féminin libre, la répression de la résistance au pouvoir, la contradiction entre un corps vulnérable et une parole puissante) sont d’un intérêt considérable non seulement pour le lecteur expert, mais aussi pour un spectateur et un metteur en scène potentiels, de sorte que se trouve justifiée la redécouverte de ces représentations médiévales par et sur les scènes d’aujourd’hui.This work aims at giving an overview of late medieval theatrical performances inspired by female heroines between the XIV century and the beginnings of the XVI. The main cultural and liguistic area taken into account is the French one, but it is extended to some Provencal and Tuscan plays when there is track of their representation in France but their text has gone lost. The main character of the majority of the plays come down to us is the ‘heroine of faith’: the research focuses on those plays representing female Holy Martyrs. Then, from a comparative perspective that considers the diachronic axes, on the one hand, the study will analyse two dramatic dialogs from Hrotsvit (X century), the most ancient example of medieval drama inspired by female martyrs. On the other, the research will offer some digressions on devotion and iconography and a comparison with female saints’ hagiographic lives. By observing the texts of the corpus as fully theatrical, their analytical and comparative analysis not only reveals their dramatic qualities and their performative potential, but also presents the thematic and dramaturgical leitmotiv linking those texts and the specificities that divide them. Finally, this study on heroine martyrs will provide a comparison between the corpus and two European plays of the same period, which respectively represent an historical heroine (Joan D’Arc) and a legendary one (Popess Joan), both belonging to the worldly realm. The research aims at showing how the issues treated by these texts on a thematic, scenic, ethic and aesthetic level (the stigmatization of the free female subject, the violent repression of resistance and the contradiction between vulnerable bodies and powerful words) are highly interesting not only for expert readers, but also for a potential contemporary spectator, thus justifying the rediscovery of those medieval plays in nowadays theaters.
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Simons, Penelope. "The theme of education in twelfth- and thirteenth- century French epic and romance." Thesis, University of Sheffield, 1990. http://etheses.whiterose.ac.uk/3055/.
Повний текст джерелаАнотація:
This study examines the description of characters' education in twelfth- and thirteenth-century French epic and romance with two broad aims: to establish how education is described, and to suggest reasons why it is portrayed in the particular way that it is. The discussion is divided into three parts. The first provides the contextual framework for the second two, and presents a brief overview of the history of education in the period, together with a survey of the theory and practice of education in school and at home. Critics and historians have noted the link between education and literature and we provide a model of contemporary educational background, theory and practice, against which literary descriptions may be compared and understood. In Part II we analyse these literary descriptions, hitherto not comprehensively explored. Taking a large corpus of works, we examine the content of characters' education, drawing comparisons across genre and timespan, and with the model from Part I. This, together with further examination of where poets draw their inspiration, what they choose to include and how it is presented, provides a context within which particular features, descriptions or texts may be discussed. Part III examines particularly interesting treatments of education. Five different studies of individual works or groups of texts illustrate the range of ways education may function, and help us to establish the status of the education description in Old French literature. We conclude that poets deliberately describe and exploit education in various ways. These range from delineation of character, where we see authors shaping the raw material of narrative for their own ends, to major thematic use, essential for understanding a text. Study of the theme of education reveals its contribution to and reflection of the importance of medieval education and its influence on vernacular literature.
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Uulders, H. "Autour des saluts et complaintes d'amour du manuscrit BnF f. fr. 837. Recherches sur deux genres mineurs de la poésie française du XIIIe siècle." Doctoral thesis, Università degli studi di Padova, 2010. http://hdl.handle.net/11577/3421545.
Повний текст джерела
5
Sanson, Manuela. "Il corpo nell'opera di Francesco d'Assisi e di Iacopone da Todi." Doctoral thesis, Università degli studi di Trento, 2011. https://hdl.handle.net/11572/368289.
Повний текст джерелаАнотація:
La visione di un universo permeato dalla gloria di Dio che Francesco d’Assisi sviluppa nel Cantico di frate sole e nelle sue opere latine, e che risulta anche dalle testimonianze dei primi biografi, è stata interpretata da vari studiosi (Duby, Manselli, Pasero) come un implicito rovesciamento della concezione catara secondo cui il mondo non è stato creato dal Dio celeste, ma da un demiurgo malvagio. A prima vista, la concezione del corpo e della creazione materiale che emerge dall’opera poetica del francescano Iacopone da Todi si trova agli antipodi di quella del santo.
Giovanni Pozzi ha osservato come nelle Laude sia assente “qualsiasi valutazione del creato come entità recante l’impronta divina†; ma, lungi dal comportare un dualismo ontologico di tipo “gnostico†, come quello dei catari, questo atteggiamento va ricollegato secondo lo studioso svizzero alla tradizione dell’ascetismo cristiano, e in particolare al linguaggio del “disprezzo†del corpo e del mondo che verso la fine del secolo XIII aveva trovato una delle sue espressioni più violente ed efficaci nel De contemptu mundi di Lotario di Segni, il futuro papa Innocenzo III. Queste lucide considerazioni non mancano tuttavia di porre una serie di problemi storici ed ermeneutici che appaiono decisivi per una corretta comprensione delle opere letterarie dei due primi grandi scrittori religiosi della nostra letteratura: qual è il rapporto fra la concezione francescana del corpo (e più in generale del mondo materiale) e la riflessione cristiana dei secoli precedenti su questi temi? In particolare, come si può situarla rispetto ai grandi filoni teologici del XII e del XIII secolo: mistica cisterciense e vittorina, pensiero ascetico, eresia catara? E quali sono i rapporti fra la concezione di Francesco e quella che si delinea con straordinario vigore lirico nelle Laude di Iacopone? Quali sono i modelli del poeta di Todi? Fra i due grandi scrittori mistici e ascetici del Duecento italiano vi è realmente, a proposito della visione del corpo e della corporeità , radicale opposizione? Oppure possono essere individuati anche punti di contatto, elementi di continuità o di mediazione? E come si spiegano degli atteggiamenti così diversi nel fondatore e in uno dei primi grandi seguaci del movimento francescano? A questi, ed ad altri più puntuali interrogativi si è cercato di rispondere nel presente lavoro. Per giungere a risposte motivate e convincenti, si è ritenuto necessario partire da un approfondito esame delle concezioni del corpo e della materia nella tradizione del pensiero cristiano fino al Duecento. In particolare, sono apparse di fondamentale importanza le correnti teologiche del secolo precedente, il XII, correnti il cui influsso nella concezione del mondo di Francesco e di Iacopone appare determinante. Nella prima parte della tesi, abbiamo così dedicato un capitolo alla tematica del contemptus mundi quale è sviluppata nel grande trattato di Lotario di Segni. In un secondo capitolo è studiata la complessa – e talvolta almeno apparentemente contraddittoria – concezione del corpo e delle realtà materiali nelle due maggiori correnti della teologia mistica nel XII secolo, quella cisterciense e quella vittorina, alle quali si rifarà direttamente anche il francescano Bonaventura da Bagnoregio. Inoltre, si è ritenuto necessario studiare in maniera approfondita le dottrine eterodosse dei catari, che ebbero certamente un grande peso – come si è accennato – nella riflessione cristiana di questo periodo sul corpo e sulla materia. A partire da queste premesse dottrinali – che sono state spesso trascurate o sottovalutate dai filologi, ma alle quali la critica più recente incomincia a dedicare la dovuta attenzione – nella seconda parte della tesi abbiamo sottoposto a una accurata analisi la concezione e la rappresentazione del corpo, e della “corporeità †in generale, nelle opere italiane e latine di Francesco d’Assisi e di Iacopone da Todi. Ne sono derivate conclusioni molto più articolate e sfumate di quanto possa far pensare una lettura superficiale dei loro testi: gli stretti rapporti che si possono osservare in entrambi gli autori con la precedente tradizione ascetica e mistica valgono a mettere in luce tutta una serie di rapporti profondi fra di loro, specialmente intorno al nodo cruciale del corpo di Cristo. E questo vale, a nostro parere, a far risaltare ancor meglio gli aspetti originali dei testi maggiori di Francesco e di Iacopone, a farci gustare appieno la loro “poesia del corpo†.
6
Delamarre, Barbara. "Les églises romanes de Bretagne : une production artistique médiévale et sa réception contemporaine." Thesis, Rennes 2, 2014. http://www.theses.fr/2014REN20004.
Повний текст джерелаАнотація:
L’architecture romane de Bretagne figure parmi les grands oubliés de la recherche. Déconsidérée au XIXe siècle car n’obéissant pas aux canons prescris par la théorie des Ecoles Régionales, elle ne sera étudiée que localement, pièce par pièce, sans réelle étude d’envergure avant 1958. Un demi-siècle après la publication du travail de Roger Grand (L’art roman en Bretagne, Picard), un nouvel éclairage se devait d’être donné, à l’aune des nouvelles découvertes et des évolutions méthodologiques. Un recensement des édifices considérés majeurs est présenté sous la forme d’un catalogue de notices, servant de base à l’analyse et à la définition de ce qu’est la création architecturale en Bretagne aux XIe et XIIe siècles. L’art roman développe en Bretagne, comme ailleurs, des formes originales, adaptées aux matériaux locaux mais abreuvées de références parfois lointaines. Il apparait que la méconnaissance de ce patrimoine tient plus de phénomènes historiques récents que d’une mauvaise qualité de celui-ci. Si la période romane a été écartée des études historiques régionales c’est par un phénomène de réécriture de l’histoire bretonne, d’un roman régional, entamée dans les années 1830 et, pour une part, encore en marcheThe Romanesque architecture of Brittany is one of the great forgotten of research. Disrepute in the nineteenth centuryfor not obeying the models prescribe by the theory of Regional Schools, it will be investigated locally, piece by piece, with noreal major study before 1958. Half a century after the publication of the work of Roger Grand (Romanesque art in Brittany, Picard), a new perspective had to be given, in the light of new discoveries and methodological developments. An inventory of major buildings is presented in a catalog of notes, as a basis for the analysis and definition of the architectural design in Brittany in the eleventh and twelfth centuries. Romanesque art developed in Brittany, as elsewhere, original forms, adaptedto local materials but sometimes watered by remote references. It appears that the lack of knowledge of this heritage is more an effect of recent historical phenomena than of the poor quality of it. If the Romanesque period was dismissed in regional historical studies this is a phenomenon of rewriting Breton history, a regional novel, begun in the 1830s and, in part,still running
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Mattord, Carola Louise. "Lay Writers and the Politics of Theology in Medieval England From the Twelfth to Fifteenth Centuries." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/english_diss/44.
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This dissertation is a critical analysis of identity in literature within the historical context of the theopolitical climate in England between the twelfth and fifteenth centuries. The narratives under consideration are the Lais of Marie de France, The Canterbury Tales, and The Book of Margery Kempe. A focus on the business of theology and the Church’s political influence on identity will highlight these lay writers’ artistic shaping of theopolitical ideas into literature. Conducting a literary analysis on the application of theopolitical ideas by these lay writers encourages movement beyond the traditional exegetical interpretation of their narratives and furthers our determination of lay intellectual attitudes toward theology and its political purposes in the development of identity and society.
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Azzolini, Mauro. "Una gioiosa baldanza: immagini, modelli e lessico della giovinezza guerriera nelle letterature galloromanze dei secc. XI-XIII." Doctoral thesis, Università degli studi di Padova, 2018. http://hdl.handle.net/11577/3425875.
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The present work is a study on the status attributed to youth by the french medieval literature of the centuries XI-XIII. The literary images connected to this age of life both in the Old-french texts and in the Provençal ones are, in fact, referable to the archetype of warrior youth and to its renovated use in feudal times. After an introduction dedicat-ed to the reconstruction of the historical-critical debate on the issue, my thesis is divided into three chapters: the first one is based on the study of the vocabulary concerning young people; in the second chapter I examined the most interesting literary works in which the relationship between the young and the warrior take place; the third chapter is dedicated to the relationship between youthful narrative and narrative structures. In con-clusion, I try to interpret the phenomenon of the feudal restoration of the warrior youth myths as a whole.Il presente lavoro si configura come uno studio sul particolare statuto attribuito alla giovinezza dalle letterature galloromanze dei secc. XI-XIII. Le immagini collegate a que-sta età della vità tanto nei testi antico-francesi quanto in quelli provenzali sono, infatti, riconducibili all’archetipo della giovinezza guerriera e ad una sua rifunzionalizzazione in epoca feudale. Dopo un’introduzione dedicata alla ricostruzione del dibattito storico-critico sulla questione la tesi si articola in tre capitoli: il primo è dedicato all’indagine sul lessico riguardante i giovani; nel secondo vengono analizzate le più interessanti ma-nifestazioni letterarie del rapporto tra giovane e funzione guerriera; il terzo, infine, è de-dicato alla relazione tra racconto giovanile e strutture narrative e ad un tentativo di in-terpretazione complessiva del fenomeno.
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Souleau, Pauline. "Writing (hi)story : Gascony in Jean Froissart's chroniques." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:42e4a888-0d08-486b-bf0d-1d67713f89e5.
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Jean Froissart’s Chroniques, composed of four Books, relate the first stages of the Anglo-French conflict later known as the Hundred Years’ War (1337–1453). This thesis explores Froissart’s textual journey(s) to Gascon lands (south-west of modern-day France) and history/stories. Relying on Gérard Genette’s and Mikhail Bakhtin’s narrative theories, it uses literary and narratological tools to analyse three passages from Book I and III concerned with Gascony: the Earl of Derby’s Gascon campaigns (Chapter 1); the Black Prince’s Gascon campaigns and the principality of Aquitaine (Chapter 2); Froissart’s personal journey to and stay at the court of Gaston Fébus, count of Foix-Béarn (Chapter 3). One aim of the study is to investigate the representation of the region but it also argues that the Gascon passages have wider implications for the Chroniques, Froissart’s work as a whole, and the writing of history in the fourteenth century. At the turn of the twentieth century, Froissart’s ‘history’ was often disparagingly discussed by scholars due to factual inaccuracy and literary embellishments: such a ‘historical narrative’, it was felt, fell short of history and was nothing more than an entertaining story presenting outdated chivalric ideals. Although this approach has been partly revised, some critics still view the Chroniques’ earlier Books as being a narratively straightforward reflection of such a chivalric ideology, lacking critical hindsight on fourteenth-century events and society, and thus presenting paradoxical and irreconcilable tensions with later Books to the extent that they are occasionally deemed to be an entirely different kind of work than their later counterparts. The narrative thread of Froissart’s Gascon (hi)story explored here allows the revision of such views and shows that Froissart’s narrative is far from narratively and ideologically straightforward. This complexity is present as early as the first versions of the Book I, which should be envisaged in parallel, not in opposition, with the ‘later’ Chroniques. Similarly, the various tensions (e.g. fiction/history; ideal/real) underpinning the whole work, manifested in the portrayal of Gascony/the Gascons, are best approached in terms of co-existence, not antagonism. Such a multi-faceted work (a mirror and/or product of the fourteenth century?), à mi-chemin between history and fiction, between conflicting yet co-existing perspectives, is precisely what makes Froissart’s Chroniques valuable to literary critics, philologists, and historians alike.
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Pellissa, Prades Gemma. "La ficció sentimental catalana de la segona meitat del s. XV." Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/132580.
Повний текст джерелаАнотація:
A la segona meitat del s. XV s'escriuen una sèrie d'obres que comparteixen els mateixos motius i recursos retòrics en el tractament de l'amor (teorització sobre la passió, descripció de les causes i els efectes de l'amor, narració en primera persona, ús de l'al•legoria i l'epístola, combinació del vers i la prosa, imatgeria sentimental). No es tracta del naixement d'un gènere nou, sinó del moment de consolidació d'una moda literària que la crítica castellana ha anomenat «ficció sentimental». Aquest és el primer panorama que s'escriu sobre el fenomen en la literatura catalana. Per fer-ho, s'ha elaborat un cens amb totes les obres (originals i traduccions, composicions en prosa i en vers) que en formarien part. A més, a partir de la detecció de llacunes en l'estudi d'aquests textos, s'ha decidit editar i comentar dues obres de Francesc Alegre, la Requesta i la Faula de Diana, la darrera de les quals manté paral•lelismes notables amb la Tragèdia de Caldesa de Joan Roís de Corella i les Transformacions d'Ovidi, que havien estat traduïdes anteriorment pel propi autor. Finalment, la tesi conté a l'apèndix una edició filològica de la versió catalana del París e Viana que té com a testimoni de base l'incunable de Girona, conservat a la Biblioteca Reial de Copenhagen. La comparació entre aquesta forma de l'obra i la forma llarga francesa posa de manifest la naturalesa de la ficció sentimental com a moda o gust literari.A series of works were written in the second half of the fifteenth century that shared the same motifs and rhetorical resources concerning love passion (theorization about love, description of love symptoms, first-person narrators, use of allegories and letters, prosimetrum, sentimental imagery). It was not the genesis of a new genre, but it was the development of a new literary trend known as 'sentimental romance'. This thesis deals with the first comprehensive overview of Catalan sentimental romance. To this purpose, a census was created. It contains all the works (translations, original texts and works in prose or in verse) that should be studied in relation to this trend. Moreover, the census showed critical gaps that had to be addressed, such as the need for an edition and a study of Faula de Diana ('Diana's Fable') and the unpublished work Requesta ('Love Request'), both written by Francesc Alegre. The analysis of Faula de Diana reveals it was influenced by Tragèdia de Caldesa ('Caldesa's Tragedy') by Joan Roís de Corella and Alegre's Catalan translation of Ovid's Metamorphoses. Last but not least, this thesis also contains an annex with the edition of Paris and Vienne's Catalan version which has been based on the incunable preserved at The Royal Library in Copenhagen. The comparison between this version and the French one is certainly useful in order to understand the nature of sentimental romance as a literary trend.
Книги з теми "Romanzi francesi medievali"
1
Fois, Jacopo. "La voie de prose": La materia antica nel romanzo francese in prosa medievale. Bologna: Bononia University Press, 2022.
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2
McDonald Werronen, Sheryl. Popular Romance in Iceland. NL Amsterdam: Amsterdam University Press, 2016. http://dx.doi.org/10.5117/9789089647955.
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A late medieval Icelandic romance about the ‘maiden-king’ of France, Nítída saga generated interest in its day and grew in popularity in post-Reformation Iceland, yet until now it has not received the comprehensive scholarly analysis that it much deserves. Analysing this saga from a variety of perspectives, this book sheds light on the manner in which Nítída saga explores and negotiates the romance genre from an Icelandic perspective, showcasing this exciting saga’s strong female characters, worldviews, and long manuscript tradition. Beginning with Nítída saga’s manuscript context, including its reception and transformation in early modern Iceland, this study also discusses how Nítída saga was influenced by, and also later influenced, other Icelandic romances. Considering the text as literature, discussion of its unusual depiction of world geography, as well as the various characters and their relationships, provides insights into medieval Icelanders’ ideas about themselves and the world they lived in, including questions about Icelandic identity, gender, female solidarity, and the literary genre of romance itself. The book also includes a newly revised reading edition and translation of Nítída saga.
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Gotsi, Georgia, and Despina Provata, eds. Languages, Identities and Cultural Transfers. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789462988071.
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What was the perception of Greece in Europe during the later nineteenth century, when the attraction of romantic philhellenism had waned? This volume focuses on the reception of medieval and modern Greece in the European press, rigorously analysing journals and newspapers published in England, France, Germany, Italy, and The Netherlands. The essays here suggest that reactions to the Greek state's progress and irredentist desires were followed among the European intelligentsia. Concurrently, new scholarship on the historical development of the Greek language and vernacular literature enhanced the image of medieval and modern Greece. This volume's contributors consider the press's role in this Europewide exchange of ideas, explore the links between romantic and late philhellenism and underscore the scholarly nature of the latter. Moreover, they highlight the human aspects of cultural transfers by focusing on networks of mediators, publishers and scholarly collaborators. This context enhances our understanding of both the creation of Hellenic studies and the complex formation of the modern Greek identity.
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Kazakova, Gandalif. The problem of formation of romantic historicism and rehabilitation of medieval culture in the creative heritage of F. R. de Chateaubriand. ru: INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1044190.
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The monograph is devoted to the literary and scientific heritage of the famous French writer, historian, philosopher, thinker, diplomat and statesman F. R. de Chateaubriand, whose scientific works were practically unknown to the Russian reader for many decades. Being the founder of French romanticism and laying the main elements of this direction of culture, F. R. de Chateaubriand nevertheless causes numerous disputes and questions. The monograph shows the process of formation of the writer's romantic worldview on the example of his early works, which still retain traces of the literature of the XVIII century and already carry new romantic trends of the XIX century. The author also presents the facts of the writer's biography and analyzes a number of his historical works devoted to medieval France. From the Renaissance until the end of the XVIII century, one of the elements of medieval architecture and Christian religion-Gothic architecture — was perceived as something negative, barbaric, rude, completely inconsistent with the aesthetics of the XVI — XVIII centuries. F. R. de Chateaubriand was one of the first researchers who discovered the beauty of Gothic churches and the color of national history to the mass reader at the turn of the XVIII—XIX centuries. The rehabilitation of Gothic architecture was accomplished by F. R. de Chateaubriand in his Treatise "the genius of Christianity". The famous "forest theory" of the origin of Gothic helped to "remove" negative assessments of the middle Ages and influenced the formation and development of romanticism both in France and in other European countries. It was F. R. de Chateaubriand's idea of the relationship between medieval architecture and Christian consciousness that influenced all the subsequent development and formation of the history of medieval art. For a wide range of readers interested in the history of literature.
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The burning times: A novel of medieval France. New York: Simon & Schuster, 2001.
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6
Kevin, Brownlee, and Huot Sylvia, eds. Rethinking The romance of the Rose: Text, image, reception. Philadelphia: University of Pennsylvania Press, 1992.
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7
James, Cowan. A troubadour's testament: A novel. Boston: Shambhala, 1998.
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James, Cowan. El testamento del trovador. Buenos Aires: Editorial Atlántida, 1999.
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Speer, Flora. A time to love again. New York City: Love Spell, 1993.
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10
Carr, Robyn. By right of arms. Boston: Little, Brown, 1986.
Знайти повний текст джерелаЧастини книг з теми "Romanzi francesi medievali"
1
"The specular encounter in Arthurian romance." In Fictions of Identity in Medieval France, 83–130. Cambridge University Press, 2000. http://dx.doi.org/10.1017/cbo9780511485831.003.
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2
Kim, Marie Seong-Hak. "Custom in Late Medieval France." In Custom, Law, and Monarchy, 29–63. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192845498.003.0002.
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The idea of the dynamic movement of law—diffusion of legal institutions, rules, and culture—is deeply embedded in European legal history since antiquity. All the while, a potent spirit of local custom has sustained national history, forming an equally integral part of Europe’s legal tradition. This chapter examines the sources of law in late medieval France and the doctrine of custom. It also discusses the growth of royal justice and the relationship between private law and political power. An overview of major historiographical debates concerning the theory and nature of custom sheds light on the question as to whether the notion of common law (droit commun) emerged autonomously in France or only after custom was written down on the model of Roman law as jus commune.
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Gilbert, Jane, Simon Gaunt, and William Burgwinkle. "Local French outside France." In Medieval French Literary Culture Abroad, 32–57. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198832454.003.0002.
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This chapter juxtaposes two case studies of texts in French with an exclusively local dissemination outside France: Gaimar’s Estoire des Engleis (c. 1137) and the second mise en prose of the Roman de Troie (c. 1270). In these instances, French is used as a cosmopolitan language with a multilingual readership, but the particular form and the aesthetic developed have a local flavour. These texts are not in a two-way dialogue with literary culture in France but show the existence of autonomous Francophone literary cultures in other places. In the case of Gaimar, ‘French literary culture’ had barely emerged in France. In the case of the prose Roman de Troie, the manuscripts are our focus, for the local visual style of the manuscripts is as striking as the text’s formal and linguistic makeover.
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Gilbert, Jane, Simon Gaunt, and William Burgwinkle. "Francophone Literary Culture on the Move." In Medieval French Literary Culture Abroad, 58–83. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198832454.003.0003.
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This chapter connects northern Italy with networked vectors of transmission encompassing the Low Countries, Britain, France, and the eastern Mediterranean: Arthurian prose romance is a vehicle for, and an instrument of, a pan-European chivalric vision of the past, present, and future. This Christianizing interest in figures like Tristan and Guiron le Courtois connects Italy with the Low Countries and the eastern Mediterranean in particular. A key feature of the transmission of this material, and one that grows in importance by the fourteenth century, is compilation. The famous Arthurian compilation (c. 1270) of Rusticiaus de Pise gathers episodes from different romance traditions. Guiron le Courtois circulates in ever-expanding compilations between the Low Countries and Northern Italy.
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Búa Carballo, Juan Carlos. "Callobre, punto de inicio do longo camiño onomástica de Santiago de Compostela." In Os camiños de Santiago de Europa a Galicia: Lugares, nomes e patrimonio, 33–65. Real Academia Galega, 2022. http://dx.doi.org/10.32766/rag.404.03.
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Callobre é un topónimo prelatino que en Santiago de Compostela se conservou como nome dunha rúa. Xunto con outros nomes idénticos galegos pertence ao grupo dos topónimos latinos en -bre, antigos en -bris, que proceden probablemente do celta *brig- ‘monte, castro’. Unha pequena variante sería o topónimo medieval Caliabri(g)a que se debe situar pola zona fronteiriza entre A Guarda e Salamanca. Na zona do Tambre deben localizarse as civitates romanas dos célticos praestamarcos e supertamarcos. Tradicionalmente situáronse ao sur e norte do Tambre respectivamente, pero distintos argumentos falan a favor de que máis ben se deban localizar no curso baixo e alto do río. Callobre está nunha zona intermedia, pero posiblemente xa dos supertamarcos. Atopa uns bos aequabiles formais e etimolóxicos nos topónimos franceses Chaillouvre(s) e Chaliouvre, próximos a Lión. O máis probable é que se trate de compostos con primeiro elemento *calio- ‘pedra’, conservado no francés antigo e en distintas áreas dialectais modernas (chail), ao par do que tamén existe *calia ‘lugar pedroso’ (chaille) polo Franche-Comté e Suíza, que, pola súa banda, podería estar no medieval Caliabri(g)a. O significado de Callobre <*Calio-bri(g)- pode que fose ‘monte Pedroso’, coma o actual orónimo próximo a Santiago.
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Boulton, Maureen. "Intermedial Texts." In The Edinburgh Companion to Literature and Music, 78–85. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748693122.003.0008.
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The term ‘intermediality’ is applied to texts that incorporate an independent medium, and in medieval contexts may refer to the combination of text and image or of literature and music. Experimentation in thirteenth- and fourteenth-century France led to the creation of a variety of hybrid works. Several romances (Guillaume de Dole, Roman de Perceforest, Roman du Castelain de Couci and Gerbert de Montreuil’s Roman de la Violette) incorporate songs described as sung but without melodies in the surviving copies. Others (Roman de Tristan en prose, Aucassin et Nicolete) include musical notation in at least one manuscript, while Jean de Lescurel and Guillaume de Machaut wrote first-person narratives as contexts for the inserted music. In addition, Machaut wrote explicitly about the composition of words and music.
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Watts, Karen. "The Arms and Armour of Titian’s Allegory of Marriage." In Titian’s Allegory of Marriage. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463729536_ch04.
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This chapter demonstrates that a technical study of the arms and armour depicted in paintings can be a useful tool in iconographic interpretation. The armour in Titian’s paintings—especially those of two of his commissioners, Alfonso d’Avalos and Francesco Maria I della Rovere—can reveal how patrons wished to be understood in a military capacity. The armour presented can also be shown to reference Roman as well as medieval topoi. A secondary theme is an analysis of the allegorical role of the Cupid figure. It is not possible to affirm the identity of the sitter in the Allegory, but a close look at Titian’s armoured portraits and the military metaphors may lead to a better understanding of the painting.
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Heuser, Beatrice. "1. The History of the Practice of Strategy from Antiquity to Napoleon." In Strategy in the Contemporary World. Oxford University Press, 2015. http://dx.doi.org/10.1093/hepl/9780198708919.003.0002.
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This chapter traces the history of the practice of strategy from Antiquity to Napoleon Bonaparte. It first considers various definitions of strategy before discussing episodes of European history since Antiquity for which historians claim to have found evidence of the practice of strategy. While focusing only on Europe, the chapter covers case studies over nearly 2,500 years, ranging from the wars of Ancient Greece, of the Romans to medieval warfare, the warfare of Philip II of Spain, Louis XIV of France, Frederick II of Prussia, the French Revolutionaries, and Napoleon. It also considers two sets of incremental changes that ultimately led to the transformation of warfare and of strategy: the growth, centralization, and diversifiation of the structure of European states; and technological innovation.
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Delogu, Daisy. "Voiceover." In Gender and Voice in Medieval French Literature and Song, 253–72. University Press of Florida, 2021. http://dx.doi.org/10.5744/florida/9780813069036.003.0011.
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This chapter explores Anne de Graville’s Beau Romant, an early sixteenth-century adaptation of Giovanni Boccaccio’s Teseida, dedicated to Queen Claude of France. Also the author of a rewriting into rondeaux of Alain Chartier’s famous Belle dame sans mercy, de Graville both reprises and exceeds the works of two prestigious medieval authors in order to define a literary, ethical, and political sphere that elevates women. In de Graville’s Beau Romant, the character Emilia recuperates Chartier’s Fair Lady. Though the latter was denounced for refusing her would-be lover’s suit, Emilia’s exemplary reason, courtesy, and wise speech allow her to accommodate the conflicting desires of male characters and to preserve her reputation for female virtue. De Graville thus intervenes strategically in the Querelle des femmes, while also establishing her relevance in universal terms by joining the long philosophical and ethical tradition focused on how to withstand the vicissitudes of Fortune. Thus “voiceover” in this chapter describes the actions of both de Graville and Emilia, as the author re-voices a canonical male-authored work for an explicitly female readership, and re-focuses the value of its female protagonist by giving voice to her virtue and exemplarity.
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Karsenti, Tiphaine. "Achilles in French Tragedy (1563–1680)." In Epic Performances from the Middle Ages into the Twenty-First Century, 322–35. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198804215.003.0022.
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This chapter examines how French playwrights in the sixteenth and seventeenth centuries appropriated the epic figure of Achilles. Inheriting both antique and medieval traditions, they made him into a flexible tragic hero, alternately noble, brutal, and romantic. Following the evolution of taste and aesthetics, love and passions progressively took a major part in their treatment of the hero. But the uses of this epic figure also reflect the social, political, and ethical concerns of a France facing profound transformation. From the civil wars opposing Catholics and Protestants in the sixteenth century to the establishment of absolute monarchy under Louis XIV, the definition of the state, the relations between nobles and political power, the vision of man and history were profoundly shaken. The ambivalent characterizations of Achilles, virtuous yet excessive, supportive yet a threat to the king, authorized manifold dramatizations of these contemporary issues.