1,360,889 research outputs found
Apuntes para a la reconstrucción filológico-musicológica de los lais de Bretaña gallego-portugueses : El caso del anónimo d' un amor eu cant' e choro (b4, va4).
No full textLa base metodológica de este trabajo se asienta en la operación de reconstrucción, un movimiento retrospectivo que sabe imposible volver al momento de la performance trovadoresca pero no reniega de la posibilidad de aprehender parcialmente sobre la escritura las huellas de la oralidad. En esta ocasión nos abocaremos al estudio del pequeño corpus de lais de materia artúrica en gallegoportugués del siglo XIII con la intención de arrojar luz sobre el trabajo de traducción y adaptación que sale a la luz a partir de su cotejo con ciertos lais del >Tristan en prose, roman artúrico de mediados del siglo XIII que integra piezas líricas. Se trata de un proceso de transculturación y contrafactura único para la tradición lírica gallego-portuguesa medievalThe methodological basis of this work lies on the process of reconstruction—a retrospective look that assumes it is impossible to go back to the moment of the troubadour’s performance, but does not deny the possibility of grasping, at least partially, the oral traces that remain in written word. In this work we concentrate on the study of a small corpus of Arthurian lais written in Galician-Portuguese sometime in the XIIIth century. We aim to highlight the labor of translation and adaptation that these texts offer when compared with some lais of the Tristan en prose, which is the only XIIIth century Arthurian roman that includes lyrical compositions. This is a unique process of transculturation and contrafacture in the Galician-Portuguese medieval lyrical poetry.Consejo Nacional de Investigaciones Científicas y Técnicas (CONICET
Consciência e perspectiva feminina nos Lais de Maria de França
No full textMarie de France was a medieval poetess who wrote in Old French in the 12th century. Her best-known work, Lais, is a retelling of several oral folk stories known at the time. The female characters in these lais, however, are presented as women with a clear awareness of their feminine perspective in the face of the adversities in the feudal society. Reading the Lais with a feminine (and in some cases feminist) view, we can see how the author actively criticized the model of the social order in her time and how her criticisms match the abuse of women in her century. Starting from scenes in the lais of “Guigemar”, “Yonec”, “Equitan” and “Milun” we will discuss how the author criticized the sexist society which she was part of. We will also demonstrate how her words show a tone of condemnation to a society that dictated that the woman should be entirely submissive to her male relatives and her husband. We will use the studies of Georges Duby in which he versed about women and their role in the marital society of the Middle Ages to illustrate the medieval female perspective that the author exposed, in addition to several other authors and historians who have studied the work of Marie de France with the awareness of the feminine in her writing
Regenerasi Pemerolehan Seni Lais di Padepokan Lais Pancawarna Kampung Sayang Desa Cibunar Kecamatan Cibatu Kabupaten Garut
No full textThe purpose of this paper is to know the existence and acquisition Seni Lais from the older generation to the younger generation. In this study analyzed model of inheritance Seni Lais as a form of preservation. From the result of this research is expected to realize the mapping of inheritance model Seni Lais from the older generation to the younger generation and so it can be known synergic and continuous preservation efforts. Therefore, the mastery and understanding of Seni Lais must be imprinted in the soul and body of the older generation and the younger generation for socialization art in particular of Seni Lais can be done optimally and thoroughly within the scope of local, national, regional, and International. In addition, the regeneration is also a reflection of the identity of the Sundanese community which is one among the cultural treasures of Indonesian society. The method used in this paper is an ethnographic method that refers to qualitative research. Source of data used in this research is primary data and secondary data. The primary data source is data in the field through participant observation. Furthermore, for secondary data used literature sources.
Keywords: Model of Inheritance, Regeneration, Seni Lai
O teatro dos sentidos: a unidade dramática nos lais de Marie de France (Século XII)
No full textO presente artigo analisa a questão da unidade dramática nacomposição dos lais de Marie de France (século XII) e sua inserção natradição da literatura românica medieval. O objetivo é discutir comoa restrição da narrativa a um episódio significativo, a economia nasdescrições de personagens, a direcionalidade do narrado e a inserção domaravilhoso, elementos centrais dos lais, contribuem para a sustentaçãoda unidade dramática dessa forma breve poética medieval românica, oque a caracteriza como antecedente das formas breves modernas.</jats:p
A Troubled Translation: Reading the Lais of Marie de France
No full textThe twelfth-century Lais of Marie de France, twelve short narrative romances in French verse, are a delightfully heterogenous mixture of old Celtic, classical, Anglo-Norman and Christian themes and motifs. At times these varied streams of influence stand together in unreconciled incongruity. Scholarly attempts to present a unified interpretation of the Lais have yielded varied and often mutually incompatible results. It is the contention of this dissertation that, while all the differing and contradictory interpretations of the Lais offer particular insights into the work and message of the author, the most important single unifying optic is understanding Marie de France as a medieval translator. Marie began with genuine artefacts of Celtic performance and transformed them, not only linguistically but also culturally, assigning to the vernacular oral tradition the same status that was accorded to the written Latin heritage and submitting it to the same sort of treatment, not only representing it in another language but reforming it to enrich its content and meaning. What distinguishes her work from her contemporaries, what in fact, I argue, constitutes its success, is that she resisted a complete transformation, retaining authentic cultural elements unassimilated to one another, and allowing them to speak side by side, even if at times this process resulted in cultural and moral incoherence. A close reading of the Lais undergirded by historical, linguistic and literary investigation frequently enables a distinction of the disparate elements which came together to make the final product, masterfully unified in terms of narrative and disturbingly inconsistent in social and moral stance. This approach reveals at every turn Marie’s strategies as a translator and her inventiveness as a writer, and suggests that what became known from the twelfth century on as the lai de Bretaigne was actually a new genre, not of Breton but of Old French literature, in all probability created singlehandedly by Marie de France. Later attempts to imitate, resituate or translate Marie’s Lais demonstrate that her translation strategy was poorly understood. Though her influence on subsequent literature was profound, the continuing attempts to clarify the poet’s ambivalent positions, to moralize, feudalize, masculinize and harmonize the message of the Lais, reveal how unsettling was her method, and confirm how strongly her compositions have resisted—and continue to resist—any facile and reductive analysis
L'énonciation féminine dans les lais médiévaux
No full textOn a conservé un peu plus d’une trentaine de lais français médiévaux, dont les douze plus connus, dits « de Marie de France », apparaissent sous forme d’un recueil précédé d’un prologue dans le ms. Harley 978 de la British Library. Ces récits courts ont un rapport complexe à l’oralité puisqu’ils se présentent comme la transposition en vers romans de récits chantés composés par les Bretons et racontant les aventures « vraies » d’hommes et de femmes du passé. La présence forte d’une voix narrative, surtout dans les prologues et les épilogues, encadre la narration des événements et la représentation des paroles prononcées par des sujets parlants, les personnages masculins et féminins des aventures originelles. Le présent article étudie comment les lais construisent les locuteurs et locutrices du récit (qu’il s’agisse du narrateur ou des personnages) par le biais du discours rapporté. Il s’intéresse plus particulièrement aux différences éventuelles existant entre la façon dont les lais rapportent les discours féminins et les discours masculins, et les compare à un autre genre de récits narratifs courts, celui des fabliaux. Enfin, l’article examine aussi si les lais anonymes se comportent différemment des lais dits « de Marie de France » (où la voix narrative est supposément féminine). Le but sera donc ici de savoir si la représentation des discours féminins dans les lais est affaire de genre littéraire (particulière aux lais en général) ou de genre sexué (lié au sexe de l’auteur(e)
L'énonciation féminine dans les lais médiévaux
No full textOn a conservé un peu plus d’une trentaine de lais français médiévaux, dont les douze plus connus, dits « de Marie de France », apparaissent sous forme d’un recueil précédé d’un prologue dans le ms. Harley 978 de la British Library. Ces récits courts ont un rapport complexe à l’oralité puisqu’ils se présentent comme la transposition en vers romans de récits chantés composés par les Bretons et racontant les aventures « vraies » d’hommes et de femmes du passé. La présence forte d’une voix narrative, surtout dans les prologues et les épilogues, encadre la narration des événements et la représentation des paroles prononcées par des sujets parlants, les personnages masculins et féminins des aventures originelles. Le présent article étudie comment les lais construisent les locuteurs et locutrices du récit (qu’il s’agisse du narrateur ou des personnages) par le biais du discours rapporté. Il s’intéresse plus particulièrement aux différences éventuelles existant entre la façon dont les lais rapportent les discours féminins et les discours masculins, et les compare à un autre genre de récits narratifs courts, celui des fabliaux. Enfin, l’article examine aussi si les lais anonymes se comportent différemment des lais dits « de Marie de France » (où la voix narrative est supposément féminine). Le but sera donc ici de savoir si la représentation des discours féminins dans les lais est affaire de genre littéraire (particulière aux lais en général) ou de genre sexué (lié au sexe de l’auteur(e)
A second flowering of the Old French lais
No full textThe late Old French Lai de l'Ombre, Lai du Conseil, and Lai d'Amours represent a second flowering of the lais, very different from the first flowering under Marie de France in the last third of the twelfth century. Marie's early successors were on the whole imitative of her, but these three late lais, written probably in the second decade of the thirteenth century, attained a second flowering of their own. They had relinquished the Breton material of the earlier lais, and did not concern themselves with men experiencing aventures. Instead, they interested themselves in the portrayal of women, especially women as the ones who controlled sexual relationships. They stand apart from the lais of their time in embracing the concept of love as essential to happiness and emotional fulfilment. Other lais around their time do not treat love so positively-some show it as primarily sexual desire, some show it as abortive or inappropriate, and some do not mention it at all. These three late lais briefly revitalized the genre in terms of their positive attitude to love, their originality, and their sophistication
- …
