3,736 research outputs found
À la recherche d’Adam. Tradition et fortune d’un motif et d’un texte dans la France médiévale
No full textSaviotti Federico. À la recherche d’Adam. Tradition et fortune d’un motif et d’un texte dans la France médiévale. In: Romania, tome 131 n°521-522, 2013. pp. 5-23
Raimbaut de Vaqueiras, “Era·m requier sa costum’e son us” (BdT 392.2)
No full textThe lack of studies on the more traditional love songs composed by Raimbaut de Vaqueiras, compared with the great success of his more experimental poems amongst scholars, has been repeatedly stigmatized. This paper offers a global and detailed reading of a ‘canso’ which is emblematic in the troubadour’s poetry. The vocabulary and stylistic features have been analyzed comparatively in order to correct an erroneous interpretation based on the story told by the ‘razo’ and to recognize the poem’s importance within Raimbaut’s production. This poem, no less than others by the same poet, reveals the most significant marks of its author’s poetic spirit: his curiosity towards reality and his receptiveness. A new critical edition of the text is provided here, based on the revision and a more extensive study of the manuscript tradition
La traduzione come genesi e palingenesi della letteratura, a cura di Paola Cattani, Matteo Fadini e Federico Saviotti (= Ticontre. Teoria testo traduzione, III, 2015)
No full textDante, i diavoli e l'ira di Virgilio
Full text linkRiassunto: Numerosi interventi critici hanno analizzato ad ogni livello la diablerie che Dante mette in scena in If. XXI-XXIII; tuttavia, la sua eccentricità formale e contenutistica rispetto al resto del poema sembra ancora imbarazzare gli esegeti. In questo articolo si cerca di giustificarne la coerenza nel quadro della poetica della comedìa dantesca, concentrandosi su alcuni aspetti di particolare interesse: tra questi, l’opportunità di una lettura carnevalesca – in senso bachtiniano – della diablerie e il senso del “riso” di cui questa è portatrice; la presenza di un rovesciamento intra-testuale definibile come “auto-parodico” rispetto alla scena di If. VIII-IX e apprezzabile a partire dalla rappresentazione dei diversi personaggi; la “sconfitta” due volte patita da Virgilio nei confronti dei diavoli e la definizione, in entrambi ed altri casi, della sua ira. Abstract: Many scholars have analyzed at any level the diablerie Dante puts on stage in If. XXI-XXIII; nevertheless, its formal and substantial eccentricity compared with the rest of the poem still seems to puzzle the commentators. In this paper I will try to demonstrate its coherence with the poetics of Dante’s comedìa, by focusing on some very interesting elements: the opportunity of a bachtinian interpretation of the diablerie as a carnival expression and the meaning of the “laughter” it conveys; the presence of an intra-textual reversal which may be defined as “auto-parodic” in respect to the scene in If. VIII-IX and appreciated through the poetic representation of the different characters; the “defeat” which Virgilio undergoes twice against the devils and the definition, in both and other cases, of its ira. </p
Fabio Barberini (ed.), Il trovatore Rostanh Berenguier de Marselha, Modena, Mucchi, 2013
No full text"Du Monde qui fet a reprendre". Les Vers du Monde anonymes du XIIIe siècle
No full textLes Vers du Monde sont un poème anonyme en strophes d'Hélinand. Le but de cet article est de procurer une nouvelle édition du texte - après celle d'A Jubinal (1842) - accompagnée d'une traduction et d'un commentaire, nécessaires pour éclaircir le sens de nombreux passages de compréhension difficile dans le ms. unique (BnF, fr. 837). L'introduction étudie le contenu et le style de l'oeuvre et essaie de la situer parmi les "vers moraux" composés dans la France du Nord entre XIIIe et XIVe siècle
Épisodes de la réception : le "partimen d'En Raymbaut e d'En Coyne", ses auteurs et son public
No full textBdT 392.29 is a bilingual Occitan-French partimen between the troubadour Raimbaut de Vaqueiras and the trouvère Conon de Béthune. A close investigation of its language, style, contents, contexts of composition and reception leads to reaffirm that both of the poetic voices belong to real authors, against the hypothesis that this debate should be considered as a “fictional tenso” composed by Raimbaut alone. Through the analysis of the varia lectio it has been possible to check the different audiences’ attitudes (from Constantinople to the Veneto and the Languedoc, between 13th and the beginning of 14th centuries) towards the plurilingual nature of the text and to set the stages for a new critical edition of the poem
Adam de la Halle, Teatro. La commedia di Robin e Marion. La Pergola, a cura di Rosanna Brusegan, Venezia, Marsilio, 2004
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Les Vers d'Amours d'Arras (Adam de la Halle, Nevelot Amion)
No full textL’invention par Adam de la Halle des Vers d’Amours, composés en strophes d’Hélinand à l’instar des célèbres Vers de la Mort, va élargir par le choix d’un thème nouveau, celui du blâme d’amour, le domaine des « dits » moraux en vogue à Arras dans la deuxième moitié du XIIIe siècle. Nevelot Amion, l’obscur concitoyen et confrère du grand trouvère, essaye dans son imitation déclarée mais non servile du modèle de faire des Vers d’Amours une nouvelle expression des lamentations de l’amant courtois. Ainsi, les deux poèmes occupent une place emblématique dans le panorama de la littérature artésienne de leur époque, dans le signe de l’interférence des styles et des registres poétiques
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