Download e-book for kindle: Assembling the Lyric Self: Authorship from Troubadour Song by Olivia Holmes

By Olivia Holmes

ISBN-10: 0816633436

ISBN-13: 9780816633432

ISBN-10: 0816633444

ISBN-13: 9780816633449

Through the thirteenth century Western Europe witnessed an explosion in vernacular literacy, leading to a wide physique of manuscript anthologies of secular and renowned troubadour lyrics. presently afterwards, those multi-authored compilations have been succeeded via books of poems by way of unmarried authors, particularly via Petrarch throughout the 14th century. This exact but readable thesis attracts on an intensive variety of archival resources to envision the explanations for this transition in Provencal and Italian literature, combining basic analyses of manuscripts and authors with particular reports of, for instance, Guittone d' Arezzo, Dante's Vita Nova , Nicolo de Rossi and Petrarch's Canzoniere . Extracts translated.

Show description

Read or Download Assembling the Lyric Self: Authorship from Troubadour Song to Italian Poetry Book PDF

Best medieval books

S. Hutton's Women and Economic Activities in Late Medieval Ghent (New PDF

Opposite to the common view that girls exercised fiscal autonomy purely in widowhood, Hutton argues that marital prestige used to be no longer the executive determinant of women's fiscal actions within the mid-fourteenth century and that ladies controlled their very own wealth to a miles better quantity than formerly famous.

New PDF release: Enrico Dandolo and the Rise of Venice

Among the 11th and 13th centuries, Venice remodeled itself from a suffering service provider commune to a robust maritime empire that will form occasions within the Mediterranean for the following 400 years. during this magisterial new booklet on medieval Venice, Thomas F. Madden strains the city-state's striking upward thrust in the course of the lifetime of Enrico Dandolo (c.

Get Staging Vice PDF

Characters representing a variety of sins and vices turned the celebs in their respective theatrical traditions through the overdue medieval and early sleek interval in either the Low nations and England. This research assesses the significance of such characters, and particularly the English Vice and Dutch sinnekens, for our knowing of medieval and sixteenth-century Dutch and English drama by way of charting diachronic advancements and during synchronic comparisons.

Additional info for Assembling the Lyric Self: Authorship from Troubadour Song to Italian Poetry Book

Sample text

The lover cannot sustain such noble sentiments for very long, however. In poem 10, a discrepancy becomes apparent between the speaker’s true feelings and the expression of those feelings, or (to use the texts’ own language) between razo and canso: Ses dessir eses raisson. Que non ai don sia gais. Me ven enmon cor em nais. Un dolz voler qem somon. Qeu chan e fassa chanchon. (79vD) Without desire and without a motive, for I don’t have a reason to be happy, arrives and arises in my heart a sweet urge that summons me to sing and compose a song.

79rB) Lady, if you are angry at me, I do not defend myself at all, nor do I take myself away or flee from you, for since I met you, I have never courted another woman. He puts himself at her mercy and swears his constant fidelity. He will not seek “ioi ni salut” (happiness and salvation) without her even in God. Jeanroy and Salverda de Grave believe that the following canso, “En aissi com son plus car” (poem 9), was composed later than all the others, because in a tornada not present in ms. 25 It does not come at the end of the sequence in D, however, and like the previous poem, it is closely related to “Hanc henemis” (poem 6), having the same rhyme scheme, and two of the same rhyme sounds.

21 In the poem that follows, “Servit aurai loniamen,” the lover debates whether he should remain faithful to his lady, who keeps him dangling in this way (“caissim vai volven”) (77vD), but then resolves that he should. He is well aware that he is wasting his time, however (“ipert mos iornals”) (78rA). The fourth poem, “Estat ai fort longamen,” has the same meter and rhyme words as the previous one, but the relationship between the lover and the lady has worsened in the interval between them. In the first stanza, the speaker calls the lady “falsa leials” — she has apparently been unfaithful to him — and says that he no longer expects from her any gift or compensation, nor any kind of reconciliation.

Download PDF sample

Assembling the Lyric Self: Authorship from Troubadour Song to Italian Poetry Book by Olivia Holmes

by Anthony

Rated 4.60 of 5 – based on 46 votes