A Critical Edition Of The Cansos Of The Troubadour Giraut De Borneil

Amongst the troubadour poets, Giraut de Borneil was one of the most important and influential. This 1989 edition covers Giraut's entire output.

The songs of the troubadour poets of the south of France were a pervasive influence in the development of the European lyric (and indeed other genres) from the twelfth century to the Renaissance and beyond. Much troubadour poetry is on the topic of love, and is composed from a first-person position. This book is a full-length study of this first-person subject position in its relation to language and society. Using theoretical approaches where appropriate, Sarah Kay discusses to what extent this first person is a 'self' or 'character', and how far it is self-determining. Dr Kay draws on a wide range of troubadour texts, and provides close readings of many of them, as well as translating all medieval quotations into English in order to make the discussion accessible to the non-specialist. Her book will be of interest both to scholars of medieval literature, and to anybody investigating subjectivity in lyric poetry.

Although it seemed in the mid-1970s that the study of the troubadours and of Occitan literature had reached a sort of zenith, it has since become apparent that this moment was merely a plateau from which an intensive renewal was being launched. In this new bibliographic guide to Occitan and troubadour literature, Robert Taylor provides a definitive survey of the field of Occitan literary studies - from the earliest enigmatic texts to the fifteenth-century works of Occitano-Catalan poet Jordi de Sant Jordi - and treats over two thousand recent books and articles with full annotations. Taylor includes articles on related topics such as practical approaches to the language of the troubadours and the musicology of select troubadour songs, as well as articles situated within sociology, religious history, critical methodology, and psychoanalytical analysis. Each listing offers descriptive comments on the scholarly contribution of each source to Occitan literature, with remarks on striking or controversial content, and numerous cross-references that identify complementary studies and differing opinions. Taylor's painstaking attention to detail and broad knowledge of the field ensure that this guide will become the essential source for Occitan literary studies worldwide.

Emotions in a Crusading Context is the first book-length study of the emotional rhetoric of crusading. It investigates the ways in which a number of emotions and affective displays-primarily fear, anger, and weeping-were understood, represented, and utilised in twelfth- and thirteenth-century western narratives of the crusades, making use of a broad range of comparative material to gauge the distinctiveness of those texts: crusader letters, papal encyclicals, model sermons, chansons de geste, lyrics, and an array of theological and philosophical treatises. In addition to charting continuities and changes over time in the emotional landscape of crusading, this study identifies the underlying influences which shaped how medieval authors represented and used emotions; analyzes the passions crusade participants were expected to embrace and reject; and assesses whether the idea of crusading created a profoundly new set of attitudes towards emotions. Emotions in a Crusading Context calls on scholars of the crusades to reject the traditional methodological approach of taking the emotional descriptions embedded within historical narratives as straightforward reflections of protagonists' lived feelings, and in so doing challenges the long historiographical tradition of reconstructing participants' beliefs and experiences from these texts. Within the history of emotions, Stephen J. Spencer demonstrates that, despite the ongoing drive to develop new methodologies for studying the emotional standards of the past, typified by experiments in 'neurohistory', the social constructionist (or cultural-historical) approach still has much to offer the historian of medieval emotions.

The dazzling culture of the troubadours - the virtuosity of their songs, the subtlety of their exploration of love, and the glamorous international careers some troubadours enjoyed - fascinated contemporaries and had a lasting influence on European life and literature. Apart from the refined love songs for which the troubadours are renowned, the tradition includes political and satirical poetry, devotional lyrics and bawdy or zany poems. It is also in the troubadour song-books that the only substantial collection of medieval lyrics by women is preserved. This book offers a general introduction to the troubadours. Its sixteen newly-commissioned essays, written by leading scholars from Britain, the US, France, Italy and Spain, trace the historical development and setting of troubadour song, engage with the main trends in troubadour criticism, and examine the reception of troubadour poetry. Appendices offer an invaluable guide to the troubadours, to technical vocabulary, to research tools and to surviving manuscripts.

The love songs of Occitan troubadours inspired a rich body of courtly lyric by poets working in neighboring languages. For Sarah Kay, these poets were nightingales, composing verse that is recognizable yet original. But troubadour poetry also circulated across Europe in a form that is less well known but was more transformative. Writers outside Occitania quoted troubadour songs word for word in their original language, then commented upon these excerpts as linguistic or poetic examples, as guides to conduct, and even as sources of theological insight. If troubadours and their poetic imitators were nightingales, these quotation artists were parrots, and their practices of excerption and repetition brought about changes in poetic subjectivity that would deeply affect the European canon. The first sustained study of the medieval tradition of troubadour quotation, Parrots and Nightingales examines texts produced along the arc of the northern Mediterranean—from Catalonia through southern France to northern Italy—through the thirteenth century and the first half of the fourteenth. Featuring extensive appendices of over a thousand troubadour passages that have been quoted or anthologized, Parrots and Nightingales traces how quotations influenced the works of grammarians, short story writers, biographers, encyclopedists, and not least, other poets including Dante and Petrarch. Kay explores the instability and fluidity of medieval textuality, revealing how the art of quotation affected the transmission of knowledge and transformed perceptions of desire from the "courtly love" of the Middle Ages to the more learned formulations that emerged in the Renaissance. Parrots and Nightingales deftly restores the medieval tradition of lyric quotation to visibility, persuasively arguing for its originality and influence as a literary strategy.

This book is a reference volume and a digest of more than a century of scholarly work on troubadour poetry. Written by leading scholars, it summarizes the current consensus on the various facets of troubadour studies. Standing at the beginning of the history of modern European verse, the troubadours were the prime poets and composers of the twelfth and thirteenth centuries in the South of France. No study of medieval literature is complete without an examination of the courtly love which is celebrated in the elaborately rhymed stanzas of troubadour verse, creations whose words and melodies were imitated by poets and musicians all over medieval Europe. The words of about 2,500 troubadour songs have survived, along with 250 melodies, and all have come under intense scholarly scrutiny. This Handbook brings together the fruits of this scrutiny, giving teachers and students an overview of the fundamental issues in troubadour scholarship. All quotations are given in the original Old Occitan and in English. The editors provide a list of troubadour editions and an index, and each chapter includes a list of additional readings. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1996. This book is a reference volume and a digest of more than a century of scholarly work on troubadour poetry. Written by leading scholars, it summarizes the current consensus on the various facets of troubadour studies. Standing at the beginning

Study of comparison and identification with exemplary figures drawn from myth, history and historical legend, the Bible, the authorial canon, and literary tradition, from Homer to the interrelated branches of the medieval European vernacular lyric up to the end of the fourteenth century. The first half treats Homer, Virgil, Latin poets from Catullus to Ovid, and late and medieval Latin poets. The second half discusses the troubadour lyric, including Italian and Catalan poets who wrote in the language of the troubadours, the trouvr̈e lyric, the German lyric, and the Sicilian and Italian lyric up to Petrarch. The languages covered are thus classical Greek, classical, post-classical and medieval Latin, Occitan/Old Provenȧl, Old French, and medieval German and Italian. Representative examples of comparison and identification are given in the original language, followed by translation and textual and literary analysis.