Pub Date : 2020-03-15DOI: 10.7591/cornell/9781501747571.003.0006
This chapter reflects on a corpus, which can be called Occitanizing lyric, that might appear to contradict this book's thesis regarding the assimilation of Occitan lyric in francophone space. The pieces examined here are generally thought to have been composed by native French speakers but made to look and sound Occitan through phonological coloring. Although this phenomenon—which makes French pieces look more like Occitan rather than Occitan pieces look more like French—would seem to work against the francophone trend toward assimilation, it occurs primarily in a lower register. Thus, while the prestigious genre of the Occitan canso or grand chant came to look increasingly French, low-register forms such as the dance song and pastourelle came to look increasingly Occitan. While the high-register cansos of the troubadours have effectively been transformed into French texts, songs of a lower register are passed off as Occitan, so that French is associated with the most refined cultural productions and Occitan with those that are rustic and unsophisticated. The latter repertoire, faux-archaic Occitanizing song, served as a factitious mirage of origins.
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Pub Date : 2020-03-15DOI: 10.7591/cornell/9781501747571.003.0005
This chapter explores Richard de Fournival's Bestiaire d'amour (ca. 1250). It shows that Richard de Fournival maintains his predecessors' association of troubadour lyric with the avian but decouples it from its association with songbirds. In the Bestiaire, the troubadours are quoted in the passage on the hoopoe—a bird not thought of as a songster in medieval typologies. This decoupling of the bond between troubadour and avian song is indicative of a broader delyricization of Occitan lyric in the Bestiaire. If, as the previous three chapters demonstrate, troubadour song was elsewhere hyperlyricized—treated as a sonic event rather than a semantic one—in the Bestiaire, the troubadours are instead inserted into a writerly genealogy, and their poetry transformed into prose.
本章探讨理查·德·富尔尼瓦尔的《情人节》(约1250年)。这表明Richard de Fournival保持了他的前辈将游吟诗人的歌词与鸟类联系在一起，但将其与鸣禽的联系分离开来。在《best estiaire》中，游吟诗人被引用到一段关于箍鸟的文章中——一种在中世纪的类型学中不被认为是歌手的鸟。游吟诗人和鸟类歌曲之间的这种分离表明了《贝斯泰尔》中欧西坦抒情的更广泛的去抒情化。如果像前三章所展示的那样，行吟诗人的歌曲在其他地方被过度抒情——被视为一种声音事件而不是语义事件——在《最佳诗人》中，行吟诗人被插入到一个书面谱系中，他们的诗歌被转化为散文。
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Pub Date : 2020-03-15DOI: 10.7591/9781501747649-008
{"title":"4. From Beak to Quill: Troubadour Lyric in Richard de Fournival’s Bestiaire d’amour","authors":"","doi":"10.7591/9781501747649-008","DOIUrl":"https://doi.org/10.7591/9781501747649-008","url":null,"abstract":"","PeriodicalId":127684,"journal":{"name":"Stolen Song","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121824541","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-03-15DOI: 10.7591/cornell/9781501747571.003.0004
This chapter studies Gerbert de Montreuil's Roman de la violette (ca. 1230). Just like Jean Renart's Roman de la Rose, the Violette emphasizes the border to the east of Capetian France (the border with the Empire) rather than the border to the south (with Occitania). This suggests a greater interest on the part of thirteenth-century francophone writers in the Battle of Bouvines than in the Albigensian Crusade. In the Violette, however, the Holy Roman Empire has not been conquered by the “soft power” of francophone artistic traditions. Instead, it is marked as a dangerous space—a valence conveyed in part through the territory's association with hunting birds, especially the eagle, in recognition of the most commonly deployed imperial symbol. The chapter then documents a critical blind spot in Violette criticism: the saturation of imperial symbolism and geography within the romance. It then turns to the text's quotation of troubadour song, which is also placed within an avian typology. If the Empire is characterized mainly by hunting birds, Occitan song is, by contrast, associated with songbirds. Unlike in Jean Renart's Rose, where many grands chants foregrounded birdsong thematically, here this association between human song and birdsong is unique to the Occitan insertions within the romance.
本章研究格贝尔·德·蒙特勒伊的《紫罗兰的罗马》(约1230年)。就像让·雷纳特(Jean Renart)的《玫瑰罗马》(Roman de la Rose)一样，紫罗兰强调的是卡佩法国东部的边界(与帝国的边界)，而不是南部的边界(与奥西塔尼亚)。这表明13世纪讲法语的作家对布汶战役比对阿尔比派十字军更感兴趣。然而，在《紫罗兰》中，神圣罗马帝国并没有被法语艺术传统的“软实力”所征服。相反，它被标记为一个危险的空间——这在一定程度上是通过该地区与猎鸟(尤其是鹰)的联系来传达的，这是对最常用的帝国象征的认可。然后，这一章记录了维奥莱特批评中的一个关键盲点:浪漫小说中帝国象征主义和地理的饱和。然后，它转向了文本中对吟游诗人之歌的引用，这首歌也被置于鸟类类型学中。如果说罗马帝国的特点主要是猎鸟，那么相比之下，奥克西坦人的歌声则与鸣禽联系在一起。不像在让·雷纳特的《玫瑰》中，许多伟大的圣歌在主题上突出了鸟鸣，在这里，人类的歌声和鸟鸣之间的联系是浪漫故事中奥克西坦插入的独特之处。
{"title":"Birdsong and the Edges of the Empire","authors":"","doi":"10.7591/cornell/9781501747571.003.0004","DOIUrl":"https://doi.org/10.7591/cornell/9781501747571.003.0004","url":null,"abstract":"This chapter studies Gerbert de Montreuil's Roman de la violette (ca. 1230). Just like Jean Renart's Roman de la Rose, the Violette emphasizes the border to the east of Capetian France (the border with the Empire) rather than the border to the south (with Occitania). This suggests a greater interest on the part of thirteenth-century francophone writers in the Battle of Bouvines than in the Albigensian Crusade. In the Violette, however, the Holy Roman Empire has not been conquered by the “soft power” of francophone artistic traditions. Instead, it is marked as a dangerous space—a valence conveyed in part through the territory's association with hunting birds, especially the eagle, in recognition of the most commonly deployed imperial symbol. The chapter then documents a critical blind spot in Violette criticism: the saturation of imperial symbolism and geography within the romance. It then turns to the text's quotation of troubadour song, which is also placed within an avian typology. If the Empire is characterized mainly by hunting birds, Occitan song is, by contrast, associated with songbirds. Unlike in Jean Renart's Rose, where many grands chants foregrounded birdsong thematically, here this association between human song and birdsong is unique to the Occitan insertions within the romance.","PeriodicalId":127684,"journal":{"name":"Stolen Song","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129578230","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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