Pub Date : 2020-03-15DOI: 10.7591/9781501747649-009
{"title":"5. The Rustic Troubadours: Occitanizing Lyrics in France","authors":"","doi":"10.7591/9781501747649-009","DOIUrl":"https://doi.org/10.7591/9781501747649-009","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":"123136632","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/9781501747571.003.0007
This epilogue argues that, on the basis of French songbooks alone, there would not be sufficient grounds to conceptualize such a thing as “troubadour song.” With only francophone songbooks to use as sources, there would be only a cluster of (mostly) anonymous lyric, in which one would have to include the Occitanizing corpus alongside the songs known from elsewhere to have been composed by the troubadours. People would then see troubadour song not as a distinct repertoire in a foreign language but instead as one subset of francophone lyric. This appropriation is diametrically opposed to the reception of troubadour song elsewhere in Europe. In Italy, individual troubadours were memorialized through brief biographies or vidas. In Catalonia, Occitan was the subject of numerous grammatical treatises for would-be composers. Thus, while elsewhere in Europe troubadour song was represented as a prestigious model to be emulated, in francophone territories it was instead actively transformed to bring it closer to French, rendering it invisible. Remapped to the boundary between France and Occitania, anonymized, and linguistically Gallicized, troubadour lyric became legible as francophone, culturally and linguistically, in most francophone narratives and songbooks.
{"title":"Epilogue","authors":"","doi":"10.7591/cornell/9781501747571.003.0007","DOIUrl":"https://doi.org/10.7591/cornell/9781501747571.003.0007","url":null,"abstract":"This epilogue argues that, on the basis of French songbooks alone, there would not be sufficient grounds to conceptualize such a thing as “troubadour song.” With only francophone songbooks to use as sources, there would be only a cluster of (mostly) anonymous lyric, in which one would have to include the Occitanizing corpus alongside the songs known from elsewhere to have been composed by the troubadours. People would then see troubadour song not as a distinct repertoire in a foreign language but instead as one subset of francophone lyric. This appropriation is diametrically opposed to the reception of troubadour song elsewhere in Europe. In Italy, individual troubadours were memorialized through brief biographies or vidas. In Catalonia, Occitan was the subject of numerous grammatical treatises for would-be composers. Thus, while elsewhere in Europe troubadour song was represented as a prestigious model to be emulated, in francophone territories it was instead actively transformed to bring it closer to French, rendering it invisible. Remapped to the boundary between France and Occitania, anonymized, and linguistically Gallicized, troubadour lyric became legible as francophone, culturally and linguistically, in most francophone narratives and songbooks.","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":"132721527","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: 10.7591/9781501747649-007
{"title":"3. Birdsong and the Edges of the Empire: Gerbert de Montreuil’s Roman de la violette","authors":"","doi":"10.7591/9781501747649-007","DOIUrl":"https://doi.org/10.7591/9781501747649-007","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":"123749826","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: 10.7591/9781501747649-005
{"title":"1. Of Birds and Madmen: Occitan Songs in French Songbooks","authors":"","doi":"10.7591/9781501747649-005","DOIUrl":"https://doi.org/10.7591/9781501747649-005","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":"130712365","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: 10.7591/9781501747649-006
{"title":"2. Keeping Up with the French: Jean Renart’s Francophile Empire in the Roman de la rose","authors":"","doi":"10.7591/9781501747649-006","DOIUrl":"https://doi.org/10.7591/9781501747649-006","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":"125298924","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/9781501747571.003.0002
This chapter discusses the first set of sources to transcribe the corpus of troubadour song: the corpus of francophone songbooks. After tracing the contours of the corpus of Occitan song in French songbooks, it turns to the various mechanisms that obscure the cultural and linguistic alterity of Occitan song in its francophone transmission in the thirteenth and fourteenth centuries. These include, alongside Gallicization and geographical remapping, anonymization and the compilation of Occitan songs amid francophone songs rather than in a separate section of the manuscript. When troubadour song was demarcated in some way, it was staged not as a foreign cultural artifact but instead as something whose strangeness came from its status as non- or only quasi-human. Indeed, troubadour song was repositioned as avian rather than foreign. The chapter then reveals a fundamental ambivalence in the reception of Occitan song in francophone territories: on the one hand, and most frequently, it was actively assimilated, allowing for easier appropriation, and, on the other, it was exoticized by being remapped onto an axis not of cultural alterity but of species difference.
{"title":"Of Birds and Madmen","authors":"","doi":"10.7591/cornell/9781501747571.003.0002","DOIUrl":"https://doi.org/10.7591/cornell/9781501747571.003.0002","url":null,"abstract":"This chapter discusses the first set of sources to transcribe the corpus of troubadour song: the corpus of francophone songbooks. After tracing the contours of the corpus of Occitan song in French songbooks, it turns to the various mechanisms that obscure the cultural and linguistic alterity of Occitan song in its francophone transmission in the thirteenth and fourteenth centuries. These include, alongside Gallicization and geographical remapping, anonymization and the compilation of Occitan songs amid francophone songs rather than in a separate section of the manuscript. When troubadour song was demarcated in some way, it was staged not as a foreign cultural artifact but instead as something whose strangeness came from its status as non- or only quasi-human. Indeed, troubadour song was repositioned as avian rather than foreign. The chapter then reveals a fundamental ambivalence in the reception of Occitan song in francophone territories: on the one hand, and most frequently, it was actively assimilated, allowing for easier appropriation, and, on the other, it was exoticized by being remapped onto an axis not of cultural alterity but of species difference.","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":"129537248","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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