Vernacular Song quotes Flashcards
‘Rich and complex oral tradition’
‘Belongs to the central tradition of trouvère song’ in ‘textual and melodic composition’
Parker (1979), St German chansonnier
Troubadours- ‘the earliest and most significant exponents of… music and poetry in medieval Western vernacular culture’
Stevens (2001)
19th century romanticised troubadours’ lives, but later on there is a more ‘careful’ and ‘realistic appraisal’
Stevens (2001)
Fin’amors (troubadour)- not ‘exclusively literary’, an ‘influential cultural element in medieval society’
Stevens (2001)
Gaston Paris (19th century) ‘courtly love’- ‘changing social and ecclesiastical structures of love and marriage’
Stevens (2001)
Trobairitz- ‘exalted’ despite ‘context of female suppression’
Stevens (2001)
Trobairitz- only 23-46 texts compared to 2600 from male authors
Stevens (2001)
Trouvères ‘provide the earliest surviving view of the troubadours’
Stevens (2001)
Trouvères ‘often discussed only as a footnote to the more exotic predecessors’
Stevens (2001)
Troubadour and trouvère ‘their verse achieved life mainly through the performance of the singer’
Stevens (2001)
Women as ‘domna’, ‘mainly…the necessary object of the poet-lover’s desire’, ‘passive and silent’
Sankovitch (1999)
Domna as the poet’s “mirror”, as fin’amor ‘holds only nothingness’ for the other sex
Julia Kristeva in Sankovitch (1999)
Only by 1170-1260 were women poets’ ‘imagination’ and ‘expression’ considered ‘dynamic’ for the first time
Sankovitch (1999)
Trobairitz favour ‘psycho-poetic values’ (fidelity and emotivity) over ‘socio-poetic’ ones (moderation, generosity, reputation)
Bec in Sankovitch (1999)
‘Mimicry’- when the woman takes on the role of the courtly man, recreating herself in the man’s view
This is because trobairitz literature revolves more around female society
Irigray in Sankovitch (1999)
‘Interest’ in trobairitz ‘generally follows the rising and falling tides of feminism’
Bruckner (1995)
Trobairitz studies received special attention in the 1980s because of Meg Bogin’s translation of 23 poem corpus, “The Women Troubadours”
The last edition of the trobairitz as a group was 1946
Bruckner (1995)
Argues that all ladies are domnas, either ‘loved by troubadours’ or ‘loving in turn’
Bruckner (1995)
Trobairitz are all described using the same adjectives, as they are all domnas, ‘noble, beautiful, charming, educated’
Bruckner (1995)
Courtly love originated from the troubadour canso
Gaunt (1995)
‘Modern criticism’ is ‘obsessed with origins’, blind spot neglecting how Northern French and Occitan lyric traditions are actually quite contemporary
Gaunt (1995)
Bibliographie (1933) lists all the known troubadours
Important reference work as it contains an anthology of poems by 122 poets
Pillet and Carstens (1933)
Analysis shows that the ‘rhetoric’ of the trouvères is ‘artificial and calculated’ but in a positive sense
Dragonetti (1960)
