Arnaut Daniel

CONTENTS

October 17th, 2011 [pages 6-15]
I
Persecution and the Art of Writing or Towards a Hermeneutics of Suspicion
from interpretation of the meaning between lines to explanation of the transcendental effect of forms

1. ‘PERSECUTION’: from the threat of philosophical truth to the subversion of the verisimilitude of fiction

2. ‘THE ART OF WRITING’: protection for the author and selective communication with accomplices

i. The protective output: the censor’s impasse and authority outwitted

ii. The communicational output: separation of readerships and selective training in the subversive knowledge

3. The ‘ART OF READING’: from interpretation of the implicit message to explanation of the transcendental revolution in forms

i. The ‘interpretation’ stage: moving from the explicit sense to the implicit intended meaning—criteria for recognizing and reconstructing the concealed message.
  * First stage: criteria for recognizing anomalies that give grounds to suspect second intentions
  * Second stage: reconstruction criteria allowing the implicit meaning to be established

ii. The stage of ‘explanation’: from the sociology of knowledge to transcendental stylistics

October 18th, 2011 [pages 16-31]
II
The Latin Erotic Elegy and the Case of Propertius
from subversion of the Augustan imperial ethos to the metaphysics of dissimulatio

1. Introduction. From the elegiac paradox (irrepressible passion-love in an interruptive texture) to an art of writing between the lines

2. A historico-literary context of substitution: the Roman erotic elegy between poetic dissimulatio and Augustan auctoritas

i. Literary elements that contribute to ‘recognition’ of the elegiac art of writing: from literature as imitatio to irony as dissimulatio

ii. Political elements that contribute to the ‘reconstruction’ of the implied message: elegiac values versus the values of Augustan auctoritas—Propertius’ authorial situation vis-à-vis the vates, Horace and Virgil.

3. Interpretation: an amatory façade for the subversion of imperial values—progressive dissimulatio in Propertius’ writing

i. Propertius’ independence in the Monobiblos: from amatory etiology to the sphragis of political resistance

ii. Propertius’ precautions in Maecenas’ circle, or the art of writing in Books 2 and 3: from the amatory mask to the mask of literary rivalry
  * The love mask: frontal subversion of Augustan moral reforms and marriage laws sheltered in the imperative of ‘irregular elegiac passion’
  * The mask of literary rivalry in the programmatic elegies: from urban recusatio, the refusal to write epic on national themes, to subversion of the Augustan ideals expressed in the official poetry of Horace and Virgil.
  -Subversion of the imperial ideals in Virgil’s poetry: mocking the claims of the Aeneid. Propertius 2.34.
  -Subversion of Horace’s public stances in the Odes. Propertius 3.1-2.
  * The final mask: the use of hyperbole, bad taste and mythological harmonics to subvert the political values and legitimated triumphs of the imperial authority

iii. Propertius under Augustus’ eye: the final dissimulatio in Book 4—subversion by deliberate bad taste and allusion by mythological harmonics.

4. Explanation: from the counterworld of the elegiac fiction to the metaphysics of dissimulatio

i. The sociology of discourse: the counterworld of the elegiac fiction, or the Dionysiac inversion of Apollonian values

ii. Transcendental poetics: the metaphysics of dissimulatio


October 19th, 2011 [pages 32-56]
III
The Love Poetry of the Provençal Troubadours
from the sensualism of the gai saber to the synthesis of sound against the totalitarianism of vision

1. Introduction. A paradoxical contrast – the monotony of the motives of idealized love versus the originality of the couplings of rhyme – as promotion of the queen in a game of warfare

2. A historico-literary context of substitution. Troubadour joi: from the gai saber of Occitan dispersion to the linguistic joculum of the couplings of rhyme

i. The philosophico-discursive side: the naturalistic sensualism of the gai saber vs. Christian orthodox ontotheology

ii. The poetico-literary aspect: the promotion of musical joculum in the couplings of rhyme

3. Interpretation. The naturalistic sensualism of the gai saber: a provocative defense of ‘sensory passion’ in a ‘world governed by chance’

i. The trobar prim (naturau e cortes) of William of Aquitaine (1071-1126): from the paradox of a ‘double-faced poet’ to the game of con in a world of chance
  * The contradictions of a ‘double-faced poet.’ A reading in context
  * The natural register in the companion songs: a pornographic imaginary behind the explicit defense of natural passion.
  * The invention of the ‘courtly love’ register: a confession of unsatisfied desire and submission to the domna as a parody of the new ideals of monastic asceticism.
  * The pseudo-metaphysical register in Farai un vers de dreit nien: an ‘Enigma about Nothingness’ as a parody of the Hyperessence, or immanent naturalism against negative theology.

* Conclusion regarding the interwoven registers at the origin of the trobar: the promotion of passion-love in the immanence of the world behind the defensive façade of courtly love.

ii. Marcabrú’s trobar brau: the paradox of a moralizing but obscene condemnation of love as a parody of preachers that awakens desire.

iii. The courtly trobar or the classic canso in anamorphosis: from confession of a belligerent confrontation over sensory passion to staging of the experience of joi

iv. Arnaut Daniel’s trobar clus: concealment and final communication of the gai saber in the arts of the miglior fabbro del parlar materno
  * The trobar leu and the arrival of the trobar clus: the case of Arnaut Daniel’s trobar ric.
  * The concealment of meanings in the trobar clus.
  * Lexicon and images: the dir strano e bello or the subversion of the metaphorical order
  * Linguistic Marranism and barbarolexia: the Provençal parody of official Latin
  * Impossible images and dream allegories: subversion of the metaphorical order.
  * Verbal music: from the sensory materialization of the joi of the world to the experience of pleasure in the arts of delay
  * Daniel’s characteristic consonance: the song of nature as an invitation to joi
  * The cobla ‘dissoluta’: the arts of amatory delay, intensification of desire by deferred satisfaction, in the sensory field of rhyme. (Sim fos amors de joi donar tan larga).
  * The last stage of the trobar (Lo ferm voler qu’el cor m’intra): linguistic, sexual and metaphysical dissemination in the ‘sestina.’
-The involution of the sestina as the final stage of experimentation in the arts of delay of the trobar (mot refranh, rims estrams, permutations).
-The linguistic dissemination of the words in the poem: from the banal motifs of courtly love to the martial imagery and sensory experience of the pleasures of delay
-The sexual dissemination of images: the pornographic double meaning behind the mask of courtly love
-Metaphysical dissemination in the formal device: the imperative of a ‘game of chance’

4. Explanation. From the foundation of the space of modern lyrical fiction to the synthesis of sound against the totalitarianism of vision

i. Sociology of discourse: the forms of meaning of the trobar as the foundation for the sphere of modern lyrical fiction – from concealment of enjoyment in form to promotion of independent enjoyment of form

ii. Emancipation of the synthesis of hearing versus the totalitarianism of vision and the diurnal image
  * The oral forms of meaning of the Romance tongues versus the written Latinitas
  * From reversal of the hierarchy between material sound and spiritual light to the synthesis of listening vs. the epistemology of vision
  * The significant detail of the ‘alba’: explicit defense of natural passion in the context of a musical and nocturnal perception that turns away from the diurnal vision of the opponents of joi

* Coda. A detective’s art of reading of selective application

Within the speech of the trobadour Arnaut Daniel in ‘Purgatorio’, xxvi, the word ‘escalina’ (v. 146), interpreted as ‘ladder (of purgatory)’, has never had an appropriate linguistic explanation. This paper aims to consider it as an Occitan regionalism, whose meaning well suits the difficult ascent Dante and Virgil do through the mountain of purgatory.

With the poem “Sols soi qui sai” Arnaut turns to lyric poetry proper, moving away from the other two compositions in the ‘ferm voler’ cycle (BdT 29.17 and 14). While in these two the rhetorical and metrical element is dominant to the detriment of content, “Sols soi qui sai” begins a series of courtly considerations and introduces poetical images destined to be reflected in the rest of the poet’s production. Not surprisingly it is a song of excess: metrical, stylistic and iconic. With this song Arnaut ceases to be a ‘joglar’ and becomes a true court poet, as he himself candidly declares in l. 15, destined to wander here and there, though intent on firmly maintaining his feelings for the lady who has every virtue. He will live thinking only of her and his life will hover between the compulsion to possess her, embarrassment in the face of perfect love and the humility of suffering his own inadequacy. This pleasant dilemma will translate into a continuous poetic experimentation, witness to an untamed soul that struggles, despite itself, to follow “mesura ni taill”.

In virtù della sua ferrea strutturazione, la sestina è probabilmente la forma metrica italiana che meno si è trasformata nel corso dei secoli, conservando intatti certi suoi peculiari caratteri non solo metrici, ma anche stilistici, retorici ed estetici. 1 Come ha sostenuto il filologo Aurelio Roncaglia "la sestina si definisce non su basi tematiche [...] ma esclusivamente come struttura formale" 2 . La sestina è una forma metrica composta da sei stanze, ciascuna di sei versi, seguite da un congedo di tre versi. Le sei parole terminanti i versi della prima stanza vengono ripetute in tutte le altre stanze, occupando però in ogni stanza una posizione diversa e predefinita da un meccanismo rigoroso di alternanza.

The present investigation offers a synthesis of Ezra Pound’s contribution to the translation of poetry. After a prefatory “Exergue,” the thesis follows a tripartite division based on the understanding that there can be no sustained translation practice without both a poetics and an ideology.

Part One –“Transportation of the Poetic Meaning (searching for principles)”– shows how Pound’s departure from the philological method and his holistic conception of meaning in poetry –‘plain sense’ charged by melopoeia, phanopoeia and/or logopoeia– requires a differential approach to translation that varies according to the literary values privileged in the rendering of an original, and explains the primary strategies Pound devised: ‘translations of accompaniment’ and ‘creative translations’.

Part Two –“A Differential Strategy of Translation (examining the performances)”– samples Pound’s translations from a variety of languages (especially Provençal, Chinese via Fenollosa, French and Classical Latin) in order to analyse Pound’s methods of transmitting poetic devices pertaining to melopoeia, phanopoeia, and logopoeia respectively.

Part Three –“Transportation is Civilisation (unfolding the implications)”– examines the cultural ramifications of Pound’s translation project, which was grounded in a plea for an international civilisation opposing provincialisms of ‘space’ and ‘time’. This section focuses on the ways in which Pound thought translation, through its very technical ‘donation’, impacts the receiving language and culture (strengthening its perception and expanding its world-view), and revives the voices of the past which criticise and shape the present.

Finally, an “Epilogue” –“Towards The Cantos as a translation performance”– discusses the ways in which Pound’s translation project, position and ideology help us to understand the texture, the structure, the historical economy and the very programme of his lifelong epic.

En el horizonte de una aproximación comparativa a los rendimientos trascendentales del poema –las formas poéticas como exploración y síntesis de mundos posibles–, el seminario examinará las revoluciones de la representación en el legado de Ezra Pound.

Tras una introducción bajo la rúbrica Traduttore/traditore, un primer momento estará dedicado a articular una reflexión sobre las relaciones entre las revoluciones del lenguaje poético y las revoluciones de la representación de lo real, con especial atención al evento que constituye el encuentro entre poéticas como encuentro entre configuraciones metafísico-temporales de mundo.

En un segundo momento, con la atención puesta en los modos en que la poética de Pound insemina el lenguaje a partir de una serie de encuentros creativos con una variedad de literaturas –francesa y alemana modernas (Laforgue, Rimbaud, Heine), anglosajona, italiana y provenzal medievales (Cavalcanti, A. Daniel), china clásica (Wang Wei, Li Po), griega y latina clásicas (Homero, Propercio, Horacio)–, se evaluará hasta qué punto el injerto y desarrollo de nuevas formas de síntesis poética redefine las condiciones de posibilidad de la representación metafísica e histórica heredadas de la modernidad tardía, con especial énfasis en el desarrollo de formas perspectivistas e interruptivas mediante las cuales se proyecta una nueva concepción de la trascendencia en la inmanencia y un nuevo orden de sincronía histórica.

En el horizonte de una aproximación comparativa a los rendimientos trascendentales del poema –las formas de significación poética como síntesis y puesta en común de mundos posibles–, el seminario examinará las maneras en que la figuración estético-literaria funda experiencias sui generis de lo real en cosmovisiones determinadas, poniendo especial atención a las configuraciones del ‘espacio metafísico’ y del ‘tiempo histórico’.

Tras un breve exergo –donde la constatación de las solidaridades básicas que se disciernen entre ‘concepciones de la creación del mundo’ y ‘formas de creación en el poema’ buscará dejar instalada la pregunta acerca de las relaciones fundacionales entre lenguaje poético y constitución de mundo–, un primer bloque introductorio del seminario estará dedicado a precisar el rendimiento trascendental de la imaginación poética, centrándose en al menos tres aspectos: (i) un examen del desplazamiento de la revolución crítica desde la subjetividad al lenguaje; (ii) una fenomenología del acontecimiento que constituye la creación de una ‘forma’ en la singularidad del poema (producción de lo aún-no-sido y consiguiente posibilidad de reconfiguración de la experiencia); y (iii) una revisión de los tipos de síntesis de lo real o partición de lo sensible que se disciernen en las diversas formas de significación del lenguaje poético (llanas, musicales, imagísticas, contextuales, escriturales, textuales y otras).

Una vez establecida esta perspectiva y herramientas de trabajo en el bloque introductorio, el grueso del seminario a seguir estará dedicado a examinar comparativamente cómo diversas ‘figuraciones’ dominantes en tradiciones poéticas características han constituido ‘con-figuraciones’ espacio-temporales reconocibles, lo que supondrá interrogar una serie de continuidades fundacionales entre sus ‘formas de imagen literaria’ y sus respectivos ‘conceptos de mundo’.
Así, en un segundo bloque, el análisis comparativo se concentrará en el gran quiebre que se discierne entre las configuraciones ‘míticas’ y las configuraciones ‘históricas’ de lo real, lo que, por añadidura, supondrá interrogar el rol catalizador y los problemas estético-filosóficos que plantea la irrupción de las formas y pensamiento de la escritura, la revolución gramatológica de la concepción de mundo.

En un tercer y cuarto bloques, a su vez, instalados ya en el legado de las cosmovisiones históricas y sin perder jamás de vista la estricta singularidad del poema, el análisis comparativo interrogará el gran contraste que se observa entre las síntesis del espacio metafísico y del tiempo histórico en el ‘movimiento de sustitución de la metáfora’, de una parte, tal como ha dominado en grandes momentos de la poética occidental, y en el ‘proceso de correlaciones vibratorias de la imagen dinámica’, de otra, que halla un momento ejemplar en la poética clásica china. En el tercer bloque de trabajo, donde se interrogarán desde las figuraciones poéticas del espacio fenoménico a las configuraciones de la estructura metafísica, se examinará el contraste entre lo metafórico-ontológico (la síntesis de una metafísica dualista, sustitutiva y jerárquica) y lo imagístico-correlativo (la síntesis de una metafísica inmanente, correlativa y horizontal). En el cuarto, donde se interrogarán desde las figuraciones poéticas del tiempo fenoménico a las configuraciones del tiempo histórico, se examinará el contraste entre lo metafórico-teleológico (la síntesis del tiempo como ‘movimiento’ y ‘desplazamiento’ discreto hacia un fin y sentido inteligible) y lo imagístico-vibratorio (la síntesis del tiempo como ‘flujo’ y ‘proceso’ de resonancias dinámicas).
Si esta última figuración propia de la ‘imagen dinámica’ fue traducida e irrumpió con fuerza inaudita en Occidente a comienzos del siglo XX, decantando en las formas del ‘montaje’ moderno, en un último o quinto bloque se trataría de discernir hasta qué punto la experimentación poética radical y consiguientes posibilidades de experiencia que trajo esta nueva síntesis por fragmentación y yuxtaposición de lo real permitieron no sólo la revolución estética de las vanguardias artísticas, sino también una nueva configuración metafísica (trascendencia en la inmanencia) y articulación de la dispersión temporal (sentido histórico no-intencional e interruptivo) que constituyeron maneras efectivas de lidiar con la crisis de las concepciones del dualismo ontológico y de la ideología del progreso en que había desembocado la Modernidad tardía.

El trabajo de seminario será desarrollado a partir de un contrapunto permanente entre la lectura de ‘consideraciones teóricas’ (de filosofía y poética) sobre los diversos aspectos de las relaciones lenguaje-mundo a ser tratados y el examen atento de ‘poemas escogidos’ para cada instancia de interrogación. En lo que respecta a la perspectiva teórico-crítica, se leerán textos breves de: Platón, Aristóteles, Lu Chi, Liu Xie, W. von Humboldt, E. Fenollosa, F. Nietzsche, W. Benjamin, E. Cassirer, M. Heidegger, H. G. Gadamer, P. Ricoeur, J. Derrida, J. Rancière, R. Jakobson, M. Bajtín, A. Danto, H. White, F. Jullien, S. Mallarmé, P. Valéry, E. Pound, T. S. Eliot y J. L. Borges. En lo que respecta al corpus poético-literario, se leerán pasajes y poemas de: anónimos mesopotámicos y hebreos, Píndaro, Homero, Horacio, Propercio, Virgilio, Li Po, Du Fu, Wang Wei, trovadores (especialmente G. de Aquitania, B. Ventadorn, B. de Born y A. Daniel), Dante, G. Cavalcanti, Ch. Baudelaire, A. Rimbaud, P. Verlaine, J. Laforgue, S. Mallarmé, P. Valéry, T. S. Eliot, E. Pound y J. Joyce.

Tomando como punto de arranque las concepciones de Leo Strauss acerca de ‘la persecución y el arte de escribir’, y extendiéndolas a una comprensión más amplia de distintas artes de lenguaje (lengua, poética, escritura), el seminario examinará el legado de la gaya scienza de los trovadores y de la gramatología de los cabalistas. El intento es discernir cómo en estas dos artes radicales de lenguaje –que nacen en un mismo lugar y tiempo a contramano del poder y de las formas de representación de la ontología dominante– el nuevo régimen de lo sensible que determinan unos y otros –una ‘desmesura de los sentidos’ donde confluyen lo sensorial y lo semántico– lleva a forjar formas crecientemente sofisticadas de significación poética, de una parte, y hermenéuticas, de otra, una serie de coartadas de lenguaje que inauguran posibilidades inauditas para la poesía y la exégesis occidental, y que han vuelto a tomar relevancia ante la crisis del sentido moderno.
Tras una introducción a las hipótesis de trabajo a partir de los escritos pertinentes de Leo Strauss –fundamentalmente, su ensayo la “La persecución y el arte de escribir”– el grueso del seminario estará programado en base a una lectura en contrapunto entre las fuentes medievales y recepciones contemporáneas de las mismas –estas últimas, pasajes o textos breves de Stendhal, Nietzsche, Benjamin, Pound, Barthes, Lacan, Borges, Bloom, Derrida, Agamben y otros– todos autores que han adoptado ciertas estrategias o hecho ver cómo el gai saber de los trovadores y la gramatología cabalista contenían una suerte de crítica in nuce a la constitución del sentido moderno (y del sentido de lo moderno), para, en palabras de Nietzsche, ‘bailar sobre la moral en un perfecto estilo provenzal’. 
En cuanto a la gaya scienza de los trovadores, tras delimitar el alcance de la inversión general de los valores y subversión a la ontología que implicaba su cosmovisión naturalista, verificando cómo nace en una poesía abiertamente provocadora (Guilhem de Aquitania y otros), el objetivo es ir examinando cómo, ante la persecución creciente, este gai saber se va disfrazando y comunicando a través de formas cada vez más sofisticadas de significación poética, las cuales llegan al límite en el llamado trobar clus. Se acordará especial atención al corpus de 18 poemas de Arnaut Daniel –il miglior fabbro, en palabras de Dante– el cual resume toda la evolución del arte poético provenzal, desplazándose desde la simplicidad inicial hasta los juegos de lenguaje más complejos del trobar ric: formas de significación poético-musicales que llevan a ciertos extremos nunca antes ni después alcanzados en la lírica occidental.
En cuanto a los cabalistas, tras examinar también los alcances subversivos de sus doctrinas sobre lo real –donde confluyen, junto a una concepción de la ‘diferencia sexual’ que se cruza con la de los trovadores mismos, un nihilismo metafísico y semántico a ser ejemplificados en su nacimiento en el Libro Bahir y otros– se privilegiará el examen de Las Siete Vías de Abraham Abulafia, obra que presenta un ascenso por la serie de niveles hermenéuticos desarrollados para ‘justificar’ sus doctrinas, desde las formas más literales a aquellas más catastróficas de producción del sentido de un texto.
En el entendido de que el vínculo entre ‘persecución’ y ‘desarrollo de formas complejas de significación’ es una constante a través de los tiempos, el seminario tendría que permanecer en todo momento atento a los cruces posibles entre los resultados obtenidos de la lectura de las fuentes medievales/contemporáneas y las estrategias de producción de sentido discernibles en nuestro contexto más inmediato (desde ya, por ejemplo, en las formas de producción artística y crítica que ganaron un cierto momentum en la década de los años ochenta).

Lust, Desire, Hope. Dante and the Problem of Love (Inf. V; Purg. XVII-XVIII; Purg. XXVI) Abstract: The article reconstructs the 'strategy' used by Dante in the Commedia for solving the problem of love: moving from lust (Inf. V), to the possibility of controlling natural desire through free choice (Purg. XVII-XVIII), to the role of hope in the pursuit of divine love, abandoning cupiditas and embracing caritas (Purg. XXVI). This trajectory is identified through lexical, rhyme-related, and thematic connections. It begins and ends with the first and the last sinners Dante encounters during his journey: Francesca and Arnaut Daniel -both condemned for their lust. The article also explores the reflections of Dante on the previous romance literature dealing with love, providing in particular a more convincing explanation of the presence of Arnaut Daniel -whose courtly love poetry was grounded on the theme of hope -at the end of Purgatory, the supernatural realm of Hope. Moreover, the investigation is set in the context of Dante's philosophical and theological background -confirming with new elements the coexistence of his Augustinian imagery with the Thomist moral structure of the Commedia.

This article focuses on Ezra Pound’s translations of Arnaut Daniel and aims to show the transformations in method and style which occur between the first prose exercises prepared for The Spirit of Romance (1910) and the most mature verse translations of the whole corpus of Arnaut Daniel, only partially published in The New Age literary magazine (1911-1912) and in the collection of essays Instigations (1920). Analyzing the various stages of Pound’s poetic technique, it is possible to throw new light on his “philological” attitude toward the Provençal texts and the current critical editions (e.g. Canello 1883, and Lavaud 1910). Arnaut’s Chansson doil mot son plan et prim (BdT 29.6) is taken as a representative example of this creative re-elaboration, also because it undergoes an additional experimental translation, included in Hesternae Rosae (1913), the anthology of troubadour songs with piano accompaniement by Walter Morse Rummel.

Gli estramps sono un modulo metrico tipico della poesia catalana medioevale, caratterizzato dall'uso di versi che terminano con parole rare senza corrispondenza rimica fra loro. La critica ha evidenziato che alcune di queste parole sono in realtà dei rimanti celebri della tradizione occitana del trobar car e, in misura minore, della produzione "aspra" di Dante e altri poeti italiani. Esse verrebbero riutilizzate, o meglio citate, dagli autori catalani in maniera consapevole, per creare un raffinato gioco intertestuale coi loro predecessori. Partendo da questo assunto, l'articolo analizza le possibili fonti dei non-rimanti degli estramps catalani da Jaume March a Ausiàs March per verificare quanti di questi possano essere ricondotti a una o più tradizioni poetiche illustri.

The article focus on the occitan success of Arnaut Daniel’s sestina in the wake of the other poems in langue d’oc that make Lo ferm voler qu’el cor m’intra (BdT 29,14) their own model. In particular, the study concerns Quan pes qui suy, fuy so que·m franh (BdT 376,2) by Pons Fabre d’Uzès and Eras, pus vey mon benastruc (BdT 227,3) by Guillem Peire de Cazals. Therefore, the two cansos are translated and then analyzed using a comparative perspective by trying to integrate study of content and stylistic and rethorical analysis, and by retracing the key moments of criticism.

L’articolo predispone un commento e una traduzione dei due contrafacta della sestina di Arnaut Daniel, "Lo ferm voler qu’el cor m’intra", ovvero "Ben gran avolesa intra" di Guilhem de Saint Gregori ed "En tal dezir mos cors intra" di Bartolomeo Zorzi. Per il primo, una vera e propria invettiva contro Aimiers II di Poitiers, si mette in rilievo soprattutto la continua ricontestualizzazione delle immagini di Arnaut (della sestina, ma anche di altri componimenti del suo canzoniere) per rivalutare le caratteristiche innovative del testo e le sua qualità. Attraverso una disamina lessicale, l’articolo dimostra poi il profondo rapporto tra il precedente guglielmino e la canzone dello Zorzi, interpretata come una risposta alla composizione arnaldiana e alla sua espressione del desiderio carnale. Lo studio si concentra soprattutto sulla relazione tra la pulsione sessuale e il tema della dannazione dell’anima: Zorzi attacca continuamente il ferm voler di Arnaut, condannato evocando il Perceval di Chrétien de Troyes (anche al di là del rinvio esplicito del v. 18) e il suo incessante richiamo ai doveri nei confronti della famiglia.

L'articolo analizza la raccolta Entrebescar di Roberto Rossi Precerutti come esempio contemporaneo di un riattraversamento della lirica dei trovatori. Il primo capitolo ricostruisce l'orizzonte culturale alla base di Entrebescar per poi soffermarsi su una valutazione complessiva dei modelli trobadorici nella raccolta. Nel secondo e nel terzo capitolo vengono analizzate quattro poesie esemplari, imperniate intorno a citazioni esplicite dei trovatori o a topoi della poesia provenzale. Da tale analisi emergono i confini del trobar preceruttiano, con un'evidenza per le caratteristiche ric: l'architettura sintattica si pone infatti come primo elemento di significazione. Tutte le poesie evidenziano la centralità del rapporto dell'io con il mondo, mostrando come all'indecidibilità dei versi corrisponda l'impossibilità di circoscrivere perfettamente la realtà.

... Aedofanía y ginecofanía en Micer Francisco Imperial. Autores: José María Bellido Morillas; Localización: Convivio: estudios sobre la poesía de cancionero / coord. por Vicenç Beltran, Juan Salvador Paredes Núñez, 2006, ISBN 84-338-3981-0 , págs. 175-192. Fundación Dialnet ...

This book offers a reflection upon Medieval Latin artes poetriae and aims to spur the scientific debate on them by means of eleven papers written by internationally-kwown scholars. The essays investigate, according to different perspectives and in different ways, various aspects of the artes: their relations with other texts (Latin and vulgar), their fortune, their sources, the cultural contexts in which they were read and commented, and single authors’ reflections upon specific questions.

L’articolo si concentra sulla fortuna di Arnaut Daniel nelle liriche composte in area italiana prima dello sviluppo dell’esperienza dantesca, riordinando e integrando i risultati raggiunti in passato soltanto in modo frammentario. L’indagine prende in considerazione tanto i testi provenzali, che rinviano alle corti settentrionali e a Genova, quanto quelli italiani propriamente detti, riconducibili alla corte siciliana e alla Toscana. I punti di contatto tra le due produzioni e la posizione di rilievo raggiunta dalle liriche del trovatore in alcuni dei canzonieri di lirica occitanica confezionati a partire dalla seconda metà del Duecento in Veneto e in Toscana, mettono in rilievo l’esistenza di un vero e proprio modello arnaldiano, che fa della produzione di Dante il culmine di un processo in corso già da diversi decenni in regioni ben determinate.

a cura della Società Dante Alighieri. Saluti di Alessandro Masi e Francesco Stella. Introduce e modera Niccolò Scaffai. Testimonianze di Ignazio Visco.
Partecipano Roberta Alviti, Alice Cencetti, Eleonora Rimolo, Zeno Verlato.
Con gli interventi di Arnaldo Colasanti, Giampiero Moretti, Gabriella Sica.

This paper provides a commentary and translation of two contrafacta of Arnaut Daniel's sestina: Guilhem de Saint Gregori's "Ben gran avolesa intra" and Bartolomeo Zorzi's "En tal dezir mos cors intra". For the first song, I will highlight the new contexts and meanings given to Arnaut's images (which are taken from his sestina and other poems) within Guilhem's invective against Aimers II of Poitiers, in order to evaluate its literary qualities and innovations. Through lexical analysis, this paper will reveal the strong connection between Zorzi's and Guilhem's songs. In particular, the paper analyses specifically their common theme of Hell, suggesting Bartolomeo's text is most likely an answer to Arnaut's sestina, which clearly expresses a desire of sensual pleasure. The study pays particular attention to the relation between sexual love and the matter of eternal damnation: Zorzi attacks Arnaut's ferm voler, advancing his arg...

Philological practices enact a ‘distribution of the sensible’ (partage du sensible, J. Rancière) that arranges things and people. The consequences are epistemological, but also political. Indeed, a ‘distribution of the sensible’ is contingent, and questioning its givenness amounts to asking: What counts? What do we want to count? This paper takes the prompt of a metaphorical ‘boundary-making’ as a starting point to show that philological practices draw lines that create specific distributions of the sensible in the materials we discuss.
First, I discuss the Histoire ancienne jusqu’à César. I address the difficulty to make synecdochically valid claims that arises from the mouvance of its textual tradition; I also evaluate the traction that modern categories of genre have when discussing sections of the entire narrative. Next, I discuss the lyric corpus of Arnaut Daniel. I examine the conundrum of corpus and persona in light of chansonniers H and R, as opposed to critical editions, and I show what Arnaut’s persona might have looked like in these chansonniers, as an individual poet but also as part of a tradition of performance.
In a concluding section, I make the argument that underlying philological dilemmas is the problem of manuscript variance. Despite varying definitions, the problem of variance consists in locating the ‘text’ with regard to its manuscript witnesses. Understood as the enactment of a ‘distribution of the sensible’, philology must therefore be examined for its assumptions. Asking what it understands by ‘text’ is a way to ask, What counts? What do we want to count? and to clarify what we do when we attend to manuscripts.