Medieval Lyric Poetry

Birds featured in many aspects of medieval people's lives, not least in their poetry. But despite their familiar presence in literary culture, it is still often assumed that these representations have little to do with the real natural world. By attending to the ways in which birds were actually observed and experienced, this book aims to offer new perspectives on how and why they were meaningful in five major poems -- The Seafarer, the Exeter Book Riddles, The Owl and the Nightingale, The Parliament of Fowls and Confessio Amantis. In a consideration of sources from Isidore of Seville and Anglo-Saxon place-names to animal-sound word lists and Bartholomew the Englishman, the author shows how ornithological truth and knowledge are integral to our understandings of his chosen poems. Birds, he argues, are relevant to the medieval mind because their unique properties align them with important religious and secular themes: seabirds that inspire the forlorn Anglo-Saxon pilgrim; unnamed species that confound riddling taxonomies; a belligerent owl who speaks out against unflattering literary portraits. In these poems, human actions and perceptions are deeply affected by the remarkable flights and voices of birds.

Examines the literary topos of dawn, the "Alba," in Persian poetry in comparative perspective, first considering the Alba poem in medieval Provencal lyric in southern France and northern Italy, establishing how the theme of the parting of two lovers at dawn was a well-established trope in European poetry of the medieval and renaissance periods.  A close parallel also appears in the Arabic poetry of Andalusia, perhaps with some interchange.  In Persian there are also some examples of the "Alba" theme -- the ghazals of Sa`di but especially Sana'i. Although Hafiz' poems do not use the Alba theme  in the same way, Hafiz does set many of his ghazals (perhaps 1/5 of all his ghazals) in the dawn or early morning.  The article develops how Hafiz uses the topos of dawn and why it is integral to his mythopoetic vocabulary.

Dear reader,
Please note that this article is published with Brepols Publishers as a Gold Open Access article under a Creative Commons CC 4.0: BY-NC license. The article is also freely available on the website of Brepols Publishers : https://www.brepolsonline.net/doi/abs/10.1484/M.SBHC-EB.5.115586 under this same license.

Die volkssprachliche Lyrik Italiens entsteht zu einer Zeit, als sich, in Sizilien am Hof des Stauferkaisers Friedrich II. und im Patriziat der toskanischen Städte, ein neuer Stand von gebildeten Laien ausformt. Die gelehrte Kultur entwirft mit der Dichtung einen eigenständigen Wissens- und Erfahrungsbereich. In die Poesie gehen Theoreme und Erkenntnismethoden aus scholastischer Theologie, averroistisch geprägter Philosophie und Rhetorik sowie Formen christlicher Andachtspraxis und affektiver Frömmigkeit ein. Gegenstand der dichterischen Reflexion ist die Liebe als geistig-spirituelle Kraft, die Bildvorstellungen erzeugt, sich begrifflicher Aneignung entzieht und daher eine besondere Findungskunst initiiert. Die logisch-dialektische Struktur von Sonetten und Kanzonen bildet das Gerüst für ein Phänomen, das dem direkten Zugriff der ratio nicht zugänglich ist; figurative Sprache veranschaulicht die Ambiguität einer inneren Bewegung, die zwischen religiöser Schau und wahnhaftem Phantasma oszilliert. Bildfiguren, die den Texten eingeschrieben sind, reflektieren die Wertigkeit der Prozesse, die sich bei der Lektüre vollziehen. In der Transformation von Modellen christlicher Spiritualität und philosophischer Erkenntnis bildet sich der spezifische Raum vormoderner Dichtung aus.
Das vorliegende Buch zeichnet die Erschließung einer neuen Dimension menschlicher Geistigkeit in der mittelalterlichen Lyrik, bei Guittone d'Arezzo, Giacomo da Lentini, Cavalcanti, Guinizzelli und Dante nach. Es verfolgt deren kritische Durchsetzungskraft bei Petrarca, im Florentiner Neuplatonismus bis hin zu Giordano Bruno. Verdeutlicht wird der hohe theoretische Anspruch, mit dem sich die Dichtung in zeitgenössischen Wissenshorizonten situiert. In der textimmanenten Spiegelung ihrer Rezeption tritt eine frühe Konzeptualisierung ästhetischer Erfahrung hervor.

The Codex Buranus, compiled, in all likelihood, in South Tyrol in the first half of the thirteenth century, has fascinated modern scholars and performers ever since its rediscovery in 1803. Its diverse range of texts (some famously featuring in Carl Orff’s Carmina Burana) and music gives testimony to the intensely vibrant, plurilingual, and multicultural milieu in which the Codex Buranus was compiled, but poses a challenge to modern users. Perhaps more so than many other medieval manuscripts, it is an artefact which demands, and benefits from, an interdisciplinary approach.

Melancholic, suffering, lost in a state far from reason and commanded by the inconsistent emotions of love, the composer of the courtly love lyric offers the listener an image of love’s capacity to overpower through intense sensation.  The courtly milieu of the twelfth century revered its access to this world of emotions through the  musical performance of its jongleurs and troubadours.  In the fourteenth century the song enters the city streets.  It is first six bourgeois and one damoiseau of Toulouse and then two poets and a King in Barcelona that seek to encourage singing emotions in the city with a contest.  The call to compose is announced in 1323 by the Consistori de la subregaya companhia del Gai Saber of Toulouse and in 1393 by the Consistori de la Gaya Ciència in Barcelona.

            When in Toulouse seven lovers of lyric send out a letter to all the poets who might compete in the jocs florals, the realm of love lyric shifts space from the court to the city.  The literature of fin’ amor had already waned throughout the courts of southern France.  Why were men from the city seeking to revive an art that had flourished and waned in a courtly setting?  The culture of the city cannot allow a simple transplantation into its soil of this courtly product.  The implications of such a desire are great; the maneuvering of such a feat telling.  Our work examines the transformations that were necessary in the move from twelfth-century courtly society to the urban environment of the fourteenth century.  In particular, we concentrate on the role of emotions and composition in the production of a text as they were understood first by the troubadours and then the Consistori.

The notions of power and powerlessness will serve to illustrate in what way shifts occur in the conceptualization of literary production as this production moves from one milieu to another.  The intense emotional content of the poetry produced in troubadour lyric was the literature’s defining feature from early on.  Bernart de Ventadorn claims himself to be the best of the poets for his songs come from his heart-- that is they are the product of the varied and powerful emotions Love and his domna impose on him.  Jeanroy allowed the implications of the poet’s claim to stand when he stated that Bernard’s work was great because it was “sincere.”  It is Love’s power that determines the quality of a work.  The reward the poet seeks is a display of emotion from his domna.  The notions at work here could not be more different from those proposed by the Consistori.

The Consistori of Toulouse and that of Barcelona are born of concerns foreign to those that produced the love lyric of the first troubadours.  Guilhem Molinier in the Leys d’amors says the “gay science” not only instructs one to write well, but also teaches the ignorant and restrains the mad or foolish lover.  It also allows one to live in joy and happiness and to escape ennui and sadness.  The focus is on the effects of the finished product; the emotions are found in a work’s impact, not in its conception.  In composition it is not emotion that is rewarded, but technique, and this not by the affection of a woman, but with the gold or silver trinket of an institution.  In situating the Consistori of the city within the ideological currents circulating in the early fourteenth century, I will disclose why the emotions of love were banished from the literature of the city’s floral games.

Full article in Emotions in the Heart of the City (14th-16th century). Ed. Elodie Lecuppre-Desjarding and Anne-Laure Van Bruaene.  Studies in European Urbana History 5.  Turnout, Belgium: Brepols, 203-223.

Ao longo do período conhecido como Idade Média vemos uma serie de manifestações culturais que tomam forma nos diferentes ambientes medievais, em especial a cidade e a corte. No ambiente efervescente da cidade, o surgimento das primeiras universidades atrai toda uma sorte de estudantes, e um grupo em especial, os Goliardos, chamam a atenção por serem clérigos estudantes, que vagam entre os maiores centros urbanos da Cristandade e levam uma vida boêmia e alegre, cantando canções sobre suas experiências de vida, que mais tarde foram cristalizadas no manuscrito hoje conhecido como Carmina Burana, datado do século XIII. Este trabalho irá focar na “lírica goliárdica” presente no Carmina Burana, em especial a lírica tabernária, traçando suas especificidades e tentando perceber as relações humanas e experiências de vida desses estudantes boêmios e sua percepção da sociedade que os cercava através de suas canções.

Die ich mit gesange hie prîse und kroene, / an die hât got sînen wunsch wol geleit (MF 141,(7)(8). Wer wird hier besungen? Die Minnedame, würde man meinen. Der Eindruck ist trügerisch, denn das Zitat entstammt dem Lied eines Dichters (Heinrichs von Morungen), in dessen Oeuvre es sich oft beobachten lässt, dass scheinbar eindeutige Referenzen auf die Minnedame, auf ihre äußerlichen und inneren Qualitäten (Schönheit und Tugend), durch Bilder und Begriffe ‚gestört' werden, die in mariologischen Begründungszusammenhängen (in der kirchlichen Lehre, Exegese, Liturgie) und speziell in der Marienlyrik Verwendung finden und die Jungfrau Maria adressieren. Solche Übertragungen, die auch in entgegengesetzter Richtung (vom Profanen hin zum Geistlichen) stattfinden können, führen zu Interferenzen zwischen profaner Liebeslyrik und religiöser (Marien)Lyrik. Mit welchen literarischen Verfahren ein solches ‚Dazwischenfunken' realisiert wird und was dieses ‚Dazwischenfunken' im konkreten Fall (auch und vor allem unter Berücksichtigung der Produktions-und Rezeptionsbedingungen des jeweiligen Liedes) leistet, gilt es im Rahmen der geplanten Lehrveranstaltung zu thematisieren. Doch bevor solche und ähnliche Fragen an die Texte gerichtet werden können, um an ihnen etwa Autonomiebestrebungen in der Kunst oder Aspekte einer literarischen Säkularisierung aufzuzeigen, bedürfen die beschriebenen Interferenzen der Wahrnehmung, des qualifizierten Blicks. Daher ist das Ziel des Seminars, den Blick für das skizzierte Phänomen zu schärfen und es anhand ausgewählter Beispiele aus drei Jahrhunderten exemplarisch zu diskutieren.

“Recensio y edición crítica de testimonios únicos: la poesía profana de Joan Roís de Corella”, en Avatares y perspectivas del medievalismo ibérico, coord. Isabella Tomassetti, San Millán de la Cogolla, Cilengua, pp. 1179-1190 (“Colección Instituto Literatura y Traducción”, 23). ISBN: 978-84-17107-88-8.

Los poetas goliardos del siglo XII es una obra en la que se recogen, en texto latino y traducción al español, los poemas satírico-morales de Walter de Chatillon, Pedro de Blois, Felipe el Canciller, el Archipoeta, Hugo Primas de Orleáns, y los poemas 1-55 (satírico-morales) y 187-228 (de taberna y dados) de los Carmina Burana.
Se analizan la condición de poetas de todos ellos: a través del libro se podrán conocer el espíritu y la elegancia de estos textos; sus conocimientos clásicos y bíblicos: son poetas universitarios, instruidos y cultos; su relación con las situaciones eclesiástica y política del momento;
el carácter de su sátira; y la poética de sus producciones.

"Carter's music poses struggles of opposition, for instance in timbre (Double Concerto), space (String Quartet No. 3) or pulse (String Quartet No. 5). His preference for the all-interval tetrachords, 4–Z15 [0, 1, 4, 6] and 4–Z29 [0, 1, 3, 7], is also well known. From these facets of Carter's music, I develop a narrative interpretation of his Petrarch sonnet–inspired solo flute piece, Scrivo in Vento (1991). Specifically, I forge narrative pathways by imagining the two tetrachords as active agents opposed in competition. Previous Scrivo analyses (Capuzzo 2002; Childs 2006) stress continuity by revealing Q-transforms and common-note voice leading between the tetrachords. While acknowledging such features, my analysis emphasises oppositional struggle by tracing the tetrachords as separate entities which cooperate and conflict as they manoeuvre to outdo each other.

The analysis advances three theses: (1) it guides listening to and reading Scrivo in a way which resonates with Carter's concern for the aesthetics of oppositional struggle, his choice of a sonnet as inspiration and his affinity for all-interval tetrachords; (2) it shows that music-analytical detail can be organised into dramatic narratives by (a) projecting dramatic roles onto categories asserted by a formal theory and (b) treating the formal theory's relations metaphorically as actions performed by each role as the musical work unfolds; and (3) it shows how detailed pc-set analysis can support a Heraclitean view of music: a flux of opposing forces seeking and resisting unity."

In this first volume of critical essays ever devoted to Jean Renart's work, contributors draw on political and social history, women's studies, translation theory, musicology, and literary theory to illuminate Jean's remarkable contribution to the highly complex genre of courtly romance. Contributors include Nancy A. Jones, John W. Baldwin, Maureen Barry McCann Boulton, Michel Zink, Regina Psaki, Patricia Terry, and Hendrik Van der Werf. Introduction by Nancy Vine Durling.

Hildegard is potentially most famous today as a composer and musician. Her soaring melodies are the only complete corpus of a medieval composer's works to survive, and they have found a happy place in the repertoires of both classical and New Age artists today. Her music is further valued for the ways in which it plays with the norms of twelfth-century chant and for the intensity and sublimity of the liturgical poetry that accompanies it.

Desde que hace ya algo más de un siglo se editó por primera vez, la que se ha dado en llamar cantiga de Valcavado no ha recibido la atención que merece por su singularidad e importancia. Habrá que esperar a finales del siglo pasado para encontrar algunas aproximaciones parciales y no será hasta la primera década del presente cuando se lleve a cabo una nueva edición y se re-clame la necesidad de un estudio pro-fundo del texto y de su contexto. La cantiga de Valcavado, un ejemplo indudable de cantiga mariana, pero que a pesar de ello no fue incluida en la colección patrocinada por Alfonso X, se encuentra inserta en el folio 3 recto del códice del Beato de Valcavado. Escrita de un modo sumamente precario y en un soporte por completo anómalo, presenta serios problemas que atañen no ya a la fijación textual, sino también a su datación, a su autoría, a la interpretación de su particular fisonomía lingüística, a su relación con el corpus alfonsí y a la reconstrucción de la historia de su transmisión manuscrita. El presente trabajo ofrece un nuevo texto crítico y aborda todos estos aspectos proponiendo una hipótesis de conjunto que intenta dar respuesta a la problemática mencionada.

Of the early works in this volume, Chaucer's Parliament of Foules is the most wide-ranging in its sources and interests and the most accomplished in its prosody. The Book of the Duchess offers a more consistent tone, the House of Fame more biting social commentary, and Anelida and Arcite more touching introspection. But the Parliament's confidence and brio carry the reader along a fast-paced journey through source citations, heavenly and earthly scenes, interpretive puzzles, and differing visions of how to live and love. Several of Chaucer's later works redeploy the Parliament's awkward and limited narrator, its incorporation of varied source texts, and its rhyme royal stanza.

In these essays Peter Dronke looks at some of the relations between sacred and profane ideas and images, and Christian and pagan motifs, particularly in the early Middle Ages. The first two parts of the book dwell on aspects of (in the widest sense) Christian Platonism, the one part focussing on themes, the other on some of the greatest thinkers in the Latin world, from Boethius in the sixth century to Thierry of Chartres in the twelfth. The emphasis throughout is on transformations and syncretisms far more than disjunctions. The final group of essays is concerned with poetic texts, Latin and vernacular, in which non-sacred elements make their way into the sacred, the biblical and the saintly realms. A brief Epilogue glances at early medieval profane poetry outside as well as within Europe.

Secondo una definizione, l’indovinello è  un gioco costituito da un testo, sia esso orale o scritto. Nessun dubbio sulla natura ludica di questa che, nella interpretazione di André Jolles, rappresenta una delle forme semplici del sapere umano. Radicati nella cultura orale e popolare, gli indovinelli attingono alla sfera più remota del sapere; sono associati a sfide mortali (l’indovinello posto dalla Sfinge a Edipo), a dimostrazioni di potere (il quesito con cui Sansone  sfida gli invitati al suo matrimonio: Gdc. 14.12-18), a certami sapienziali (non solo quello di Salomone e la regina di Saba, ma anche quello di Odino e re Heiðrekr) o a contesti saturnalizi. Hanno una doppia natura, folklorica e letteraria, tra cui intercorrono relazioni complesse e mutevoli. Il medioevo ha visto la trasformazione degli indovinelli in un genere letterario con una propria codificazione, secondo un processo che è giunto a compimento nella letteratura latina, da un lato, e in quella bizantina, dall’altro, con antologie, inizialmente molto simili alle raccolte di epigrammi della tarda antichità e generalmente autoriali. Oltre a assumere una veste poetica, nel medioevo, l’indovinello è entrato nell’orbita del cristianesimo, divenendo strumento di rivelazione esegetica e mezzo di insegnamento nella rinnovata scuola medievale.
Gli indovinelli in esame sono componimenti poetici, spesso originali. Si tratta di indovinelli-testo, che partecipano della tradizione poetica in anglosassone. Quello del Codice Exoniense rappresenta il gruppo di indovinelli in volgare più antico d’Europa, destinato a rimanere tale ancora per molto tempo. Visto che il saggio riguarda l’Inghilterra medievale non opererò distinzioni terminologiche tra enigmi e indovinelli – anche perché queste non assumono particolare rilievo nella produzione scritta medievale –, ma mi riferirò a questi componimenti – che ho studiato, a più riprese, nel corso degli anni – come indovinelli.

This article gives a general survey of the presence in Hungarian poetry of poetical forms constructed by medieval courtly poets: cansos, sestinas, ballades, rondeaux, and sonnets. The rhyming patterns of medieval and early modern poems in Hungarian were extremely simple, compared to those of the troubadours and their heirs: Hungarian poems having a complicated rhyming and metrical structure are late, and extremely rare till the beginning of the 19 th century. We show how slowly this difference diminished, how, step by step, complicated formal genres entered in the canon of poetry in Hungary. We call the attention to the paradox character of this change, that this formal renewal was more or less parallel with the appearance of free verse and the disappearance of prosodical constraints in the 20 th century poetry in Western Europe, and all over the world. The " radical archaism " of some Hungarian poets in the spirit of Ezra Pound means in this case a " return " to Western poetical forms unparalleled in Hungary before that time. András Ferenc Kovács resolved this by some role-plays, creating poetic alter egos who are presented as forgotten earlier reformers of the poetical tradition of the national literature.

Enrico di Castiglia è un caso emblematico di cavaliere e principe alla ricerca di una signoria. Dopo aver guidato senza successo una ribellione nobiliare contro il celebre fratello Alfonso X el Sabio (1252-1284) re di Castiglia, prese la via dell’esilio. Barcellona, Londra e Tunisi furono le mete dei suoi viaggi. In Africa guadagnò grandi onori e ricchezze combattendo con i suoi cavalieri al servizio del sultano di Tunisi, che nel 1258 si era proclamato califfo. Venuto a sapere della spedizione angioina volta alla conquista del regno di Sicilia, il principe castigliano prestò la somma di 40.000 once d’oro a Carlo d’Angiò chiedendo come interesse in caso di vittoria la concessione di una signoria. La vittoria angioina di Benevento tuttavia lo lasciò a mani vuote e, dopo alcuni incontri, infruttuosi, con il papa e con Carlo d’Angiò, Enrico accettò l’elezione a senatore di Roma. Governò il comune capitolino sostenendo il “popolo” contro le aspirazioni nobiliari e angioine. Sottomise all’autorità comunale diversi centri del Patrimonium Beati Petri con la diplomazia o con la forza delle armi. Nel 1267 si schierò dalla parte di Corradino che scendeva in Italia per reclamare l’eredità paterna del regno di Sicilia, e utilizzò l’arma della propaganda politica (poesia di argomento politico, cerimonie pubbliche, laudes regiae) per sostenere la sua causa, denigrare Carlo d’Angiò e trovare nuovi alleati. Nel frattempo anche la corte papale metteva in atto una propaganda contraria al principe Enrico e favorevole a Carlo d’Angiò, in particolare con i sermoni del cardinale francese Odo da Châteauroux, che dipingeva Enrico di Castiglia, Corradino e il sultano di Babilonia come i tre spiriti immondi dell’Apocalisse e presentava invece il fratello del re di Francia come campione e difensore della Chiesa e del popolo cristiano. I due piani si intersecano in occasione della battaglia di Tagliacozzo presentata dalla propaganda di Enrico come una facile vittoria per Corradino e tutti coloro che avessero militato sotto le sue bandiere, e vissuta invece momento per momento dal cardinale francese a causa delle notizie, ora cattive, poi confuse e infine buone, che man mano arrivavano alla corte papale. Giustiziato Corradino nella pubblica piazza, Enrico fu condannato all’ergastolo. Dopo 23 anni di prigionia verrà liberato da Carlo II lo Zoppo e, tornato prima a Tunisi e poi in patria, divenne principe-reggente al trono di Castiglia-Leon per il nipotino Fernando IV.

1 DARWICH Mahmoud, Au dernier soir sur cette terre, SANBAR Elias (trad.), Arles, 1999, p. 52-53. 4 se limite qu'aux formes fixes de la poésie, le corpus pioche dans toutes ses formes : sonnet, canzone, ballade. Chaque forme de poésie est vectrice d'un message différent, correspond à un but différent, nécessite une approche différente. D'un point de vue historiographique la poésie de l'exil est une catégorie qui trouve sa place dans l'histoire critique de la littérature italienne au Moyen Âge. Cependant, sa connivence avec la politique est évidente. La littérature de l'exil est donc aussi tributaire d'une historiographie politique. En effet, l'un des aspects les plus particuliers est le développement d'idées d'une identité politique en Italie liée à l'expérience de l'exil ou de l'exclusion ; qui plus est, la question de l'identité dans l'historiographie italienne est depuis 1945 une question centrale et fondamentale. Parallèlement, la poésie politique dans l'Italie du Moyen Âge est un sujet neuf 3 . Dans la dernière décennie, l'exil médiéval italien est devenu un sujet de recherche uniquement retenu par le fil politique mais sans s'accrocher à celui poétique. Les sources utilisées pour alimenter la recherche sont diverses. Du côté politique, dès le XIII e siècle, les chroniques urbaines existaient à travers notamment Dino Compagni 4 puis Giovanni Villani 5 , deux chroniqueurs dont le parti pris concernant la faction est évident mais qui offrent à l'historien une mine d'or d'informations sur l'état politique et structurel en Toscane. Les nombreuses poésies quant à elles sont issues pour la plupart des recueils de Gianfranco Contini 6 et de Mario Marti 7 . D'autres, se retrouvent dans le manuscrit Vaticano Latino 3793 consultable à la Bibliothèque apostolique vaticane de Rome qui est constitué d'un millier de poèmes écrits par les auteurs de la seconde moitié du Duecento et qui enrichira d'autant plus le corpus de l'exil. Le cadre géographique quant à lui se borne à la Toscane, région dont les contours n'évolueront guère durant toute l'époque médiévale et jusqu'à nos jours. La Toscane, espace fragmenté, au XII e et XIII e siècles est une scène sur laquelle se jouent les grands affrontements, un « infernal chaos des événements 8 » où toute la région et 3 FONTES BARATTO Anna, MARIETTI Marina et PERRUS Claude (éd.), La poésie politique dans l'Italie médiévale, Paris, 2005, p. 7. 4 DINO COMPAGNI, Chronique des événements survenant à son époque, MULA Patrick (éd.

This is a threefold transcription of Baude Cordier's "circle canon," two versions in rondeau form and one in perpetual canon. Included with the music transcriptions are full translations from Medieval French to English of all the accompanying texts as well as an English text underlay for the music.

Also included is a full explanation of the various mensurations and colorations that appear in the piece.

The design of the scores attempts to illustrate the rondeau form overlaying the canonic conceit.

For a score animation with the transcription and original manuscript, see this link:
https://www.youtube.com/watch?v=iaeOWdXM4Pg

Catalogado con el número uno de su fondo manuscrito, la Biblioteca de la Abadía de Montserrat guarda celosamente un códice encuadernado con cubiertas bermejas que da sentido a su actual denominación: Llibre Vermell. 1 Copiado seguramente en el último año del siglo XIV y salido del propio escritorio montserratino, 2 es considerado como uno de los testimonios codicológicos más notables de la Baja Edad Media catalana. Su contenido variado y singular -una miscelánea de textos teológicos y devocionales que nos muestra además el testimonio de una época y la cultura popular montserratina-está destinado al cuida-1 Puede consultarse en línea la edición facsímil parcial del manuscrito (1989) en la Biblioteca Virtual Joan Lluís Vives [www.lluisvi-YHVFRP@ LQFOX\HQGR HO PDJQtÀFR HVWXGLR LQWURGXFWRULR D FDUJR GH

La mirada, la voz y el corazón: notas sobre las alusiones directas a la danza en la lírica d'oïl de los siglos XII y XIII Arturo TELLO RUIZ-PÉREZ Universidad Complutense de Madrid Lors veïssies quarole aler et gent mignotement baler et fere mainte bele tresche et meint biau tor sor l'erbe fresche [...] Cortoisie lors m'apela: Biaus amis, que fetes vos la? fet Cortoisie, ça venez, et aveques nos vos prenez a la querole, s'il vos plest. 1

Musica e poesia nel Trecento italiano. Verso una nuova edizione critica dell'"Ars nova", a cura di Antonio Calvia e Maria Sofia Lannutti, Firenze, Edizioni del Galluzzo per la Fondazione Ezio Franceschini, 2015, pp. 360 + XII Il volume raccoglie i contributi originariamente presentati in occasione del VI Seminario internazionale di musicologia medievale «Clemente Terni» tenutosi a Firenze nel dicembre 2013. All'importante figura del musicologo (ma anche compositore ed esecutore) è complessivamente dedicata una serie di simposî organizzati presso la Fondazione Ezio Franceschini in collaborazione con il Dipartimento di Musicologia e Beni Culturali dell'Università di Pavia che, a partire proprio dal 2013, da un lato rilancia l'approccio pedagogico del precedente Corso di Formazione sulla Musica nel Medioevo (incentrato su Problemi di classificazione e metodi della bibliografia, i cui incontri si sono tenuti annualmente tra il 2005 e il 2009), dall'altro promuove le ricerche sulla musica medievale al piú alto livello, circoscrivendo il campo di studio alla cosiddetta "Ars nova" italiana. 1 Tale iniziativa si colloca nell'ambito del progetto PIT -Polifonia Italiana Trecentesca coordinato da Maria Sofia Lannutti, che dal 2009 vede impegnati filologi e musicologi afferenti o legati alla scuola cremonese di musicologia: si tratta, in massima parte, degli stessi nomi, spesso di giovani ma già competenti specialisti, che firmano i contributi nel volume. Nella Premessa, i curatori ricordano in sintesi lo stato dell'arte sull'oggetto delle loro ricerche: al di là della discutibile definizione di "Ars nova" -la questione terminologica è accennata all'inizio del libro -e malgrado l'interesse che negli ultimi decenni ha costantemente riscosso (si pensi, su tutti, al ciclo di congressi internazionali di Certaldo, patrocinati, dal 1959 al 2011, dal Centro di Studi sull'Ars Nova italiana del Trecento), il corpus di musiche e testi implicati nella «grande fioritura di polifonia d'arte del Trecento» non ha finora beneficiato, per molti aspetti, di cure scientifiche «adeguate ai livelli della filologia del nostro tempo, che tengano conto dell'arricchimento di prospettive e metodologie in ambito interdisciplinare» (p. vii). Proprio l'attivo e costante dialogo tra competenze filologiche e musicologiche, inteso a valorizzare la necessaria interdipendenza fra testo poetico e notazione musicale dal momento della rispettiva composizione, a quello della ricezione nei manoscritti, a quello, infine, della loro 1 Il tema è affrontato da punti di vista differenti e con un taglio piú o meno teorico nei diversi seminari, come si può giudicare dai titoli di quelli fin qui svoltisi (consultabili online sul sito della Fondazione: http://www.fefonlus.it/): La prassi esecutiva dell'ars nova italiana. Seminario di studio e laboratorio , L'intertestualità nell'ars nova europea tra musica e poesia (2015), «...Con soav'e dolce melodia si fa bel canto e ciò vuol maestria». L'esecuzione dell'ars nova italiana oggi: il compromesso della «performance storicamente informata». Seminario teorico e pratico (2016), The Nature of the End of the Ars Nova in Early Quattrocento Italy Research Surrounding the San Lorenzo Palimpsest and Related Repertories (2017).

For an audio-video animation of the manuscript with the modern transcription see the link below:
https://www.youtube.com/watch?v=dO56v7qltNo

An edition of the anonymous labyrinthine ballade on three canons, "En la maison Dedalus" (In the House of Dedalus) from the Berkeley Manuscript.

This edition includes a modern transcription of the music, the original manuscript excerpted, poetic and literal translations of the text, reconstruction of the 11-tier labyrinth upon which the music is overlain, and pedagogical materials/explanations of the musical and poetic medieval Ballade forme-fixe.

Focused on two sixteenth-century editions of a medieval Valencian author (Ausiàs March, 1400-59), this book examines how the material transformations of early modern poetic texts at different stages in their publication process—from the making of the printer’s copy and the translation of the text, to the typesetting and editing of the book in the printing shop—entailed thorough changes in the meaning of a lyric corpus.

George R.R. Martin’s world is filled with music. From bawdy tavern songs to religious hymns to ballads about memorable battles or persons; songs are an important part of the Westerosi history and culture. Whether they are performed for mere entertainment, remind of historical events, or are devoted to the Seven Gods: The songs in A Song of Ice and Fire enable us to gain deeper insights in Martin’s invented world and help to obtain a comprehensive picture of the Seven Kingdoms and its surroundings. They contribute to the “textuality” of Martin’s novels, “the sense that lying behind the text we are reading is a whole tradition (both written and oral) of stories, poems, histories and accounts […]” (Drout 2013: 4). By including such independent but yet embedded texts, Martin opens up a “text-universe” and thereby manages to create depth (Drout 2013: 4).
For the songs are an essential part of Martin’s work, their significance, function, and contribution to the intertextuality of the epic will be examined in this paper.

Author: Domenico Ingenito
Beholding Beauty: Saʿdi of Shiraz and the Aesthetics of Desire in Medieval Persian Poetry explores the relationship between sexuality, politics, and spirituality in the lyrics of Saʿdi Shirazi (d. 1292 CE), one of the most revered masters of classical Persian literature. Relying on a variety of sources, including unstudied manuscripts, Domenico Ingenito presents the so-called “inimitable smoothness” of Saʿdi’s lyric style as a serene yet multifaceted window into the uncanny beauty of the world, the human body, and the realm of the unseen.

The book constitutes the first attempt to study Sa‘di’s lyric meditations on beauty in the context of the major artistic, scientific and intellectual trends of his time. By charting unexplored connections between Islamic philosophy and mysticism, obscene verses and courtly ideals of love, Ingenito approaches Sa‘di’s literary genius from the perspective of sacred homoeroticism and the psychology of performative lyricism in their historical context.

https://brill.com/view/title/57745

El compositor alcoià Amand Blanquer Ponsoda (1935-2005) és, sens dubte, una referència absoluta dins del panorama musical del nostre país. Les seues aportacions musicals inclouen alguns exemples repersentatius dels clàssics valencians com ara Roís de Corella, la novel·la Tirant lo Blanc i també la poesia d'Ausiàs March. D'aquest darrer poeta són els textos de les dues obres a les quals fa referència l'article: Ausiàs March en concert (1988) i Cants d'amor i de mort (1990).

The use of feudal vocabulary is the most innovative feature of twelfth- and thirteenth-century Occitan troubadour love lyric. The Catalan and Valencian poets who continued and reworked this tradition over the fourteenth and fifteenth centuries preserved this convention with varying degrees of fidelity. The aim of this paper is to identify trends in the use of feudal vocabulary in the works of Catalan and Valencian poets, and to interpret these tendencies in the light of contemporary historic developments. The poets’ choices in selecting materials from the previous tradition provide valuable information about their strategies of adaptation to the requirements of their audiences. This analysis will allow delimitating similarities and differences between classical troubadour lyric and the works of later Catalan and Valencian poets, an essential step towards the definition of Catalan poetry in the late Middle Ages. The specific identity of this poetic expression has yet to be outlined, since it has traditionally been described in the context of disparaging comparisons with other earlier and contemporary poetic traditions.

La natura eminentemente filosofica della ratio medica nel Medioevo e la diffusa produzione accademica e militante di trattatistica amorosa hanno favorito il ruolo della cultura medica nella formazione delle poetiche del XIII e XIV secolo, non solo e non tanto dal punto di vista tematico (fisiologia e patologia dell’amore e delle passioni, malinconia e ira, desiderio e paura), ma anche e particolarmente dal punto di vista della progressiva elaborazione del linguaggio metaforico della poesia: dai Siciliani all’ambiente guittoniano e, attraverso lo snodo decisivo di Cavalcani e Dante, a Petrarca e Boccaccio. Una volta appurata l’effettiva circolazione e diffusione delle conoscenze mediche, è possibile guardare alla nostra tradizione poetica cogliendo nei testi elementi linguistici,
contenutistici e metaforici nati e ancor ben radicati in un contesto non originariamente letterario. Imprevedibili fonti scientifiche consigliano o impongono una diversa, più concreta e, se si vuole, ‘materialistica’ lettura anche delle più
celebri liriche d’amore dello Stilnovo, poi fino al Decameron di Boccaccio.

Nella prima parte il saggio si concentra sui problemi di ordinamento dei sonetti di Dino Frescobaldi, mostrando come una proposta di Borriero sulla fascicolazione del Chigiano comporti una quasi perfetta coincidenza tra la disposizione dello stesso ms. e quella del Trivulziano e evidenziando la presenza di forti connessioni e rispondenze tra i dodici sonetti disposti nello stesso modo nei due codici. Nella seconda parte l'articolo prende in considerazione una canzone adespota nel Chigiano spesso annessa alle dubbie di Frescobaldi, mettendo in luce l'esistenza di notevoli connessioni tra questo testo e la prima canzone attribuita a Dino, così come tra le successive canzoni dello stesso poeta, e gli elementi in comune tra Amore, i' veggio ben e il corpus di Frescobaldi

I am indebted to literary linguist and artist Margherita Muller who corrected some obvious and many not-so-obvious errors, helped me with the Italian, made many erudite and helpful suggestions, unravelled a great many obscure and difficult themes, and in the very least stopped me from embarrassing myself by doing the great Dante Alighieri, peerless poet-philosopher, a disservice. I have included many of her comments in the text, often unattributed. Margherita's MLitt thesis, Under what stars to plough the earth? The aesthetics and ethics of three Scottish gardens (2012), can be found at http://independent.academia.edu). It's a good question, for which Dante has a good answer. homage to Dante Alighieri, the greatest philosopher-poet who has ever lived, whose timeless truths continue to tip the balance in favour of hope against despair. Peter works in the tradition of Rational Freedom, a tradition which sees freedom as a common endeavour in which the freedom of each individual is conceived to be co-existent with the freedom of all. In elaborating this concept, Peter has written extensively on a number of the key thinkers in this 'rational' tradition (Plato, Aristotle, Aquinas, Dante, Spinoza, Rousseau, Kant, Hegel, Marx, Habermas). Peter is currently engaged in an ambitious interdisciplinary research project entitled Being and Place. The central theme of this research concerns the connection of place and identity through the creation of forms of life which enable human and planetary flourishing in unison. Peter tutors across the humanities and social sciences, from A level to postgraduate research. Peter particularly welcomes interest from those not engaged in formal education, but who wish to pursue a course of studies out of intellectual curiosity. Peter is committed to bringing philosophy back to its Socratic roots in ethos, in the way of life of people. In this conception, philosophy as self-knowledge is something that human beings do as a condition of living the examined life. As we think, so shall we live. Living up to this philosophical commitment, Peter offers tutoring services both to those in and out of formal education.