Ecriture et rythme dans le corpus manuscrit des troubadours cover image

Ecriture et rythme dans le corpus manuscrit des troubadours

By Marlyse Emilie Bach
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Format
1996
Year
French
Language
University of North Carolina
Publisher

Summary

The purpose of the study is to read troubadour lyric in the illuminated chansonniers provencaux. By exploring configurations of verbal and visual poetics, the notions of allegory and subjectivity are redefined in the corpus of Guillaume de Poitiers, Jaufre Rudel, Bernart de Ventadour, Giraut de Borneil and Arnaut Daniel. The cansos and vidas are analyzed in a semi-critical transcription from chansonniers A, C, I, K and M, where the implications of punctuation, white spaces and pictorial images are examined in relation to the mobility of poetic figures. The Introduction and the first Chapter define problematic questions focusing on the "codex" as "livre," the "voice" as rhythmic and visual textuaiity, and "ecriture" as spatialization of figural and figurative language. While the limits of a Zumthorian linguistic approach to troubadour poetry are circumscribed, the anthropological notion of rhythm defined by Henri Meschonnic is demonstrated to be pertinent to the study of the Occitan canso in its written traditions. The second Chapter and the third Chapter trace modes of representation in two manuscript groups. Chapter II begins with the premise that the codicological structure of A, I et K transforms the canso, vida and historiated letter into a poetic discourse that accomplishes what remains unfulfilled in the initial song, via allegories of death, suffering, oppression, wandering and poiesis. Chapter III starts with the hypothesis that the absence of the vida and the historiated letter in C and M transforms the canso, miniature and ornated letter into a poetic discourse that erases what was accomplished in the song, via allegories of catharsis, relief, secrecy, discernment and purification. The comparison between these two groups of chansonniers yields new readings of the canso that erase some of the critical breaks between language, literature and culture, and defines prolegomena for new editing practices that would consider the manuscript in a materiality based on the relational dynamics among codicology and orality in each troubadour corpus.

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