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Journal articles on the topic 'Amour courtois'
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1
Tsuiki, Kosuke. "Amour en anamorphose. L'amour courtois et l'amour fou, II." Psychanalyse 30, no. 2 (2014): 89. http://dx.doi.org/10.3917/psy.030.0089.
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Lakshmi Krishnan. "Amour Courtois: Swinburne, Boccaccio, and the Triameron." Modern Language Review 113, no. 1 (2018): 1. http://dx.doi.org/10.5699/modelangrevi.113.1.0001.
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Balbuena Torezano, M. del Carmen. "Amor cortés y discurso sobre el amor:." Revista de Literatura Medieval 32 (December 10, 2020): 39–53. http://dx.doi.org/10.37536/rlm.2020.32.0.66188.
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El concepto de amor cortés, aún en nuestros días, no queda definido de forma unánime por la crítica. En efecto, muchas son las teorías sobre la definición del fin’amors que se han defendido por los distintos especialistas desde que en 1883 Gaston Paris acuñara la expresión amour courtois en su estudio sobre la relación de Lancelot y Ginebra en la obra de Chrétien de Troyes. En este sentido, y siguiendo los presupuestos de Rüdiger Schnell (1989), cabe señalar que la diversidad, la pluralidad y los múltiples puntos de vista sobre el amor de las obras literarias medievales cuyo eje central es el amor, ya se trate de épica o lírica, nos conduce más a una serie de características propias de este tipo de amor que a una definición específica del mismo. En este trabajo analizaremos la presencia de estas características a partir del discurso femenino de cuatro Lieder ampliamente conocidos del Minnesangs Frühling, pertenecientes a las primeras etapas del Minnesang y compuestos por dos de los grandes Minnesänger de la época: Der von Kürenberg (Ich stuont mir nehtint spâte, Ich zôch mir einen valken y Swenne ich stân aleine) y Dietmar von Eist (Ez stuont ein vrouwe aleine).
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Classen, Albrecht. "Christian Buhr, Zweifel an der Liebe: Zu Form und Funktion selbstreferentiellen Erzählens im höfischen Roman. Frankfurter Beiträge zur Germanistik, 57. Heidelberg: Universitätsverlag Winter, 2018, 401 S., 4 s/w Abb." Mediaevistik 31, no. 1 (January 1, 2018): 396. http://dx.doi.org/10.3726/med012018_396.
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In seiner Frankfurter Dissertation (WS 2016/2017), hier im Druck vorliegend, peilt Christian Buhr, wie sein Haupttitel anzudeuten scheint, ein hochinteressantes Thema an, das die gesamte Welt des Mittelalters, in der ja die höfische Liebe eine so zentrale Rolle spielte, betreffen könnte. Wenn sich Zweifel an den hohen Idealen von amour courtois oder minne rührten, wären alle höfischen Konzepte davon betroffen, und das ganze Kartenhaus würde in sich zusammenstürzen. Aber unbesorgt, Buhr hat dies trotz seiner Ankündigung überhaupt nicht im Sinn, sondern will, wie der Untertitel im radikalen Unterschied dazu besagt, und wie die Einleitung es dann deutlich macht, den Aspekt des selbstreferentiellen Erzählens in den Blick nehmen, wie es sich in einigen wichtigen mhd. und altfranzösischen Versromanen zu erkennen gibt. Das eine hat aber wahrhaftig nichts mit dem anderen zu tun.
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Sinfonico, Damiano. "Ji-Hyun Philippa Kim, L’«Amour Courtois» de Gaston Paris: une lecture décadente du “Chevalier de la Charrette”?" Studi Francesi, no. 162 (LIV | III) (November 1, 2010): 578. http://dx.doi.org/10.4000/studifrancesi.6385.
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Algazi, Gadi, and Rina Drory. "L'amour à la cour des Abbassides. Un code de competence sociale." Annales. Histoire, Sciences Sociales 55, no. 6 (December 2000): 1255–82. http://dx.doi.org/10.3406/ahess.2000.279915.
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RésuméÀ la cour des Abbassides, « amour » devint le nom d'un jeu social. Cet article cherche à reconstruire les donnes particulières de ce modèle culturel, en termes de statut, de structures et de fonctions à l'intérieur de la société de cour. Il est vraisemblable que l'amour chez les Abbassides s'éloignait nettement des traditions héritées. C'était l'élément moteur pour acquérir l'adab, le raffinement culturel. Dans le « vocabulaire des motifs » abbasside, être amoureux donnait aux courtisans un motif acceptable pour acquérir l'adab. Cependant, une culture raffinée était aussi un ajout politique. En comparant cet amour avec les modèles du nord de l'Europe, présentes dans le Roman de la Rose au XIIIe siècle, l'article suggère que, dans les deux cas, l'émergence d'un code de l'amour courtois était liée à des structures de pouvoir spécifiques. Par le respect d'un code commun, l'adab donnait aux élites une cohésion sociale. Dans le cas des Abbassides, on a pu dire que l'affinité culturelle remplaçait la parenté, par sa capacité à lier entre eux les membres de l'élite. Par ailleurs, le jeu de l'amour exigeait de suspendre les hiérarchies de pouvoir entre les participants. Ce qui impliquait d'accorder aux femmes — dans le cas des Abbassides, des femmes esclaves — une possibilité d'action reconnue. En conclusion, l'article suggère que l'enjeu dépassait la codification d'une compétence culturelle. En participant au jeu de l'amour contrôlé et formalisé, les courtisans pouvaient acquérir d'autres éléments de la culture de cour, moins visibles mais non moins importants : les stratégies appropriées pour agir efficacement à la cour. L'amour servait ainsi à cultiver une compétence sociale spécifique.
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Mehl, Dieter, and Ulrike Dirscherl. "Ritterliche Ideale in Chrétiens 'Yvain' und im mittelenglischen Gedicht 'Ywain and Gawain': Von 'amour courtois' zu 'trew luf', vom 'frans chevaliers deboneire' zum 'man of mekyl myght'." Yearbook of English Studies 23 (1993): 310. http://dx.doi.org/10.2307/3507990.
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Martínez-Falero, Luis. "Amor, locura, enfermedad y muerte en la literatura medieval europea." Revista de Poética Medieval 36 (November 21, 2022): 249–70. http://dx.doi.org/10.37536/rpm.2022.36.36.90866.
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En primer lugar, en este trabajo pretendo realizar un breve recorrido por el concepto de «amor» en la Edad Media, así como sobre los cánones literarios en los que se desarrolla tanto una visión idealizada de las relaciones amorosas como una retórica del discurso sentimental. Ello debe conducirnos hacia los efectos de esa concepción del amor en la literatura, con un gran peso tanto de la tradición establecida por Horacio (Ars amatoria y Remedia amoris), refundida y mostrada en diferentes textos a lo largo de la Edad Media, y por la Iglesia como impulsora de una contención de los sentimientos y de los impulsos de los enamorados. La consecuencia de todo ello es la enfermedad (con diferentes síntomas), la locura o la muerte por amor, como nos muestra la literatura europea medieval. Tomaremos diversos ejemplos de la poesía goliárdica, de la lírica amorosa provenzal, gallego-portuguesa, castellana, francesa o italiana, o del roman courtois. Con ello, quedará suficientemente ilustrado nuestro trayecto por el amor y sus consecuencias.
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Zakharia, Katia. "Les amours de Yazīd II b. Abd al-Malik et de Habāba Roman courtois, « fait divers » umayyade et propagande abbasside." Arabica 58, no. 3 (2011): 300–335. http://dx.doi.org/10.1163/157005810x530906.
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Abstract<p>In most of the Abbassid sources, Yazīd II b. Abd al-Malik’s image is both that of a bad caliph, dedicating his time to illicit pleasures rather than to his duties, and that of a weeping lover, devastated by the sudden death of Habāba, his favourite <em>qayna</em>. This article traces so far as possible the twists and turns of these two discourses, the different phases of their development and the way they eventually precipitated into a legendary narrative subjected to the denigration by the Abbasids of their Umayyad predecessors. By doing so, it intermittently brings to light some fragments of a plausible reality and presents them with the mandatory reservations.</p>
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CARVALHO, LIGIA CRISTINA. "O cruzamento entre o Sagrado e o Profano na temática do Amor Cortês * The intersection between the Sacred and the Profane in the theme of Courtly Love." História e Cultura 2, no. 3 (February 4, 2014): 442. http://dx.doi.org/10.18223/hiscult.v2i3.1021.
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<p><strong>Resumo</strong>: Por ter sido elaborado dentro de uma sociedade religiosa cristã medieval, que tem a Bíblia como paradigma e a Igreja como norteadora espiritual e comportamental, pelo menos desde o século V, o amor cortês caracteriza-se pela tensão dos contrários que marca tão singularmente o perfil histórico e cultural da Idade Média. Para Santo Agostinho, o amor eleva o indivíduo à verdade, ao conhecimento unitivo de Deus. Em conformidade com a ideia de Santo Agostinho, o amor cortês era tido como fonte de todo o bem. Entretanto, na literatura cortês, não era o conhecimento de uma verdade transcendente que se consegue com o amor, mas um enobrecimento do próprio ser em sua realidade terrena e, além disto, este amor não se dirige a Deus, mas ao próximo de sexo oposto. Dito isto, neste artigo discutiremos o cruzamento entre o sagrado e o profano na temática do amor cortês.</p><p><strong>Palavras-chave</strong>: Idade Média Central – Literatura cavaleiresca – Amor cortês.</p><p> </p><p><strong>Abstract</strong>: Because of drawning into a medieval Christian religious society, which has the Bible as a paradigm and the Church as a spiritual and behavioral guiding, at least since the fifth century, courtly love is characterized by the tension of opposites that mark the historical and cultural profile of the Middle Ages so singularly. For St. Augustine, love elevates the individual to the truth, to the unitive knowledge of God. In accordance with the idea of St. Augustine, courtly love was taken as the source of all good. However, in courtly literature, the knowledge of a transcendent truth was not achieved by love, but an ennoblement of the self in its earthly reality and, moreover, this love is not addressed to God but to others of the opposite sex. Said that, this article will discuss the intersection between the sacred and the profane in the theme of courtly love.</p><p><strong>Keywords</strong>: Central Middle Ages – Chivalric literature – Courteous love.</p>
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Silva, Fernângela Diniz da. "O ano de 1993:." Cadernos CESPUC de Pesquisa Série Ensaios, no. 40 (September 9, 2022): 156–74. http://dx.doi.org/10.5752/p.2358-3231.2022n40p156-174.
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Resumo: Última obra da fase poética saramaguiana, O ano de 1993 (1975), narra a jornada de pessoas contra a perseguição e a violência provocadas por forças autoritárias responsáveis por submetê-las ao controle e à hostilidade. No entanto, essa gente resiste e procura lutar coletivamente para reconquistar o seu lugar de direito. Um dos aspectos figurativizados como força auxiliadora desse povo é o amor, especialmente o relacionado ao erotismo. A propósito, o próprio corpo funciona sutilmente como meio de proteção e de alívio. A partir disso, o presente artigo pretende identificar e analisar o amor e o sexo na produção O ano de 1993, com o interesse de perceber a construção temático-figurativa do discurso, bem como o surgimento do efeito insólito dos acontecimentos. Para tanto, a Semiótica Discursiva greimasiana funciona nesta pesquisa como base teórica para a investigação, especialmente o nível discursivo do Percurso Gerativo de Sentido. Sendo assim, os estudos de Greimas e Courtés (2008), José Luiz Fiorin (2008) e Diana Luz Pessoa de Barros (2005) apresentam-se como fundamentais. Ademais, as referências literárias pautadas em Carlos Reis (2018), Horácio Costa (2020), Juan Arias (2003) e Octavio Paz (1994) são valiosas para a concepção crítica e analítica deste artigo.
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Koh, Suk-Hyun. "Albazin Expeditions and Construction of Traffic Routes in Heilongjiang Region on the Kangxi Period." Institute of History and Culture Hankuk University of Foreign Studies 82 (May 31, 2022): 87–124. http://dx.doi.org/10.18347/hufshis.2022.82.87.
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Today, Manchuria which includes Heilongjiang Province of the People’s Republic of China is generally perceived as the territory of Qing before “entering the pass(ruguan).” However, this is a misconception coming from connecting the modern geographical idea of Manchuria with the home of the Manchus, the ruling group of the Qing Dynasty. In fact, the base of Nurhaci’s native group, Jianzhou Jurchen, was the north of Changbai Mountain and the east of Liaodong Peninsula. Even if the regional bases of the Jurchens were combined, the region was limited to the southern part of Manchuria. ‘The military district of Heilongjiang general’ was established in the Amur-Nun River basin and the direct rule of the Qing Dynasty began in 1680s, along the conflict with Russia.
Qing court established military bases and traffic routes mainly around Willow Palisade(liutiaobian) until the 1670s, and there were only few temporary bases outside Willow Palisade such as Ninguta. The direct territory of Qing was expanded in the 1670s due to the development of Jilin and the establishment of New Willow Palisade(xinbian), but the vast Amur-Nun River basin, the northern area of Mukden-Jilin-Ninguta, was still regarded as one of ‘the outer feudatories(waifan)’, which was not under the direct control of Qing.
This situation changed in the 1680s when Russians built a fortress in Albazin, located on the upper middle Amur River basin. As Albazin grew into a self-sufficient stronghold, Kangxi emperor proceeded an expedition to drive the Russians out of the Amur River basin. The First and Second Albazin Expeditions, which were commanded by the newly established Heilongjiang general, ended with the conclusion of the Nerchinsk treaty in 1689. In this treaty, the military district of Heilongjiang general was recognized as Qing territory.
Rather than the conduct of the war or the demarcation of borders, the expansion of Qing’s control over the region before and after the expedition was more important in terms of the formation of the military district of Heilongjiang general. Unlike the lower Amur and Songhua River basins, where Russians and Qing troops had conflict in the 1670s, the upper and middle Amur River basin did not have sufficient foundations to wage war in the 1680s. To mobilize a large army to attack Albazin, it was necessary to establish a Qing army garrison, and to develop supply routes for military provisions and postal relay routes for manpower and information. Kangxi emperor first dispatched officials to conduct a geography survey on the upper and middle Amur River basin. In addition, supply routes and postal relay routes were constructed, connecting Aihūn with the areas previously controlled by the Qing, such as Mukden and Jilin. The Qing court’s geographical understanding of the Amur-Nun River basin gradually deepened as a banner garrison(Zhufang) was installed in Mergen, which was confirmed to be important in the process of constructing the postal relay system. The Amur-Nun River basin changed from one of the outer feudatories, which had only a loose relationship with Qing court, to ‘the military district of Heilongjiang general’, a ‘direct territory’ governed by a Garrison General of Qing.
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Ershova, Irina V. "Dante’s Plot on Francesco and Paolo in Spanish Literature of the 15th–17th Centuries." Studia Litterarum 7, no. 2 (2022): 76–93. http://dx.doi.org/10.22455/2500-4247-2022-7-2-76-93.
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The article discusses the reception of the Divine Comedy (La Divina Commedia) by Dante Alighieri and, in particular, of Canto 5 of the Inferno and its central episode — Dante’s encounter with Francesca and Paolo, in Spanish literature of the 15th–17th centuries. It began at the end of the initial third of the 15th century that was caused by late reception of the European courtesy tradition in Spain. Old translations of Infierno by Dante (Enrique de Villena, Pedro Fernández de Villegas) saw in the story of Francesca and Paolo first and foremost a cautionary example of the tragic effect of the courteous poetry and its ideals on real fates of people, thus partly determining further ways of perception of the narrative of killed lovers and its effect on the Spanish poetry and drama. The brightest expression of this idea is the episode, where Marquess de Santillana, hero of El Triumphete de Amor vision, meets the Dante’s characters and the “dona de Ravenna” gives place to Galician troubadour Macias. The national legend and didactic representation of Dante’s episode forced the narrative of Francesca and Paolo out of the Spanish literature. Lope de Vega’s play titled El castigo sin venganza written on the basis of the plot of Bandello’s novella and transformed under the influence of Dante’s episode became in a way the return to the initial and tragic essence of the story of two lovers.
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Velasco Molpeceres, Ana María. "Las primeras mujeres de letras en España: disidencia, aceptación y olvido = The first women of letters in Spain: disidency, acceptance and forgetfulness." FEMERIS: Revista Multidisciplinar de Estudios de Género 4, no. 1 (January 29, 2019): 166. http://dx.doi.org/10.20318/femeris.2019.4573.
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Resumen. El objetivo de este trabajo es el estudio del rol de las primeras autoras de España. La lista de escritoras que desarrollaron una obra que fue publicada, leída y admirada (así como también cuestionada) es extensa; pero sus nombres han caído en el olvido. Entre la Antigüedad y el siglo XVI, las mujeres de letras desafiaron las convenciones asociadas a su sexo aunque también se inscribieron en una nueva sociedad que permitió su admiración, a menudo desde el escepticismo. Este texto pretende recuperar a estas escritoras marginales, en el pasado y sobre todo en el presente. Para ello se propone hacer un recorrido biobibliográfico por las primeras autoras españolas y un análisis del contexto histórico en que desarrollaron su labor. Acercarse a las mujeres autoras es un tema interesante porque tradicionalmente, e incluso hoy, se ha cuestionado la capacidad intelectual femenina. Pero el debate sobre el papel de la mujer en la sociedad y acerca de su educación viene igualmente de lejos. En particular, desde la Baja Edad Media, un nuevo sentir cristiano que fomenta la devoción mariana y la cultura de los trovadores y el amor cortés abrieron nuevos caminos para las féminas. El objetivo de este trabajo es estudiar estos fenómenos, y sus ejemplos más destacados, en la España cristiana.Palabras clave: Escritoras, España, Historia de las mujeres, Historia de la literatura.Abstract. The aim of this work is to study the role of Spain’s first female authors. The list of writers who developed a work that was published, read and admired (as well as questioned) is extensive; but their names have fallen into oblivion. Between Antiquity and the 16th century, women of letters defied the conventions associated with their sex although they also joined a new society that allowed their admiration, often from skepticism. This text tries to recover these marginal writers, in the past and especially in the present. In order to do so, it is proposed to make a biobibliographical journey through the first Spanish authors and an analysis of the historical context in which they developed their work. Approaching women authors is an interesting subject because traditionally, and even today, the intellectual capacity of women has been questioned. But the debate about the role of women in society and about their education also comes from afar. In particular, since the Late Middle Ages, a new Christian sentiment that fosters Marian devotion and the culture of troubadours and courteous love opened new paths for women. The aim of this work is to study these phenomena, and their most prominent examples, in Christian Spain.Keywords: Women writers, Spain, History of women, History of literature.
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"Amour Courtois: Swinburne, Boccaccio, and the Triameron." Modern Language Review 113, no. 1 (2018): 1–25. http://dx.doi.org/10.1353/mlr.2018.0191.
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Grodet, Mathilde. "Mathilde Grodet, « Par bel mentir ». Mensonges et vérités ambiguës en amour dans les récits courtois des xiie et." Perspectives médiévales, no. 35 (September 23, 2012). http://dx.doi.org/10.4000/peme.7122.
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Rêgo, Carmem Silvia de Carvalho, and José Américo Bezerra Saraiva. "O AMOR É FEIO (E LINDO!): O ESVAZIAMENTO DA PREDICAÇÃO COMO CONCENTRAÇÃO DE VALOR." CASA: Cadernos de Semiótica Aplicada, July 10, 2023. http://dx.doi.org/10.21709/casa.v16i1.17790.
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Este trabalho apresenta um estudo da canção O amor é feio, composta e lançada por Marisa Monte, Carlinhos Brown e Arnaldo Antunes no álbum Tribalistas (2002). Sob o aparato teórico-metodológico da Semiótica Discursiva (GREIMAS; COURTÉS, 2011; ZILBERBERG, 2012) e da Semiótica da Canção (TATIT, 2019, 1997), investigamos as estratégias de enunciação da canção no tratamento das relações amorosas. Com o predomínio quase total da debreagem enunciva e a recorrência de apenas dois motivos melódicos, a canção desenvolve a enunciação de dois pontos de vista sobre o amor, cujas predicações, que transitam de valores disfóricos a eufóricos, vão diminuindo progressivamente, até se esvaziarem, promovendo uma espécie de fusão sujeito-objeto, que parece resultar em um sentido pleno, numa valorização absoluta do amor.
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COELHO, Patrícia Margarida Farias. "UMA HISTÓRIA DE AMOR, CONQUISTA E VINGANÇA: UMA ANÁLISE SEMIÓTICA DO VIDEOCLIPE BAD ROMANCE UNA HISTORIA DE AMOR, DE CONQUISTA Y DE LA VENGANZA: UN ANÁLISIS SEMIÓTICO DEL VIDEOCLIP BAD ROMANCE." Acta Semiótica et Lingvistica 22, no. 1 (October 24, 2017). http://dx.doi.org/10.22478/ufpb.2446-7006.2017v22n1.36044.
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Resumo: A cada dia os videoclipes, filmes de curta duração, ganham mais espaço na vida das pessoas, que não precisam mais ficar diante de uma televisão para assistir a esse tipo de produção artística. Atualmente, é bastante acessar determinados sites da internet e selecionar com facilidade seus clipes preferidos, podendo vê-los ao longo do dia. Para este estudo, selecionamos como corpus o videoclipe da canção Bad Romance, interpretada pela cantora americana Lady Gaga, lançada em 2010 como primeira canção do álbum The Fame Monster. A escolha desse videoclipe se deu pelo fato de ele trazer uma contradição entre sua linguagem visual e sua linguagem oral/verbal (a letra da música). Temos dois objetivos, a saber: (i) analisar os níveis narrativo, discursivo (temas e figuras) e fundamental no videoclipe; (ii) averiguar seus aspectos sincréticos a partir das categorias cromáticas, eidéticas e topológicas. Como arcabouço teórico nos ancoramos nos estudos sobre sincretismo, propostos por J. M. Floch (1985, 1987, 1990 e 2001), Oliveira e Teixeira (2009), sobre as categorias eidéticas, topológicas e cromáticas, em Coelho (2011), os estudos de Greimas e Courtés (1996 e 2008), Barros (2001 e 2002) e Fiorin (2009), sobre os níveis narrativo e discursivo do plano do conteúdo. A metodologia utilizada nesta pesquisa foi a descritiva. Os resultados mostram que a aplicação da semiótica francesa em um corpus midiático é profícua e contribui para os semioticistas reiterarem a relevância do modelo semiótico proposto por Greimas.Palavras-chaves: Semiótica Discursiva. Videoclipe. Sincretismo.Resumen: Cada día más los videoclips, cortometrajes, ganan más espacio en la vida de las personas, que ahora ya no necesitan estar en frente de la televisión para verlos. Hoy en día si una persona se conecta a Internet puede seleccionar fácilmente sus clips favoritos y se puede oír y ver a lo largo del día. Este medio difunde y propaga la música de varios artistas. Entre los muchos videoclip, seleccionamos como corpus, para este estudio, el videoclipe de la canción Bad Romance de la cantante estadounidense Lady Gaga, lanzado en 2010, con la primera canción en el álbum The Fame Monster. La elección de este videoclip se debe al hecho de el traer una contradicción entre el lenguaje visual y el lenguaje oral / verbal (la letra de la música) – lo que justifica nuestra elección. Tenemos dos objetivos, a saber: (i) analizar el nivel narrativo y el nivel discursivo (temas y figuras) en el videoclip; y (ii) determinar los aspectos sincréticos del videoclip Bad Romance, de las categorías cromáticas, eidéticos y topológicas. Como marco teórico apoyamonos en los estudios de sincretismo propuesto por J. M. Floch (1985; 1987; 1990; 2001), Oliveira y Teixeira (2009) y Coelho (2011) en las categorías eidéticos, topológicas y cromáticas y estudios de Greimas y Courtés (1996; 2008), Barros (2001; 2002) y Fiorin (2009) sobre la narrativa y el nivel discursivo del plan de contenido. La metodología utilizada en esta investigación es descriptiva. Los resultados muestran que la aplicación de la semiótica francesa en un corpus de los medios de comunicación es rentable y contribuye a los semioticistas reconfirmen la importancia del modelo semiótico propuesto por Greimas.Palabras clave: Semiótica Discursiva. Videoclip. Sincretismo.