Relevant bibliographies by topics / Courtly love in literature

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Academic literature on the topic 'Courtly love in literature'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Courtly love in literature"

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Shin, So-hee. "Mystical Literature of Hadewijch: Relevance with Courtly Love." Literature and Religion 21, no. 3 (September 30, 2016): 101–28. http://dx.doi.org/10.14376/lar.2016.21.3.101.

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Ecklund Farrell, Dianne. "Rear Cover: Courtly Love in the Caucasus: Rustaveli’s Georgian Epic, The Knight in the Panther Skin." Carl Beck Papers in Russian and East European Studies, no. 2205 (November 13, 2012): A. http://dx.doi.org/10.5195/cbp.2012.193.

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The Knight in the Panther Skin by Shota Rustaveli is the great medieval (ca. 1200) epic of Georgia, and its most distinctive feature is courtly or romantic love, which is its basic motivating force. This article seeks to establish in which respects The Knight in the Panther Skin resembles Western courtly love, and what the explanation for this resemblance might be. In this endeavor I have had to challenge a common (mis-) conception that Western courtly love was essentially illicit loveOne can easily demonstrate that the literary roots of The Knight in the Panther Skin lie in Persian literature rather than in direct contact with Western courtly love, but the reason for the resemblance to Western courtly love is more problematic. Various possibilities are entertained: namely, (1) that Arab love poetry gave rise to it in Georgia (and possibly also in the West, as has been held); (2) that Neoplatonism produced or constituted a philosophic underpinning for courtly love and that it was transmitted to Georgia and/or Western Europe (a) by Arab Neoplatonists; (b) by Western Christian Neoplatonists or (c) by Byzantine Neoplatonists. A third possibility is (3) that it arose due to social and political conditions. And what were the social and political circumstances in Georgia and in Western Europe which, at the same historical period, produced and elaborated a culture so deferential to the ladies? And which, being absent in the Islamic world, did not produce courtly love there? In Georgia a sovereign queen presided in the era of Georgia’s greatest power, wealth and extent. Feudal servitors crowded the court, eager to gain honors and riches for themselves through preferment by the queen, virtually guaranteeing a cult of adoration of the queen. It is Sovereign Queen Tamar to whom Rustaveli dedicates his poem, and to her that he declares his undying love. In Provence, where there were many feudal heiresses, a similar incentive to “please the ladies” prevailed. No direct influence from the troubadours and minnesaenger of Southwestern Europe can be found. The evidence does not support Arab love poetry as a source of or conduit for courtly love, nor can Arab Neoplatonism have played a role. Byzantine Neoplatonism, however, was prominent in the courtly culture of Rustaveli’s time, and the social and political conditions in Georgia likewise were favorable to the rise of a culture of courtly love. Thus both intellectual and socio-political conditions favored the blooming of courtly love in twelfth-century Georgia.
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Al-Dabbagh, Abdulla. "The Oriental Sources of Courtly Love." International Journal of Arabic-English Studies 3, no. 1 (January 1, 2002): 21–32. http://dx.doi.org/10.33806/ijaes2000.3.1.2.

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This paper singles out three key theoretical, oriental perspectives on love that have been, to a greater or lesser degree, recognized by scholars as sources for western courtly love notions: Ibn Hazm's Tawq al-Hamama (The Dove's Neck Ring), Ibn Sina's Risala fi 'I- 'lshq (Treatise on Love), and the general Sufi outlook, particularly in the works of Ibn Al-Arabi and Rumi. While chivalry, the forms and features of Arabic music and Arabic poetry, Arabic poetic themes and specifically the expressions and concepts of love in poetry have long been studied as the. main Arab/Islamic contributions to courtly love, no detailed study of this relationship at the theoretical level has so far been done. Such a study, particularly of the ideas of thinkers like Ibn Sina , Ibn Al-Arabi, and Rumi will serve to illuminate not only western works explicitly devoted to the topic, but also a key trend in the western conception of love generally, as well as the whole genre of tragic romance in modern western literature. .
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Zuraikat, Malek J. "Contextualizing the Medieval Tradition of Courtly Love in Nabokov's Lolita." International Journal of Arabic-English Studies 23, no. 2 (June 20, 2023): 177–94. http://dx.doi.org/10.33806/ijaes.v23i2.459.

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Using modern terms of morality to evaluate the sexual attitude of Humbert towards Lolita, which constitutes the central subject matter of Vladimir Nabokov’s Lolita (2005), most readers view the novel as erotica, a piece of literature that glamorizes amoral sexuality and rebels against humans' morality. This view feasibly condemns the sexual relationship between a forty-year-old male and a twelve-year-old girl-child nymphet; nevertheless, it overlooks the insistence of the novel's fictitious narrator and editor that the narrative is ethical and heavily loaded with pro morality messages. To resolve this perspectival dichotomy, this article revisits Humbert's love of Lolita contending that the relationship between Humbert and Lolita constitutes a form of courtly love, not rape or pedophilia. Relying on the medieval definition of courtly love, the article argues that Humbert is better viewed as a medieval lover whose love-based sexuality towards Lolita is ennobling and transcendent. By so doing, the article discharges Humbert’s love of Lolita from any modern connotations of animalistic carnality, thus maintaining the narrative’s obsessive involvement in the medieval culture.
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Hart, Thomas R., and Paolo Cherchi. "Andreas and the Ambiguity of Courtly Love." Comparative Literature 48, no. 1 (1996): 93. http://dx.doi.org/10.2307/1771639.

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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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Leglu, C. "Love and Death in Medieval French and Occitan Courtly Literature: Martyrs to Love." French Studies 62, no. 2 (April 1, 2008): 209. http://dx.doi.org/10.1093/fs/knm327.

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Hippolyte, J. L., and W. Motte. "Christian Oster: From Courtly Love to Modern Malaise." SubStance 35, no. 3 (January 1, 2006): 23–34. http://dx.doi.org/10.1353/sub.2006.0044.

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Heffernan, Carol F. "Chaucer's Troilus and Criseyde: The disease of love and Courtly Love." Neophilologus 74, no. 2 (April 1990): 294–309. http://dx.doi.org/10.1007/bf00310540.

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Pintarič, Miha. "Hate Speech and French Mediaeval Literature." Acta Neophilologica 51, no. 1-2 (November 21, 2018): 63–70. http://dx.doi.org/10.4312/an.51.1-2.63-70.

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Hate speech is spoken or written word which expresses a hostile attitude of a dominating majority towards any kind of minority. The author analyses a few examples of hate speech in literary history and concludes that such a phenomenon is typical of The Song of Roland, whether uttered in a direct way or spoken between the lines. One will expect hate speech in epic and heroic poetry, less in the Troubadour poetry. Yet we come across this awkward characteristic even in their love poetry. To be quite clear, in the poetry of Bernart de Ventadorn. The last part of the article is about the courtly romance. The author concludes that hate speech can only be controlled by love, not any, but the love that makes one a better person, and which the Troubadours called fin’amors.
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Dissertations / Theses on the topic "Courtly love in literature"

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Copas, Leigh. "Courtship, Loe, and Marriage in Othello: Shakespeare's Mockery of Courtly Love." TopSCHOLAR®, 2006. http://digitalcommons.wku.edu/theses/449.

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Othello is the forgery of a comedic play turned tragedy, for the play begins where the ordinary comedy would end. While many critics prefer to discuss the racial and exotic aspects of William Shakespeare's tragedy, there are several critics who focus on the role of love and the marital relationships that are also important in terms of interpreting the actions of key characters. Carol Thomas Neely, Maurice Charney, and several other literary critics have focused primarily on the role of marriage and love in Othello. The topic of marriage is generally discussed in terms of the wooing scene (Act 1, scene 3) and the perverted consummation of the marriage rights (Act 5, scene 1), but there is little reflection on the courtly love rules and conventions from most critical approaches. Courtly lovers were a dying breed in Shakespeare's time, yet he employs the use of basic courtly love principles not only in Othello, but in many of his works, particularly comedies like the Merry Wives of Windsor and As You Like Lt. The use of such principles allows ridicule and scorn to take place in the plays, but in Othello, courtly love introduces the themes of cuckoldry and, most importantly, women's loss of power. Women's loss of power is another issue that critics often deconstruct, yet this concept is also linked to the principles of courtly love. Within the courtly love tradition men were often submissive to women—in Chretien de Troyes' Lancelot and Geoffrey Chaucer's "The Wife of Bath's Tale," men tended to bend to the will of women, often finding happiness and true love by doing so. The Moor General Othello is first presented as a submissive husband, but as the play progresses, the embarrassment of Desdemona's presumed infidelity begins to unravel his ideas of love. Instead of following the courtly conventions of dealing with adultery, Othello transforms into the Renaissance ideal Petrarchan lover, one who seeks spiritual love over physical love and views sexuality as sinful. The ideas and rules of courtly love contradicted the principles of the Renaissance Petrarchan lover. However, Shakespeare employed the tradition of courtly love to emphasize mockery and satire as overall themes of the play. For example, Othello and Desdemona are presented first and foremost as lovers that uphold the conventions of courtly love—they try to keep their relationship as secretive as possible and Othello appears subject to the will of his beloved. However, later in the play, instead of listening to the guidance and innocent speeches of his beloved, Othello returns to the love philosophies of antiquity. To the philosophers of classic love philosophy, love, and therefore passion, was considered sinful and untrustworthy, especially as a firm foundation for progress. Ultimately, it is Othello's devotion to his militaristic and social images that outweighs his love for Desdemona. Yet, instead of separating from his wife, the Moor feels that the only way to win control over the lord-vassal relationship is to murder her, or as he claims in Act 5, scene 1, to "sacrifice her." Othello depicts the ideas and rules of courtly love outlined and recorded by Andres Capellanus in The Art of Courtly Love. Whilst his contemporaries still dreamed of fair maidens with sparkling eyes, Shakespeare explored other methods and conventions from the Middle Ages and combined, as well as contrasted, them with the newer conventions of the Renaissance. His story is one of anti-courtly love—a story focusing on the death of chivalry, romantic courting, and Othello's inability to love. The play detests, destroys, and mocks the ideas of courtly wooing, marriage, and fidelity. A play of power, Othello reflects such characteristics through a verisimilitude of circumstances, specifically seen in the wooing of Desdemona, the marriage bed of Othello and Desdemona, and the loss of women's power in the play. Tainted with "honorable" murder, jealousy, and the fabliau tradition of cuckoldry, Othello has been preserved as Shakespeare's great tale of love gone awry.
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Parnell, Jessica L. "Medieval authors shaping their world through the literature of courtesy and courtly love /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 2000. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M.A.)--Kutztown University of Pennsylvania, 2000.
Source: Masters Abstracts International, Volume: 45-06, page: 2824. Typescript. Abstract precedes thesis title page as [2] preliminary leaves. Copy 2 in Main Collection. Includes bibliographical references (leaves 93-96).
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Warden, Tonya. "Medieval Courtly Love: The Links between Courtly Love, Christianity, and the Roles of Women in Tennyson and Morris." Digital Commons @ East Tennessee State University, 2001. https://dc.etsu.edu/etd/96.

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The art of courtly love is difficult to pinpoint because there are many facets that extend into different areas. In the Pre-Raphaelite and Medieval periods, love was more formulated with rules, moral standards, and codes. Courtly love is often seen as the "love" practiced by kings, queens, and other nobility because of the mystique that surrounds legendary stories like Lancelot and Guinevere. Courtly love encompasses spiritual awakening, lust, passion, adultery, and religion; therefore, the art of courtly love intrigues as well as interests its readers. Many critics have studied the effects of courtly love in literature and have come to the conclusion that courtly love was not only linked to Christianity, but that courtly love was also linked with other religions and philosophies. The link between Christianity and courtly love is the largest debate between critics and scholars within this particular genre. Women have also played a part in understanding courtly love because of their complex role within the storylines of the literary poems. Women were often seen as the stronger of the sexes; however, they were viewed as objects instead of people. In courtly love, women were often the downfall of men because of their idle ways and abilities to deceive men. Women are important for the understanding of the rules and courtships between men and women during this period. Tennyson and Morris had the most influential courtly love literature during the Pre-Raphaelite period. Their contributions to the tale of the Arthurian Legend are inherent to the understanding of this genre of courtly love. With Idylls of the King, Tennyson brought a resurgence of interest in the Arthurian Legend. His Idylls are various stories about the trials and tribulations of Arthur's life and others in Camelot. Morris followed the brilliance of Tennyson's Idylls with The Defense of Guinevere, which is a poem solely based on Guinevere's perspective and point of view. These two authors sought to create a myth around the Arthurian Legend with great vigor and their own poetic style. There has been a plethora of discussion on the topic of courtly love; however, there has not a been a common agreement on its origins. This study shows how courtly love relates to literature during the Pre-Raphaelite period, most especially in the Arthurian Legend.
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Al-Sawda, Mahel. "The rise and transformation of courtly love : a study in European thought of love." Thesis, University of Essex, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.332903.

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Ray, Ingrid N. "Narrating desire/desiring narrative in Marguerite de Navarre's Heptameron /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/6637.

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Bates, Catherine. "Courtship and courtliness : studies in Elizabethan courtly language and literature." Thesis, University of Oxford, 1989. http://ora.ox.ac.uk/objects/uuid:7d87cb87-8146-4d47-a19e-4cc9aee21467.

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In its current sense, courting means 'wooing'; but its original meaning was 'residing at court'. The amorous sense of the word developed from a purely social sense in most major European languages around the turn of the sixteenth century, a time when, according to some historians, Western states were gradually moving toward the genesis of absolutism and the establishment of courts as symbols and agents of centralised monarchical power. This study examines the shift in meaning of the words courtship and to court, seeking the origins of courtship in court society, with particular reference to the court and literature of the Elizabethan period. Chapter 1 charts the traditional association between courts and love, first in the historiography of 'courtly love', and then in historical and sociological accounts of court society. Recent studies have questioned the quasi- Marxist notion that the amorous practices of the court and the 'bourgeois' ideals of harmonious, fruitful marriage were antithetical, and this thesis examines whether the development of 'romantic love' has a courtly as well as a bourgeois provenance. Chapter 2 conducts a lexical study of the semantic change of the verb to court in French, Italian, and English, with an extended synchronic analysis of the word in Elizabethan literature. Chapter 3 goes on to diversify the functional classification required by semantic analysis and considers the implications of courtship as a social, literary and rhetorical act in the works of Lyly and Sidney. It considers the 'humanist' dilemma of a language that was aimed primarily at seduction, and suggests that, in the largely discursive mode of the courtly questione d'amore, courtship could be condoned as a verbalisation of love, and a postponement of the satisfaction of desire. Chapter 4 then moves away from the distinction between humanist and courtly concerns, to examine the practice of courtship at the court of Elizabeth I. It focuses on allegorical representations of Desire in courtly pageants, and suggests that the ambiguities inherent in the 'legitimised' Desire of Elizabethan shows exemplify the situation of poets and courtiers who found themselves at the court of a female sovereign. In chapter 5 discussions of the equivocation inveterate to courtly texts leads to a study of The Faerie Queene, and specifically to Spenser's presentation of courtship and courtly society in the imperialist themes of Book II and their apparent subversion in Book VI. The study concludes with a brief appraisal of Spenser's Amoretti as a model for the kind of courtship that has been under review.
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Braekman, Martine. "Medieval origin, compository techniques and traditions of the courtly love aunter, illustrated by the edition of three hitherto unpublished early Tudor printed poems." Thesis, University of Nottingham, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315074.

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O'Brien, Erica F. ""FLIPPING THE SCRIPT": FEMININE CULPABILITY MODELS IN FIFTEENTH-CENTURY IBERIAN TEXTS." Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/577421.

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Spanish
Ph.D.
This dissertation explores the ways in which feminine culpability is verbally articulated by the male courtly lover to his beloved lady within the amorous relationship in three fifteenth-century Spanish sentimental novels: Diego de San Pedro’s Cárcel de amor, published in 1492, and two of Juan de Flores' sentimental novels, Grimalte y Gradissa and Grisel and Mirabella, both published in approximately 1495, and how these motifs of feminine culpability are subverted in the anonymous fifteenth-century Catalan chivalric novel Curial e Güelfa. This subversion of culpability motifs is facilitated in Curial e Güelfa since there is also a subversion of gender roles within the amorous relationship of the novel's protagonists: a female lover, Güelfa, who courts her male beloved, Curial. To execute this study, I begin by discussing the origins of this rhetoric of feminine culpability in patristic, Biblical and philosophical texts, illustrating their sedimentation into the collective ideologies of medieval audiences. I also examine these feminine culpability models in Provençal lyric poetry written and recited by Occitan troubadours between the eleventh and thirteenth centuries, as one of its particular genres, the mala cansó, aims to not only blame the beloved lady, but also to publicly defame her, a threat that is also ever-present in the words of the male lover in the sentimental novel. After analyzing the tactics used by the male courtly lover to blame the beloved lady for his suffering and the demise of the relationship, I demonstrate how these same tactics are employed by the female characters of Curial e Güelfa toward the beloved man. However, feminine blame still occurs in Curial e Güelfa, manifested as feminine self-blame and blame between women, while the male characters engage in self-absolution, absolution of other men, and utter shirking of the blame. The theoretical framework employed is that of medieval canon law, and the way in which culpability was determined under this law from the twelfth century onward, which was by the intentions of the offender at the time of the crime or transgression rather than the consequences of the transgression. If we examine these fifteenth-century courtly love texts, it becomes clear that the beloved lady is innocent, while the male lover himself is the culpable party. Finally, following Rouben C. Cholakian's reading of the troubadour poetry through the work of twentieth-century psychoanalyst Jacques Lacan, I conclude that although the poet-lover verbally enunciates erotic metaphors and adulating language toward his beloved lady in the guise of courtly love, the true desire that he cannot articulate is to dominate, to overpower, and possibly to eradicate the feminine. Thus, in a Lacanian sense the notion that courtly love literature praises the woman is a fallacy. Both the poet-lover of the Provençal lyric and the courtly lover of the sentimental novel subvert the concept of alleged feminine superiority and exaltation in these texts.
Temple University--Theses
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Robertson, Abigail G. "The Mechanics of Courtly and the Mechanization of Woman in Medieval Anglo-Norman Romance." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1415804460.

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Russo, Valeria. "Archéologie du discours amoureux : prototypes et régimes de l'amour littéraire dans les traditions galloromanes médiévales." Doctoral thesis, Università degli studi di Padova, 2019. http://hdl.handle.net/11577/3423322.

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L’histoire de l’amour courtois propose un récit complexe, dans les faits littéraires autant que dans les vicissitudes de son herméneutique. De nombreux embarras et impasses dérivent d’emblée de l’histoire de sa désignation - et du patrimoine théorique qui l’accompagne. Utilisée régulièrement comme unité minimale d’identification de la représentation amoureuse, la notion d’amour courtois continue de délimiter l’érotique galloromane : mais si, d’une part, elle aide à en souligner les spécificités, elle en force, de l’autre, l’univocité. Depuis l’étude fondatrice de G. Paris (1883), l’amour dans la littérature médiévale a fini par correspondre, au sein des consciences critiques, aux critères fondamentaux de l’amour courtois. Les conséquences de cet équilibre trompeur sont, dans la production critique, variées. Dans le domaine de l’étude synchronique mono et intertextuelle, les autres formes et sens que l’amour médiéval connaît en dehors de ce schéma ne font pas l’objet d’une attention interprétative aussi scrupuleuse que celle qu’on accorde à l’amour courtois proprement dit ; dans la perspective de l’histoire des origines, l’amour courtois est aisément placé dans un parcours idéologique et culturel indépendant par rapport à l’histoire littéraire générale ; les aspects chronologiques internes à ce phénomène sont généralement aplatis, dans un mécanisme de nivèlement des cycles temporels ; à l’immobilité des paradigmes exégétiques s’est associée, enfin, la constitution d’un “canon” de textes faisant fonction de garants de la définition. L’état de l’art, qui compte à présent des progrès remarquables, bénéficie d’études éminentes sur ce sujet. L’ensemble de ces résultats n’a toutefois pas engendré un réseau critique compact, au vu de ce qui procède des pivots interprétatifs fondamentaux. Dans notre thèse, nous offrons des hypothèses herméneutiques et un modèle méthodologique visant à l’éclaircissement et à l’élargissement des perspectives. à l’univocité des théories liées au canon et à la notion d’amour courtois, le présent travail substitue un plan d’analyse plus ample, celui du discours amoureux galloroman : les marges d’un tel objet sont ouvertes à toutes les expressions et représentations érotiques de matrice laïque. Les possibilités hétéroclites du discours amoureux (R. Schnell 1989), qu’il est fondamental de considérer comme un ensemble idéologique, culturel et littéraire, sont soumises à une analyse visant à offrir un cadre interprétatif à la fois particulier et général. Afin de réévaluer les fondements de cet objet (en renouvelant mais aussi en bornant les horizons de R. R. Bezzola, 1944-63), notre enquête fait collaborer les plans critiques et chronologiques: la phase exégétique de cette étude, supportée par l’analyse philologique des textes, s’accompagne de l’étude stylistique et rhétorique. Ce travail procède selon les étapes suivantes : l’identification des motifs et des thèmes génératifs (noyaux de fond) a été suivie par la construction d’un répertoire de prototypes du discours amoureux et par l’étude de leur diffusion selon les époques et les lieux. Cette opération a été supportée par la périodisation du discours amoureux en trois phases distinctes, au sein desquelles le code expressif s’est fixé : le Midi, d’abord, inaugure la phase de formation d’un langage lyrique primordial, qui vise à valoriser et sublimer l’amour humain, pour exalter la chasteté dans une morale interne et élitiste ; dans le Nord, ensuite, naît un discours amoureux qui concilie la pensée et la formation des clercs avec l’idéal conjugal séculier, construisant de ce fait un modèle d’ordre social ; enfin, les réalités urbaines septentrionales offrent, d’un côté, une réception néo-curiale des prototypes lyriques et, de l’autre, une réélaboration théologique et encyclopédique, mais aussi profane et pratique, de la tradition courtoise.
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Books on the topic "Courtly love in literature"

1

Library, British, ed. Courtly love in medieval manuscripts. London: British Library, 2003.

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Cherchi, Paolo. Andreas and the ambiguity of courtly love. Toronto: University of Toronto Press, 1994.

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Smith, Sydney E. The opposing voice: Christine de Pisan's criticism of Courtly love. Stanford, Calif: Humanities Honors Program, Stanford University, 1990.

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International Courtly Literature Society. Congress. Courtly literature: Culture and context ; selected papers from the 5th Triennial Congress of the International Courtly Literature Society, Dalfsen, the Netherlands, 9-16 August, 1986. Amsterdam: J. Benjamins Pub. Co., 1990.

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Assoun, Paul-Laurent. Le couple inconscient: Amour freudien et passion postcourtoise. Paris: Anthropos, 1992.

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Hughes, Cassidy. Petrarch, Dante and the Troubadours: The religion of love and poetry. Kidderminster, Worcestershire: Crescent Moon, 1993.

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Congress, International Courtly Literature Society. The court reconvenes: Courtly literature across the disciplines : selected papers from the Ninth Triennial Congress of the International Courtly Literature Society, University of British Columbia, 25-31 July, 1998. Cambridge, UK: D.S. Brewer, 2003.

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Cátedra, Pedro M. Amor y pedagogía en la edad media: Estudios de doctrina amorosa y práctica literaria. Salamanca: Universidad de Salamanca, Secretariado de Publicaciones, 1989.

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International Courtly Literature Society. Congress. Courtly literature and clerical culture =: Höfische Literatur und Klerikerkultur = Litterature courtoise et culture clericale. Edited by Huber Christoph and Lähnemann Henrike. Tübingen: Attempto, 2002.

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Christine. Le livre duduc des vrais amans. Binghamton, NY: Medieval and Renaissance Texts and Studies, 1995.

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Book chapters on the topic "Courtly love in literature"

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Akehurst, F. R. P. "The Bottom Line of Love." In Courtly Literature, 1. Amsterdam: John Benjamins Publishing Company, 1990. http://dx.doi.org/10.1075/upal.25.03ake.

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McCash, June Hall. "Mutual Love as a Medieval Ideal." In Courtly Literature, 429. Amsterdam: John Benjamins Publishing Company, 1990. http://dx.doi.org/10.1075/upal.25.33mcc.

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Chism, Christine. "Courtly Love and Its Impossible Implementation." In A Companion to British Literature, 130–45. Oxford, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118827338.ch9.

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Chance, Jane. "The Arthurian Knight Remythified Ovidian: The Failures of Courtly Love in Three Late Medieval Glosses." In The Legacy of Courtly Literature, 9–40. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-60729-0_2.

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Birrell, Anne M. "The Dusty Mirror: Courtly Portraits of Woman in Southern Dynasties Love Poetry." In Expressions of Self in Chinese Literature, edited by Robert E. Hegel and Richard C. Hessney, 33–69. New York Chichester, West Sussex: Columbia University Press, 1985. http://dx.doi.org/10.7312/hege91090-004.

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Blanchard, Joël. "L’effet autobiographique dans la tradition." In Courtly Literature, 11. Amsterdam: John Benjamins Publishing Company, 1990. http://dx.doi.org/10.1075/upal.25.04bla.

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Bossy, Michel-André. "The Elaboration of Female Narrative Functions inErec et Enide." In Courtly Literature, 23. Amsterdam: John Benjamins Publishing Company, 1990. http://dx.doi.org/10.1075/upal.25.05bos.

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Boulton, Maureen. "Guillaume de Machaut’s Voir Dit." In Courtly Literature, 39. Amsterdam: John Benjamins Publishing Company, 1990. http://dx.doi.org/10.1075/upal.25.06bou.

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Brook, Leslie C. "Un ‘Art d’Amour’ inédit de la fin du moyen-âge." In Courtly Literature, 49. Amsterdam: John Benjamins Publishing Company, 1990. http://dx.doi.org/10.1075/upal.25.07bro.

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Calin, William. "Contre lafin’amor? Contre la femme? une relecture de textes du Moyen Age." In Courtly Literature, 61. Amsterdam: John Benjamins Publishing Company, 1990. http://dx.doi.org/10.1075/upal.25.08cal.

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Conference papers on the topic "Courtly love in literature"

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Everett, William A., and Lynda Payne. "Rescuing Quacks, Revolutionizing Operatic Norms, and Restoring Courtly Love through Donizetti and Romani’s L’elisir d’amore (1832)." In Međunarodni i interdisciplinarni simpozij Glazba, umjetnosti i politika: revolucije i restau- racije u Europi i Hrvatskoj 1815.-1860. (14 ; 2019 ; Zagreb). Hrvatska akademija znanosti i umjetnosti, 2021. http://dx.doi.org/10.21857/yvjrdclqoy.

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Adek, Muhammad, Nesa Riska Pangesti, and Asmawati. "Wabi-Sabi and Aesthetic of Love in Lang Leav’s Love and Misadventure." In The 3rd International Conference on Language, Literature, and Education (ICLLE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201109.026.

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Chzhan, Cincyan. "Theme of love comparative analysis in Western and Chinese literature." In VIII International applied research conference, chair Sergey Petrovich Tolkachev. TSNS Interaktiv Plus, 2016. http://dx.doi.org/10.21661/r-91312.

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Breslavets, Tatiana, and Tatiana Vinokurova. "LOVE STANZAS IN SOGI’S POEM." In 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.33.

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The article is devoted to the peculiarities of the work of Iyo Soga, the author of “connected stanzas” (renga). The ways of presenting love lyrics in the poem Sogi dokugin nanihito hyakuin (One hundred stanzas of the poet Sogi, 1499) are highlighted. The issues of the influence of the previous classical literature on the poet’s work, the specifics of intra-literary continuity in the history of medieval Japanese verse are discussed. The implicit meanings of love stanzas are revealed. Precedent texts with which the stanzas of the poem establish associative links are found. Intertextuality acts as the meaning-forming beginning of renga poetry.
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Mani, Prof K. Ratna Shiela. "Sarojini Naidu’s Poem ‘The Sorrow of Love’: A Functional Perspective." In 2nd Annual International Conference on Language, Literature and Linguistics (L3 2013). Global Science and Technology Forum Pte Ltd, 2013. http://dx.doi.org/10.5176/2251-3566_l313.68.

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Марсенич, Зорка Живковна, and Елена Владимировна Нарбут. "THE THEME OF LOVE AND FAITH IN THE WORKS OF CAMP LITERATURE." In Сборник избранных статей по материалам научных конференций ГНИИ «Нацразвитие» (Санкт-Петербург, Май 2021). Crossref, 2021. http://dx.doi.org/10.37539/may316.2021.85.57.006.

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В статье рассматриваются несколько произведений лагерной литературы как доказательство неразрывной связи темы любви и веры с темой концентрационных лагерей. Основой тезиса является труд психолога и бывшего лагерного заключенного Виктора Франкла. A few works belonging to camp literature genre are viewed as a proof of an indissoluble connection between the theme of love and faith and the theme of concentration camps. The basis of the thesis is a work by a psychologist and former concentration camp prisoner Viktor Frankl.
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Aminah, Siti, Abdurahman Adisaputera, and Daulat Saragi. "Development of Listening Teaching Materials based on Literature “Love Animal And Plants”." In Proceedings of the 7th Annual International Seminar on Transformative Education and Educational Leadership, AISTEEL 2022, 20 September 2022, Medan, North Sumatera Province, Indonesia. EAI, 2022. http://dx.doi.org/10.4108/eai.20-9-2022.2324527.

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Bte Rahmat, Hadijah. "Love, Faith, Religion and Colonialization: Cultural Insight in Soul of Archipelago Literature." In Proceedings of the International Conference on Language, Literature, and Education (ICLLE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iclle-18.2018.2.

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Asri, Yasnur, Yenni Hayati, and Muhammad Adek. "Women’s Perspective on Love, Loyalty, and the Other Woman in Indonesian literature." In 3rd International Conference on Language, Literature, Culture, and Education (ICOLLITE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200325.078.

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Wen, Zhang. "Spatial Approach to the Holocaust Trauma in Enemies, A Love Story." In 6th Annual International Conference on Language, Literature and Linguistics (L3 2017). Global Science & Technology Forum (GSTF), 2017. http://dx.doi.org/10.5176/2251-3566_l317.32.

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Reports on the topic "Courtly love in literature"

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P., BASTIAENSEN. Triage in the trenches, for the love of animals : a tribute to veterinarians in the First World War. O.I.E (World Organisation for Animal Health), October 2018. http://dx.doi.org/10.20506/bull.2018.nf.2883.

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On the occasion of the centenary of the First World War, remembered across the world from 2014 until the end of 2018, many aspects and experiences of this global conflict have been re-examined or brought to light for the first time, as we honour the memory of those estimated 16 million soldiers and civilians who perished in what was then known as the ‘Great War’, or the ‘War to End All Wars’. So many of these died on the infamous fields of Flanders, where Allied and Central Forces dug themselves into trenches for the better part of four years. Over the past few years, new research has brought to light many insights into the plight of animals in this War, which – for the younger readers amongst you – was fought at the dawn of motorised warfare, using anything powered by two or four feet or paws, from the homing pigeons delivering secret messages across enemy lines, to the traction provided by oxen and mules to pull cannons and other heavy artillery, to the horses of the cavalry. Not least among these roles was the supply of animal protein to the troops, whether this came through the specific designation of animals for this purpose or as the result of a failed attempt at delivering any of the above services. Several leading publications today have documented the role (and suffering) of animals in ‘La Grande Guerre’. Less so the role of veterinarians in the ‘War to End All Wars’. Who were they? How many? How were they organised? What did they do, on either side of the enemy lines? The present article is a humble attempt to shed some light on these veterinary colleagues, based on available, mostly grey, literature…
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