Journal articles: 'Courtly love in literature'

1

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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5

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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Resumo: 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.Palavras-chave: Idade Média Central – Literatura cavaleiresca – Amor cortês. Abstract: 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.Keywords: Central Middle Ages – Chivalric literature – Courteous love.

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7

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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9

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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10

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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11

DIVERRES, A. H. "Review. The Courtly Love Tradition. O'Donoghue, B." French Studies 39, no. 4 (October 1, 1985): 456. http://dx.doi.org/10.1093/fs/39.4.456.

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12

Müller, Jan-Dirk. "Courtly Love, the Love of Courtliness, and the History of Sexuality." Journal of English and Germanic Philology 107, no. 3 (July 1, 2008): 373–76. http://dx.doi.org/10.2307/20722641.

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13

Alhameed, Saleh Ahmad, Noor Hasma Mohammed Saad, and Bader Ulmonir Mohammad Noor. "Gazal al-Auṭān wa al-Buldān fῑ Syi’r Māni’ Sa’ῑd al-‘Utaibah." LISANIA: Journal of Arabic Education and Literature 7, no. 1 (June 21, 2023): 79–99. http://dx.doi.org/10.18326/lisania.v7i1.79-99.

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The study examines courtly love themes in the homeland and country of the Emirati poet Manaa Saeed al-Otaiba through his two Diwan, "To Where" and "Songs and Wishes." Additionally, it intends to explore the concepts of courtly love and its origins and how to employ poetic imagery and fitting music to achieve the intended results. The poet's feelings are described in the spinning topics based on the places and countries with which he has dabbled, and it is examined how the rhetorical devices and music accompanying those poems were in line with the poet's psychological state. One of the study's conclusions is that he chose separate poetry to express what he wanted to those countries in a fluid manner replete with terms of courtly love. Hence, the titles of those poems explain the content of their verses, and the poet's courtly love extended beyond his native country to countries in the East and West. As if he intended to inform people of the lyre in his heart in many places, the poet selected the new method to be overwhelming in his lyrical poetry. The researcher believes this work has contributions that make it a new building block in the relevant studies of Emirati literature in general and al-Otaiba poetry in particular. As an outstanding poet, he deserves extensive study and research from critics to understand his poetry's substance and multiple purposes.

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Piña Pérez, Marucha Claudia. "Amor y guerra en la poesía de Jorge Manrique. Análisis del decir “Castillo de amor”." Medievalia 52, no. 2 (December 2, 2020): 83–98. http://dx.doi.org/10.19130/medievalia.2020.52.2.171865.

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Courtly love poetry from the 15th century has currently become one of the main fields of study of Medieval literature. Among the most prominent authors in this field is Jorge Manrique, author of 26 lyrical dits, and highly known for the Coplas a la muerte de su padre. This investigation proposes the study of the amplificatio resources as a constitutive element of the construction of the love discourse. The loving qualities of the lyrical lover are emphasized in the “Castillo de amor” dit through the repetitive use of the collatio occulta and the prosopopoeia, amplificatio techniques defined by Godofredo de Vinsauf in Poetria Nova.

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15

Le Saux, F. "SIMON GAUNT, Love and Death in Medieval French and Occitan Courtly Literature: Martyrs to Love." Notes and Queries 56, no. 1 (February 5, 2009): 101–2. http://dx.doi.org/10.1093/notesj/gjn266.

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16

Bruckner, Matilda Tomaryn. "Love and Death in Medieval French and Occitan Courtly Literature: Martyrs to Love. Simon Gaunt." Speculum 82, no. 3 (July 2007): 702–4. http://dx.doi.org/10.1017/s0038713400010447.

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17

Schultz, James A. "Parzival, Courtly Love, and the History of Sexuality." Poetica 38, no. 1-2 (December 20, 2006): 31–59. http://dx.doi.org/10.30965/25890530-038-01-02-90000002.

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Schultz, James A. "Parzival, Courtly Love, and the History of Sexuality." Poetica 38, no. 1-2 (June 27, 2006): 31–59. http://dx.doi.org/10.30965/25890530-0380102002.

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19

Garzón-Duarte, Eliana. "Love in the Time of Cholera: Latent Love Depictions within a Treatise of Courtly Love." International Journal of Language and Literary Studies 2, no. 2 (May 7, 2020): 96–108. http://dx.doi.org/10.36892/ijlls.v2i2.232.

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The present article aims at displaying the different types of love bonds implicit in García Márquez’s Love in the Time of Cholera. The relationship of complicity, courting, marriage, wait, and encounter of the lovers are the expressions through which the author represents latent love manifestations within the frame of a treatise of courtly love. This article analyzes the realistic and practical signs of love García Márquez uses to recreate the common situations any couple can live in a relationship. The common patterns found in this novel corroborate the unique writing style of the Colombian Nobel Prize of Literature and the connections with his other novels. The theoretical approaches of Roland Barthes in A lover’s discourse: Fragments and Ovid in The art of love help construct the basis of interpretation of the love relationships represented in this novel. Statements of Gurméndez and Charbonneau also support the concepts of depersonalization and sacrifice inside marriage and the role memories play in the wait. This article pays attention to three different couples present in the novel and researches on the type of relationship they build and the implications and particular conditions they have. All of them with remarkable features to be studied to understand the realism of love in the words of García Márquez.

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20

Bednorz, Magdalena. "Wysiłek emocjonalny jako podstawowa zasada miłości (dworskiej). Romans z Anomenem w Baldur’s Gate II." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 33, no. 42 (July 3, 2023): 307–25. http://dx.doi.org/10.14746/i.2023.33.42.19.

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The article undertakes an analysis of the only romantic plot for a female character in Baldur’s Gate II: Shadows of Amn, namely the romance with Anomen, one of the player character’s potential companions. The analysis focuses primarily on how this romance adapts themes of courtly love to the poetics of the digital game medium. Courtly love is treated here not as a realistically depicted medieval tradition but rather as an established pop-cultural reference to the literature of the period, and as an element of contemporary depictions of the Middle Ages, often serving as a way to present contemporary themes and beliefs. The analysis therefore aims to explore how the theme can be employed to reproduce contemporary patterns of romantic relationships within a game, and in the case of Anomen, how it reproduces patterns of unequal emotional labor in heterosexual relationships. The article thus seeks to show how digital games can function as tools of cultural discourse of love by implementing certain patterns of romantic love through their specific means of expression.

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21

Krause, Kathy M. "Love and Death in Medieval French and Occitan Courtly Literature: Martyrs to Love by Simon Gaunt." Modern Language Review 103, no. 1 (2008): 221–23. http://dx.doi.org/10.1353/mlr.2008.0164.

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22

Eckhardt, Joshua. ""Love-song weeds, and Satyrique thornes": Anti-Courtly Love Poetry and Somerset Libels." Huntington Library Quarterly 69, no. 1 (March 2006): 47–66. http://dx.doi.org/10.1525/hlq.2006.69.1.47.

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23

Pilardi, Jo-Ann, and Irving Singer. "The Nature of Love, Vol. II: Courtly and Romantic." MLN 100, no. 5 (December 1985): 1153. http://dx.doi.org/10.2307/2905460.

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Niebrzydowski, Sue. "'Ther was som epistel hem bitwene': Love Letters and Love Lyrics in Troilus and Criseyde , and The Canterbury Tales." Yearbook of English Studies 53, no. 1 (2023): 52–69. http://dx.doi.org/10.1353/yes.2023.a928431.

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Abstract: Love letters and love lyrics are a staple of medieval romance literature. These unsolicited, secret declarations of desire are one method by which a would-be lover, usually male, declares his love, loyalty, and service to a recipient who may be unaware of the sender's feelings or, at worst, his very existence. Sending a love letter was a hazardous undertaking since the proffered indenture of service might be rejected outright. Despite this jeopardy, giving love letters and verses is motivated by some degree of hope, however remote, and in this the chaucerian lovers examined in this essay are no exception. Focusing on chaucer's Troilus and Criseyde , and Troilus's fellow love-letter and lyric authors, Damyan and Absolon from The Canterbury Tales , this essay explores chaucer's use of love letters and lyrics as a rhetorical strategy in the game of courtly love, and the consequences of the recipient's reaction. chaucer shows us male would-be lovers who are rejected outright and even for those who do succeed in persuading their lady of their sincerity no lasting relationship is established. This essay places chaucer's literary representation of the suffering brought about through sending and receiving love letters and love lyrics in dialogue with the impact of love missives as recorded in manuscripts that circulated in the households of the wealthy.

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25

Dahami, Yahya Saleh Hasan, and Abdullah Al Ghamdi. "MUA'LLAGAT ZOHAYR IBN ABI SOLMA: ELEGANT PIECE OF ARABIC POETRY (1)." International Journal of Applied Research in Social Sciences 3, no. 1 (March 29, 2021): 1–11. http://dx.doi.org/10.51594/ijarss.v3i1.208.

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Zohayr ibn Abi Solma is identified as an eminent poet who produced poetry distinguished with preeminence in courtly and virtuous love. The study employs an analytical and critical methodology, attempting to elucidate the influence of virtuous love narrated by the poet in the first verse lines of his great Mua'llagah. It commences with a terse introductory synopsis shedding light on the importance of classical Arabic and its involvement with poetry. The paper attempts to prove, via the poetry of Zohayr ibn Abi Solma, the greatness of the Arabic classical poetry and demonstrate the aptitudes of the poet through his Mua'llagah. It is divided into four main parts. The first part deals with the greatness of the Arabic language then it moves to the second section that focuses on Arabic Poetry: Treasure of Wisdom. The third one sheds light on the poet's 'The Man and the Poet', and the last main part goes with an analytical and critical endeavor of the first ten verse lines of Al-Mua'llagah of Zohayr. It comes to an end with a conclusion. Keywords: Arabic Literature, Arabic Poetry, Courtly Love Poetry, Courteous Arabic Poetry, Umm Awfa, Virtuous Poetry.

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26

Monson, Don A. "Will the Real Andreas Capellanus Please come Forward?" Prometeica - Revista de Filosofía y Ciencias, no. 24 (February 15, 2022): 70–82. http://dx.doi.org/10.34024/prometeica.2022.24.11899.

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Abstract The time and place of composition of the medieval Latin treatise on love, De amore, and the identity of Andreas Capellanus (“Andrew the Chaplain”) to whom its authorship is attributed have long been a subject of controversy. There are essentially three hypotheses, each tied to a particular interpretation of the treatise. Following the rediscovery of the work by Gaston Paris in 1883, it was long thought that to have been written in the 1180s at the court of Champagne by a court chaplain at the behest of the countess Marie, an important patroness of courtly literature. Based on new diplomatic evidence and some of the manuscript rubrics, Alfred Karnein renewed the question in 1978 with the theory that the treatise was indeed written in the 1180s, but in Paris at the court of Philip II Augustus, and not to promote the courtly love ethic but to combat it. In 1994 Peter Dronke advanced the theory that Andreas Capellanus is a pseudonym designed to link an anonymous work with a legendary romance lover, André de Paris, and that the treatise was written in the 1230s in the Arts Faculty of the University of Paris as an elaborated erotic joke. Each of these hypotheses has its strengths and weaknesses, and so the question is likely to remain undecided.

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27

Hyun-ju, Lee. "A Study on the ‘Lady’ in Medieval Courtly Love Literature Focusing on Two Love Stories in Morte D’arthur." Literature and Religion 24, no. 4 (December 31, 2019): 39–58. http://dx.doi.org/10.14376/lar.2019.24.4.39.

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Šarić, Željko M. "DENIS DE ROUGEMONT AND THE WESTERN CONCEPTION OF LOVE." Филолог – часопис за језик књижевност и културу 13, no. 26 (December 31, 2022): 407–27. http://dx.doi.org/10.21618/fil2226407s.

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This paper analyses the key areas reached by the Swiss author Denis de Rougemont in his famous work Love in the Western World. We critically read de Rougemont's thought that love-passion, as the basic guiding thread of the myth of Tristan and Isolde, still sovereignly rules the unconscious being of modern man, giving him a one-sided vision of the play about love. Following his argumentation, we examine the connections between courtly and chivalrous love, Cathar heresy and troubadour love poetry. Denis de Rougemont contrasts eros, which ignites passion that descends into the darkness of death, with agape, i.e. the Christian love for one's neighbour. We question whether de Rougemont's solution to the problem of love by establishing merciful love as a necessary moral choice can be a satisfactory answer for modern man.

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Love, Damian. "?Al this Peynted Process?: Chaucer and the Psychology of Courtly Love." English Studies 83, no. 5 (November 1, 2002): 391–98. http://dx.doi.org/10.1076/enst.83.5.391.8676.

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Braekman, Martine. "A Chaucerian ?courtly love aunter? by Henry Howard, earl of Surrey." Neophilologus 79, no. 4 (October 1995): 675–87. http://dx.doi.org/10.1007/bf01126898.

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31

Burrow, J. A., and Julia Boffey. "Manuscripts of English Courtly Love Lyrics in the Later Middle Ages." Modern Language Review 83, no. 3 (July 1988): 662. http://dx.doi.org/10.2307/3731302.

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Pugh, Tison. "Christian Revelation and the Cruel Game of Courtly Love in Troilus and Criseyde." Chaucer Review 39, no. 4 (2005): 379–401. http://dx.doi.org/10.1353/cr.2005.0011.

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Hon, Jan K. "Minnesang trifft Pijjut und Midrasch." Beiträge zur Geschichte der deutschen Sprache und Literatur 145, no. 4 (November 23, 2023): 580–641. http://dx.doi.org/10.1515/bgsl-2023-0037.

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Abstract The essay examines the fourteenth-century Yiddish poem ›Yosef Ha-Tsadik‹ about Joseph and Potipharʼs wife. The poem, presented here in a new critical edition, is primarily based on Hebrew and Aramaic midrashic and liturgical sources but also incorporates elements derived from German courtly love poetry, mainly to express Potipharʼs wifeʼs advances toward Joseph. It can thus be read as a Jewish dialogue with Christian secular literary traditions. Drawing on a comparison with the Jewish pretexts – some of which are presented here for the first time in German translations – and a number of examples from Minnesang, the study analyzes the strategies of both participation in and (ironic) distancing from the Christian courtly discourse.

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Asaro, Brittany. ""Laughing at the Vanity of Public Opinion": A Parody of Love by Fame in the Orlando Furioso." MLN 139, no. 1 (January 2024): 35–59. http://dx.doi.org/10.1353/mln.2024.a930285.

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Abstract: In the Mandricardo-Doralice subplot of the Orlando Furioso , Ariosto parodies the courtly topos of "love by fame". His parody is marked by violence as well as by a fixation on possession that reflects the dangers of life at court and the precarity of Italy's position in Europe in the late Renaissance. Ariosto suggests that his craft, literature, has been reduced to a form of cultural currency in an increasingly mercenary world.

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35

Dixon, R. "Review: Courtly Love Undressed: Reading Through Clothes in Medieval French Culture." French Studies 58, no. 4 (October 1, 2004): 540–41. http://dx.doi.org/10.1093/fs/58.4.540.

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36

Heale, Elizabeth. "Women and the Courtly Love Lyric: The Devonshire MS (BL Additional 17492)." Modern Language Review 90, no. 2 (April 1995): 296. http://dx.doi.org/10.2307/3734541.

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37

Weiss, Julian. "Alvaro De Luna, Juan De Mena and the Power of Courtly Love." MLN 106, no. 2 (March 1991): 241. http://dx.doi.org/10.2307/2904858.

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38

Pugh, Tison. "Christian Revelation and the Cruel Game of Courtly Love in Troilus and Criseyde." Chaucer Review 39, no. 4 (January 1, 2005): 379–401. http://dx.doi.org/10.2307/25094300.

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39

McInerney, Maud Burnett. "Love and Death in Medieval French and Occitan Courtly Literature: Martyrs to Love, by Simon GauntLove and Death in Medieval French and Occitan Courtly Literature: Martyrs to Love, by Simon Gaunt. Oxford, Oxford University Press, 2006. vii, 235 pp. $99.00 US (cloth)." Canadian Journal of History 43, no. 1 (April 2008): 127–28. http://dx.doi.org/10.3138/cjh.43.1.127.

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40

Murdoch, Brian. "Defining and Defending the Middle Ages with C. S. Lewis." Humanities 9, no. 2 (June 18, 2020): 51. http://dx.doi.org/10.3390/h9020051.

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The scholarly writings of C. S. Lewis (1898–1963) have both inspired the study of the Middle Ages and confirmed the relevance to the humanities that medieval literary texts can have for the present. He was aware that the straitjacket implied by periodisation can blind us to the universal values presented in medieval literature. Qualitative assumptions made about the (usually undefined) Middle Ages include an alienating remoteness, and also a general ignorance, especially of science and technology. Lewis drew attention to the knowledge of astronomy, for example, and pointed out that medieval technical skills in architecture, agriculture and medicine are important for us to be aware about. Three medieval works illustrate this universality with respect to technical skills (the Völundarkviða); identity and the self (the Hildebrandslied); and the popular love-song (the courtly love-lyric). Lewis cautioned against pejorative terms like ‘Dark Ages’, noted problems of perspective in assessing all pre-modern literature, and showed that earlier works have a continuing value and relevance.

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41

ZEEMAN. "THE VERSE OF COURTLY LOVE IN THE FRAMING NARRATIVE OF THE "CONFESSIO AMANTIS"." Medium Ævum 60, no. 2 (1991): 222. http://dx.doi.org/10.2307/43632566.

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Witalisz, Władysław. "“I cluppe and I cusse as I wood wore”: Erotic Imagery in Middle English Mystical Writings." Text Matters, no. 3 (November 1, 2013): 58–70. http://dx.doi.org/10.2478/texmat-2013-0026.

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The mutual influences of the medieval discourse of courtly love and the literary visions of divine love have long been recognized by readers of medieval lyrical poetry and devotional writings. They are especially visible in the affinities between the language used to construct the picture of the ideal courtly lady and the images of the Virgin Mary. Praises of Mary’s physical beauty, strewn with erotic implications, are an example of a strictly male eroticization of the medieval Marian discourse, rooted in Bernard of Clairvaux’s allegorical reading of the Song of Songs, where Mary is imagined as the Bride of the poem, whose “breasts are like two young roes that are twins” (Cant. of Cant. 4:5). Glimpses of medieval female erotic imagination, also employed to express religious meanings, can be found in the writings of the mystical tradition: in England in the books of visions of Margery Kempe, in the anonymous seers of the fourteenth century, and, to some extent, in Julian of Norwich. Though subdued by patriarchal politics and edited by male amanuenses, the female voice can still be heard in the extant texts as it speaks of mystical experience by reference to bodily, somatic and, sometimes, erotic sensations in a manner different from the sensual implications found in the poetry of Marian adoration. The bliss of mystic elation, the ultimate union with God, is, in at least one mystical text, confidently metaphorized as an ecstatic, physical union with the human figure of Christ hanging on the cross.

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Banin, Tali. "‘The dawn, the dawn, it comes too soon!’: The Medieval Alba in Ford Madox Ford's Parade's End." Modernist Cultures 18, no. 2 (May 2023): 181–96. http://dx.doi.org/10.3366/mod.2023.0397.

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This paper argues for the importance of the alba, a medieval genre of courtly love poetry, to Ford Madox Ford's oeuvre and particularly to his tetralogy Parade's End. While the influence of troubadour songs and culture on Ford is widely recognised, no work has yet been devoted to the presence of the alba in his work. Describing a scene in which a knight and lady's adulterous love affair is interrupted by the coming of dawn, the alba invests daybreak with erotic and dramatic potential. Ford co-opts the conventions of this poetic form to illuminate and intensify one of the tetralogy's central themes: the analogy between love and war. In Parade's End daybreak repeatedly spells the interruption of the lovers' bliss and the end of the soldiers' vigil. The alba shows the motif to be key to the work's treatment of the love/war parallelism.

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Paramitha, Aura Reandra, and Herri Akhmad Bukhori. "Literary Characteristics of High Middle Ages Germany in Die Nibelungen: Siegfried (1966) Film and Its Relevance to Learning in Literaturgescichte Course." Journal DaFIna - Journal Deutsch als Fremdsprache in Indonesien 6, no. 1 (June 15, 2022): 1. http://dx.doi.org/10.17977/um079v6i12022p1-10.

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The purposes of this study were to describe the literary characteristics of German Literature in High Middle Ages, the literary charactersistics through Die Nibelungen: Siegfried film and the relevance between the identified literary characteristics in the film and the learning in Literaturgeschichte course. The data sources of this study were Die Nibelungen: Siegfried film and various literatures. The datas were the literary characteristics from the film scenes and descriptions to elaborate the analysis further. Datas were acquired through documentation method and analyzed through content analysis. The results of this study indicated that the literary characteristics of German Literature in High Middle Ages are the emphasis in chivalrous acts and matters of courtly love in the literatures. A few scenes from the film also contained the two main literary characteristics. There were relevancies between research datas and learning in Literaturgeschichte course based on the CLO and topics found in the RPS. Keywords: literary characteristics, Hochmittelalter, Literaturgeschichte

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Classen, Albrecht. "Medieval Literature as an Archive of Human Experiences: The Middle Ages as a Depository of Human Knowledge, Wisdom, Happiness, and Suffering." Current Research Journal of Social Sciences and Humanities 6, no. 2 (January 10, 2024): 176–87. http://dx.doi.org/10.12944/crjssh.6.2.03.

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It ought to be an ongoing effort by all scholars/researchers to question the validity, legitimacy, and purposes of their own discipline because we live in an ever-changing world and must regularly reflect upon our academic self-justification. This also applies to the field of Medieval Studies that faces considerable difficulties and challenges today with declining numbers of students enrolling in respective classes and lacking support by university administrators. This study begins with a general consideration on where we are today in terms of justifying the humanities at large, that is, of the study of literature particularly, and hence of medieval literature. Then this paper focuses on two universal themes, tolerance and then love. While love has always been associated with the courtly world since the twelfth century, toleration and even tolerance do not seem to fit within the medieval context. However, the discussion of both phenomena can be utilized as a particularly effective catalyst for further investigations of medieval culture and literature within the framework of modern and postmodern responses to the Middle Ages. The exploration of this theme as it emerged already at that time offers intriguing opportunities to make the study of medieval literature relevant and important for us today, as does the examination of the love discourse through a historical lens.

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Leushuis, Reinier. "Marguerite de Navarre’s Rewriting of the Courtly Dialogue: Speaking of Love in La Coche." French Forum 42, no. 3 (2017): 453–69. http://dx.doi.org/10.1353/frf.2017.0043.

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Bajetta, C. M. "JOSHUA ECKHARDT, Manuscript Verse Collectors and the Politics of Anti-Courtly Love Poetry." Notes and Queries 57, no. 4 (September 13, 2010): 584–86. http://dx.doi.org/10.1093/notesj/gjq154.

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Classen, Albrecht. "Freedom, Love, Nobility: The Falkenmotiv in Medieval and Modern German Literature, with an Emphasis on Werner Bergengruen’s “Die drei Falken”." International Journal of Culture and History 8, no. 2 (August 2, 2021): 1. http://dx.doi.org/10.5296/ijch.v8i2.18897.

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Medieval literature has deeply shaped modern literature through many different channels. Sometimes entire works were translated or paraphrased into modern languages, sometimes medieval motifs, themes, figures, or concepts impacted modern texts. This article examines one remarkable example, Werner Bergengruen’s highly popular novella “Die drei Falken” (1928) the source of inspiration of which was loosely Boccaccio’s story told on Day V, no. 9 in his Decameron (ca. 1350). Throughout time, the falcon has regularly symbolized courtly love, nobility, and the desire for individual freedom. After a discussion of Boccaccio’s text and a selection of medieval examples where the same motive appears, this article examines how Bergengruen transformed the symbol of the falcon into an expression of human nobility and deeply felt desire for personal freedom.

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Edwards, A. S. G. "Manuscripts of English Courtly Love Lyrics in the Later Middle Ages. Julia Boffey." Speculum 64, no. 1 (January 1989): 125–27. http://dx.doi.org/10.2307/2852196.

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Davis, Alex. "Manuscript Verse Collectors and the Politics of Anti-Courtly Love Poetry by Joshua Eckhardt." Modern Language Review 105, no. 3 (2010): 839–41. http://dx.doi.org/10.1353/mlr.2010.0148.

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Journal articles on the topic 'Courtly love in literature'

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