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Journal articles on the topic 'Trobairitz'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 January 2023

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1

Martinengo, Marirì. "A proposito di trobairitz." Revista do Centro de Estudos Portugueses 27, no. 37 (2007): 99. http://dx.doi.org/10.17851/2359-0076.27.37.99-121.

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<p>Na Occitânia dos séculos XII e XIII havia uma sociedade feminina, onde as damas possuíam uma certa importância, e sua voz se fazia ouvir. As <em>trobairitz </em>são a expressão dessa sociedade. Num confronto entre a poesia occitana e a épica francesa observa-se bem a posição da dama. Nos <em>partimen</em>s e nas <em>tensos </em>aparecem as mulheres como conselheiras e educadoras. Observe-se a estética e a ética na <em>tenso </em>de Gullelma di Rosers, o amor entre as damas em Bieiris di Romans e em Azalais d’Altier; a paixão em Castelloza, o tema do distanciamento em Clara d’Anduza e em Azalais di Porcairagues. A posição de relevo das mulheres, no movimento cátaro, assim como na língua e na cultura <em>d’oc</em>, foi importante na formação da identidade occitana. Segue um estudo que elenca os nomes das <em>trobairitz</em>, mesmo daquelas cuja obra se perdeu e que deixaram sua memória nos seus contemporâneos e nas gerações sucessivas; estudase aqui a questão do anonimato, do tempo e dos lugares em que floresceu a poesia occitana feminina, abordando a classe social das mulheres trovadoras, os pastiches, ou seja, algumas místicas e as <em>stilnovistas </em>italianas.</p> <p>Nell’Occitania dei secoli XII e XIII c’era società femminile, cioè una società in cui si teneva gran conto delle donne e la voce femminile era ascoltata. Le Trobairitz sono espressione di tale società. Confronto fra la poesia occitana e l’epica franca riguardo alla posizione della donna. Nei partimen e nelle tenzoni appaiono in luce autorevole, ad esse uomini e donne ricorrono per consiglio; accettarono di svolgere funzione di educatrici; seguono esempi tratti dalle poesie. Confronto fra estetica ed etica nella tenzone di Gullelma di Rosers; amore fra donne in Bieiris di Romans e in Azalais d’Altier; la passione in Castelloza; il tema della lontananza in Clara d’Anduza e in Azalais di Porcairagues. Accenni al Catarismo e alla posizione di rilievo delle donne in questo movimento spirituale, che, insieme alla lingua e alla cultura, fu fautore dell’identità occitana. Segue un corollario che elenca i nomi di tutte le Trobairitz, anche di quelle la cui opera è andata perduta e/o che hanno lasciato memoria nei contemporanei e nelle generazioni successive; si affronta la questione dell’anonimato; si illustrano i tempi e i luoghi in cui fiorì la poesia occitana femminile, la classe di appartenenza delle poetesse, le epigoni delle Trobairitz, cioè alcune mistiche, le stilnoviste italiane.</p>

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2

Cerrato, Daniele. "Sorelle di Querelle. Poetesse dell’al-Andalus, trobairitz e poetesse italiane del Duecento e Trecento." RAUDEM. Revista de Estudios de las Mujeres 3 (May 23, 2017): 232. http://dx.doi.org/10.25115/raudem.v3i0.629.

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Riassunto: Il dibattito della Querelle des Femmes in Italia si sviluppa soprattutto durante il XV e XVI secolo attraverso vari trattati di autori ed autrici. In realtà l’inizio della Querelle des Femmes si potrebbe far concidere con le poetesse italiane del Duecento e del Trecento. L’articolo analizza come alcuni dei temi presenti nei testi di queste autrici si possono far risalire ad una tradizione di poesia femminile che comprende le poetesse dell’al-Andalus e le trobairitz. Sisters of Querelle. Al-Andalus Women Poets, Trobairitz and Italian Women Poets in the 13th and 14th Centuries Abstract: The debate on the Querelle des Femmes during the 16th and 17th centuries in Italy is based on different male and female authors’ dissertations. This Querelle des Femmes can be traced back to Italian women poets in the 13th and 14th centuries. This paper analyses some topics dealt with by these Italian women poets and studies the features they share with preceding al-Andalusian women poets and trobairitz

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3

Blažić, Milena Mileva. "A PICTORIAL POWER OF LANGUAGE IN THE TEXTS OF TROBAIRITZ AND LES PRÉCIEUSES." PHILOLOGICAL STUDIES 18, no. 2 (2020): 112–30. http://dx.doi.org/10.17072/1857-6060-2020-18-2-112-130.

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The article presents the authors of literary creation, based on the theory of Julia Kristeva Tales of Love,1987andMarie Nikolajave Reading for Learning, 2015. Trial is the author of medieval trobairitz, enlightenment préciosité, romanticwomen fairy tale writersto contemporary trobairitz. The texts of the authors of the intertextual, dominated by emotional motifs (love, trust, loyalty), supported by actions (Love test) reflect the symbols (garden fountain, wall). Central emotionalekphrasis -love the emotion that has similar symptoms as anxiety (expectation,call andmeeting). The authors express themselves with metaphors, often asliterary parallelism -externalization of the inner landscape -literal and emotional winter. The authors are suggestible translate visuals into verbal world -songs(Azalais de Porcairagues, Comtessade Dia, Maria de Ventadorn), memories (Helena Kottanner), fairy tales (Jeanne Marie Leprince de Beaumont).

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4

Poe, Elizabeth Wilson. "A Dispassionate Look at the Trobairitz." Tenso 7, no. 2 (1992): 142–64. http://dx.doi.org/10.1353/ten.1992.0016.

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5

마리아 V. 콜드웰 and 박정숙. "Jougleresses and Trobairitz: Secular Musician in Medieval France." 音.樂.學 19, no. 2 (2011): 161–93. http://dx.doi.org/10.34303/mscol.2011.19.2.006.

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6

Viñez Sánchez, Antonia. "VOZ E INTERPRETACIÓN EN LAS IMÁGENES DE LAS TROBAIRITZ." Revista Internacional de Culturas y Literaturas 19, no. 19 (2016): 167–82. http://dx.doi.org/10.12795/ricl.2016.i19.15.

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7

Deplagne, Luciana Eleonora de Freitas Calado. "Gênero em desafio: das trobairitz provençais às repentistas nordestinas." Estudos de Literatura Brasileira Contemporânea, no. 35 (June 2010): 193–205. http://dx.doi.org/10.1590/2316-40183514.

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Resumo Este artigo trata das poéticas de tradição oral cantadas por mulheres na Idade Média e no atual Nordeste brasileiro. Busca-se, para tanto, identificar o diálogo entre os desafios de mulheres repentistas e as canções medievais dialogadas - as tensons das trobairitz provençais e os versos satíricos das poetisas do Al-Andalus. A aproximação se dá não somente no plano formal, mas também no temático, em especial no debate gendrado dessa produção feminina.

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8

Pfeffer, Wendy. "Favorable Criticism of Music and Lyrics in the Occitan Troubadour Vidas." Mediaevistik 34, no. 1 (2021): 63–72. http://dx.doi.org/10.3726/med.2021.01.04.

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Abstract An analysis of positive critical vocabulary found in the Occitan Vidas or mini- biographies of the troubadours. Of the 117 troubadours and trobairitz described in 101 Vidas and in accompanying razos, roughly three-quarter receive a positive evaluation, though the aesthetic value of these judgments is very limited. The Vidas offer some insights into the discriminating judgments of Uc de Saint Circ and confirm negativity bias in critical descriptions.

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9

Ouellet, Esther. "Poésie des trobairitz et stratégies énonciatives. La métaphorique temporelle." Florilegium 27, no. 1 (2010): 121–43. http://dx.doi.org/10.3138/flor.27.006.

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10

Ouellet, Esther. "Poésie des trobairitz et stratégies énonciatives. La métaphorique temporelle." Florilegium 29 (January 2010): 5. http://dx.doi.org/10.3138/flor.27.5.

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11

Rieger, Dietmar. "Francesca Gambino (ed.),Canzoni anonime di trovatori e «trobairitz»." Zeitschrift für romanische Philologie (ZrP) 121, no. 4 (2005): 749–50. http://dx.doi.org/10.1515/zrph.2005.749.

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12

Grimbert, Joan Tasker. "Diminishing the Trobairitz, Excluding the Women Trouvères." Tenso 14, no. 1 (1999): 23–38. http://dx.doi.org/10.1353/ten.1999.0011.

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13

Víñez Sánchez, Antonia, and Juan Sáez Durán. "La música y las trobairitz. El testimonio de la Comtessa de Dia." Revista Internacional de Culturas y Literaturas, no. 20 (2017): 155–70. http://dx.doi.org/10.12795/ricl.2017.i20.12.

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La primera estrofa de la canso A chantar m’er de so q’ieu no volria de La Comtessa de Dia, único texto con partitura que se conserva del grupo de las trobairitz, se ha transmitido en el folio 204r-vᵒ del ms. W que analizamos como testimonio de la relación poesía/música junto al material iconográfico conservado de la misma -cinco miniaturas- que nos ofrecen los cuatro grandes cancioneros de la poesía trovadoresca del s. XIII (A, I, K y H).

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14

Paterson, Linda M., and William D. Paden. "The Voice of the Trobairitz: Perspectives on the Women Troubadours." Modern Language Review 86, no. 1 (1991): 198. http://dx.doi.org/10.2307/3732137.

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15

Rieger, Angelica. "Trobairitz, domna, mecenas: La mujer en el centro del mundo trovadoresco." Mot so razo 2 (June 18, 2012): 41. http://dx.doi.org/10.33115/udg_bib/msr.v2i0.1409.

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16

Jewers, Caroline A. "Loading the Canon: For and Against Feminist Readings of the Trobairitz." Romance Quarterly 41, no. 3 (1994): 134–47. http://dx.doi.org/10.1080/08831157.1994.10545077.

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17

White, Sarah. "Truth of My Songs: Poems of the Trobairitz by Claudia Keelan." Tulsa Studies in Women's Literature 36, no. 2 (2017): 479–81. http://dx.doi.org/10.1353/tsw.2017.0033.

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18

Rieger, Angelica. "Alamanda de Castelnau – Une trobairitz dans l’entourage des comtes de Toulouse?" Zeitschrift für romanische Philologie (ZrP) 107, no. 1-2 (1991): 47–57. http://dx.doi.org/10.1515/zrph.1991.107.1-2.47.

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19

Findley, Brooke Heidenreich. "Reading Sincerity at the Intersection of Troubadour/Trobairitz Poetry: Two Poetic Debates." Romance Quarterly 53, no. 4 (2006): 287–303. http://dx.doi.org/10.3200/rqtr.53.4.287-303.

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20

Poe, Elizabeth W. "The Voice of the Trobairitz: Perspectives on the Women Troubadours.William D. Paden." Speculum 67, no. 1 (1992): 207–9. http://dx.doi.org/10.2307/2863806.

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21

Leglu, C. "Did women perform satirical poetry? Trobairitz and Soldadeiras in Medieval Occitan poetry." Forum for Modern Language Studies 37, no. 1 (2001): 15–25. http://dx.doi.org/10.1093/fmls/37.1.15.

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22

Oliver, S. "SUBVERSIVE ACTS: FEMALE VOICE AND PERFORMANCE IN THE SONGS OF THE TROBAIRITZ." French Studies Bulletin LIX, no. 95 (2005): 2–7. http://dx.doi.org/10.1093/frebul/kti012.

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23

Nappholz, Carol. "(Re)Locating Lost Trobairitz: The Anonymous Female Voice in Provençal Debate Poems." Tenso 7, no. 2 (1992): 125–41. http://dx.doi.org/10.1353/ten.1992.0015.

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24

Paden, William D., and Frances Freeman Paden. "Swollen Woman, Shifting Canon: A Midwife's Charm and the Birth of Secular Romance Lyric." PMLA/Publications of the Modern Language Association of America 125, no. 2 (2010): 306–21. http://dx.doi.org/10.1632/pmla.2010.125.2.306.

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In “Tomida femina” (“A swollen woman”), a tenth-century charm written in Occitan, the vernacular of the south of France, a birthing woman and her helpers intone magical language during the most intense moments of childbirth. The poem permits us, with brief but uncommon intimacy, to imagine the lives of women long ago. It takes its place in a European tradition of birthing charms, including others written in Latin, German, and English. These charms, and in particular “Tomida femina,” provide an image of vigorous medieval women in childbirth that precedes the images of women in other secular Romance lyrics—young girls in love in the Mozarabic kharjas, idealized ladies in troubadour songs, and passionate aristocratic women in the poetry of the Occitan trobairitz.

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25

Gaunt, Simon, and Angelica Rieger. "Trobairitz: der Beitrag der Frau in der altokzitanischen hofischen Lyrik: Edition des Gesamtkorpus." Modern Language Review 89, no. 1 (1994): 209. http://dx.doi.org/10.2307/3733192.

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26

Pickens, Rupert T. "The Voice of the Trobairitz: Perspectives on the Women Troubadours (review)." Tenso 7, no. 2 (1992): 167–76. http://dx.doi.org/10.1353/ten.1992.0011.

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27

Shepard, Laurie. "Trobairitz: Der Beitrag der Frau in der Altokzitanischen Höfischen Lyrik. Edition des Gesamtkorpus.Angelica Rieger." Speculum 69, no. 2 (1994): 557–58. http://dx.doi.org/10.2307/2865173.

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28

Fraser, Veronica. "Two Contrasting Views of Love in the Songs of the Troubadours and the Trobairitz." Tenso 13, no. 1 (1997): 24–47. http://dx.doi.org/10.1353/ten.1997.0004.

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29

MARSHALL, J. H. "Review. The Voice of the Trobairitz: Perspectives on the Women Troubadours. Paden, William D. (ed.)." French Studies 45, no. 1 (1991): 62. http://dx.doi.org/10.1093/fs/45.1.62.

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30

HARVEY, R. "Review. Trobairitz: Der Beitrag der Frau in der altokzitanischen hofischen Lyrik. Edition des Gesamtkorpus. Rieger, Angelica (ed.)." French Studies 47, no. 2 (1993): 202. http://dx.doi.org/10.1093/fs/47.2.202.

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31

Caudill, Tamara Bentley. "Half the Man I Used to Be: Raimon de las Salas and the Trouble with the Trobairitz." Tenso 32, no. 1-2 (2017): 1–18. http://dx.doi.org/10.1353/ten.2017.0001.

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32

Simó, Meritxell. "Debat i paròdia als versos de les trobairitz: Castelloza (BEdT 109,2) vs Bernart de Ventadorn (BEdT 70, 19)." Magnificat Cultura i Literatura Medievals 9 (December 7, 2022): 263. http://dx.doi.org/10.7203/mclm.9.24044.

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33

Paden, William D. "Chants d'amour des femmes-troubadours: Trobairitz et "chansons de femme.". Pierre BecSongs of the Women Troubadours.Matilda Tomaryn Bruckner , Laurie Shepard , Sarah White." Speculum 72, no. 3 (1997): 783–86. http://dx.doi.org/10.2307/3040767.

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34

Агаронян, К. Р. "Dialogue With the Past in the Work of Mary Jane Leach: on the Path to Hearing." Научный вестник Московской консерватории, no. 1(40) (March 20, 2020): 154–221. http://dx.doi.org/10.26176/mosconsv.2020.40.1.010.

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Статья посвящена анализу и интерпретации сочинений американского композитора Мэри Джейн Лич (р. 1949), созданных на основе чужого материала: музыки К. Монтеверди, Дж. Дауленда, И. С. Баха, А. Брукнера и др. Отношение к прошлому в этих пьесах свободно от постмодернистской иронии: используя стратегию деконструкции, композитор дополняет заимствованный материал, создает на основе чужих произведений оригинальные композиции, в которых внимание слушателя акцентируется на не слышимых ранее или малозаметных музыкальных деталях. Этот же подход композитор применяет и для исследования исторических событий, в том числе тех, которые дошли до нас в виде мифологии: деконструируя миф, Лич создает феминистскую оперу об Ариадне; черпая вдохновение из рассказов об охоте на ведьм, перерабатывает текст Кастеллозы, средневековой окситанской тробайрицы (женщины-трубадура)— в результате возникает сильное, полное экспрессии художественное высказывание. Предоставляя в своих произведениях голос людям, чьи образы оказались несправедливо забыты или искажены с течением времени, Мэри Джейн Лич помогает своим слушателям приобрести опыт чуткости и восприимчивости к музыкальному и историческому наследию. The article is devoted to the analysis and interpretation of the works by Mary Jane Leach (born 1949, contemporary composer from the USA), created on the basis of music by Monteverdi, Dowland, Bach, Bruckner, etc. The attitude to the past is free from the postmodern irony in these compositions; using the strategy of deconstruction, Mary Jane Leach adds to the borrowed material, creates original compositions based on other composer’s works, in which the listener's attention is focused on previously inaudible ephemeral musical details. The composer uses the same approach to artistic research of historical events, including those that have been transformed into mythology. Deconstructing a myth, Leach creates a feminist opera about Ariadne; drawing inspiration from stories about the witch-hunt, the composer rewrites the text by Castelloza, a medieval trobairitz. As a result, Leach produces a strong, expressive artistic statement. By giving voice in her work to people whose images have been unfairly forgotten or perverted over time Mary Jane Leach helps her listeners to gain experience of sensitivity and receptivity to the musical and historical heritage.

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35

Jullian, Martine. "Images de Trobairitz." Clio, no. 25 (April 1, 2007). http://dx.doi.org/10.4000/clio.3231.

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36

Gerersdorfer, Vera. "Tragom južnofrancuskih trobairitz." Radovi. Razdio filoloških znanosti 26, no. 16 (2018). http://dx.doi.org/10.15291/radovifilo.1760.

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O južnofrancuskim lirskim pjesnikinjama, trobairitz, zna se veoma malo, o nekima takoreći ništa. Autor izdvaja tri izvora građe za rekonstruiranje njihovih života i pjesničkog djela. To su: 1. životopis! (vidas) trubadura; 2. rukopisna tradicija trubadura; 3. pjesme (cansos) samih trubadurklnja. U radu se opisuje, raščlanjuje i kritički vrednuje svaki od navedena tri izvora ponaosob. Pažnja je osobito usmjerena prema sačuvanim pjesmaricama trubadura među kojima pjesmarica H sadrži cijelu malu zbirku minijatura trubadurkinja koju autor predstavlja u širem okviru rukopisne baštine trubadura. Osvrt na dvije cansos najpoznatijih trobairitz, Azalais đe Porcai- ragues i grofice de Die, koje se navode u izvorniku i autorovu prijevodu, zaokružuje prikaz ovih u povijestima književnosti i antologijama zane- marivanih ličnosti. Autor zaključuje da trobairitz, pripadnice visokog dvorskog društva, a osobito neke od njih, zauzimaju časno mjesto istinskih pjesničkih veličina u kompleksu čitave trubadurske umjetnosti. Rad obuhvaća gotovo sve do danas poznate bio-bibliografske jedinice i podatke relevantne za njegovu temu.

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37

Poe, Elizabeth Wilson. "Another salut d'amor! Another trobairitz? In Defense of Tanz salutz et tantas amors." Zeitschrift für romanische Philologie (ZrP) 106, no. 3-4 (1990). http://dx.doi.org/10.1515/zrph.1990.106.3-4.314.

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