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Статті в журналах з теми "Medieval romance lyric"
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Delany, Sheila. "English 380: Literature in Translation: Medieval Jewish Literature; Studies in medieval culture." Florilegium 20, no. 1 (January 2003): 201–5. http://dx.doi.org/10.3138/flor.20.047.
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Jewish culture has a continuous existence of nearly three millennia. This course isolates a small portion of it to read, in translation, work composed during the Middle Ages by authors from several countries and in several genres: parable and fantasy, lyric and lament, polemic, marriage manual, romance. Some of our material has not been translated into English before and is not yet available in print. We are fortunate to have brand-new pre-print copies of Meir of Norwich and especially of the famous Yiddish romance the Bovo-buch (in the course-pack)—an early modern version of a widely-read (non-Jewish) medieval text. Primary texts will be supplemented by scholarly books on which each student will offer a short class presentation.
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Bruckner, Matilda Tomaryn. "The Female Voice in Medieval Romance Lyric (review)." Tenso 7, no. 2 (1992): 165–67. http://dx.doi.org/10.1353/ten.1992.0010.
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Cohen, Walter. "The Rise of the Written Vernacular: Europe and Eurasia." PMLA/Publications of the Modern Language Association of America 126, no. 3 (May 2011): 719–29. http://dx.doi.org/10.1632/pmla.2011.126.3.719.
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When Students of Western European Medieval Literature speak of the rise of the vernacular, they often do not mean what you might think they mean—neither the continued use of Latin as a written vernacular for over five hundred years after the fall of the Roman Empire nor the first texts in Celtic, Germanic, and Semitic languages, from the fourth to the tenth century. They mean something later and geographically narrower—the writing that emerges from the breakup of Latin into distinct regional speech patterns, the Romance languages and literatures, primarily in the territories of modern France, Spain, Italy, and Portugal. Although understanding the rise of Romance-language literature as the rise of vernacular writing misrepresents medieval European literature, it has an important rationale. The twelfth-century literature of what is now France—Old French romance in the north, Occitan (formerly Provençal) lyric in the south—establishes continent-wide norms, thereby giving European literature a coherent set of forms and themes for the first time.
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Di Santo, Federico. "Sull’origine della poesia romanza: ipotesi andalusa e mediolatina alla luce del rapporto fra rima e melodia." Zeitschrift für romanische Philologie 135, no. 2 (June 5, 2019): 535–82. http://dx.doi.org/10.1515/zrp-2019-0029.
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AbstractWithin the long-standing, and yet still lively debate over the origin of Romance poetry in general, and of regular rhyme in particular, one key element appears to have been often overlooked: music. Although it is very well known that Troubadour lyric poems were meant to be sung, their melodic form has so far indisputably been considered to be independent from the formal structure of the texts. However, a radical reconsideration of this common belief, based on a brand-new approach that takes orality into account, leads to the opposite conclusion that regular rhyme schemes, at their origins, were indeed closely related to the musical form of the songs. Linking rhymes to music may therefore represent a potentially decisive argument in the quest for the origin of Romance lyric poetry. For, even if rhymes and rhyme schemes may be found in many different and independent literary traditions, their structural relation to musical form is by far much rarer, hence offering a much more specific hint about the origin of Vernacular lyric forms, which are based on regular rhyme schemes. Tracing this metrical-musical technique back to its roots, may validate once and for all one of the two main theories competing around the origin of Vernacular lyric poetry, namely the Medieval Latin and the Andalusian Arabic theory.
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Murray, David. "Telling the difference: linguistic differentiation and identity in Guillem de Berguedà, Giacomo da Lentini and Bonifacio Calvo." Zeitschrift für romanische Philologie 134, no. 2 (June 8, 2018): 381–403. http://dx.doi.org/10.1515/zrp-2018-0024.
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AbstractEditorial practice in literary traditions still dominated by neo-Lachmannian philology remains focussed on the establishment of the text as the medieval author knew it himself. For adherents of this method, the influence of “foreign” languages is labelled as a contamination that should, if possible, be removed as unauthentic. This article proposes a less doctrinaire practice and demonstrates its fruits when brought to bear at the interstices of literary history and Romance philology, as represented by poems by Guillem de Berguedà, Giacomo da Lentini, and Bonifacio Calvo. Approaching both medieval poets and their modern editors in the light of Derrida’s Le monolinguisme de l’autre, the present contribution counters the tendency to impose linguistic and cultural identities on medieval authors, instead allowing their manuscripts to speak for themselves. It further considers the thinking of medieval poets and their transmitters on the nature of language and lyric poetry, and how these systems could and should be used and developed.
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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 (March 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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Pfeffer, Wendy. "Marisa Galvez, The Subject of Crusade: Lyric, Romance & Materials, 1150 to 1500. Chicago and London: University of Chicago Press, 2020, 302 pp., 14 color plates, 12 b/w illustrations." Mediaevistik 34, no. 1 (January 1, 2021): 423–25. http://dx.doi.org/10.3726/med.2021.01.96.
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Abstract: Marisa Galvez’s The Subject of Crusade offers an original premise, that talking about crusading created a new “idiom” which allowed speakers to explore many ideas beyond simply conquering lands for the benefit of Christendom. She invites readers to consider not only the theme of crusade addressed in specific medieval works, but also contemporary compositions, proposed but not explored in the conclusion (254–55). As Galvez explains, her work “concerns a certain version of speaking crusades, in which courtly art forms such as lyric, romance, and material objects such as tapestries and textiles manifest ambivalence about crusade ideals” (2), a departure from a more traditional approach that does not consider ambivalence at all. She claims that “poetic figures do the work of accommodation and assimilation” and that “literary texts permit competing ideals to be maintained adjacently, thereby producing ... a courtly crusade idiom whose movement ... we can track through various constellations of genres, manuscripts, and objects” (her italics, 2).
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Davies, Eirlys E., та Abdelali Bentahila. "From the Medieval ḫarğāt to Contemporary Songs: Patterns of Codeswitching Involving Arabic". Arabica 61, № 1-2 (2014): 18–68. http://dx.doi.org/10.1163/15700585-12341286.
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Abstract This paper seeks to use evidence from contemporary language use to shed light on that of an earlier period. It examines a set of ḫarğāt, the closing sections of medieval Andalusian muwaššaḥ poems, which exhibit codeswitching between colloquial Andalusian Arabic and Romance, and compares the patterns of switching seen there with those used in some contemporary popular songs, in particular the Arabic-French switching used in the rai lyrics of North Africa. On the basis of the parallels and contrasts observed, some remarks are made about what the language of these ḫarğāt suggests about their origins and authors.
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Grenier, Joan. "Peter V. Davies and Angus J. Kennedy, eds.Rewards and Punishments in the Arthurian Romances and Lyric Poetry of Medieval France: Essyas Presented to Kenneth Varty on the Occasion of his Sixtieth Birthday.Woodbridge, Suffolk; Wolfeboro, N.H.: Boydell and Brewer, D.S. Brewer, 1987. xxvi + 176 pp., 6 b/w facsimile plates. $57.50." Romance Quarterly 37, no. 2 (May 1990): 220–21. http://dx.doi.org/10.1080/08831157.1990.9932712.
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Agakova, Alisa Leonidovna. "Ethnocultural Approach to the Formation of Musical and Pedagogical Repertoire on the Example of Vocal Lyrics of Chuvash Composers." Ethnic Culture 4, no. 1 (March 27, 2022). http://dx.doi.org/10.31483/r-100725.
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The purpose of the article is to substantiate the ethno-cultural approach to the formation of the musical and pedagogical repertoire of students of the Chuvash State Institute of Culture and Arts. The implementation of the ethno-cultural approach ensures the orientation of their professional training to the development of culture as a historically determined type of human activity with certain ethnic characteristics. The author examines the potential of Chuvash vocal lyrics in the aspect of an ethnocultural approach, for which he analyzes romance in detail as a genre of Chuvash composer music. Based on the method of stylistic analysis, conclusions are drawn about the derivative character of the Chuvash romance, which goes back through the Russian medium to the medieval European musical tradition. The first Chuvash romances were vocal works based on the words of the classics of Russian literature A. Pushkin and M. Lermontov translated into the Chuvash language. Subsequently, independent Chuvash works with an ethnic sound appeared in the Chuvash musical art (works by O. Agakova, Y. Grigoriev). Romances have enriched Chuvash chamber music with vivid artistic images, they are characterized by a deep insight into the drama of verse, sincerity, lyricism and nobility of utterance, a variety of forms. The musical and pedagogical repertoire of vocal students should be supplemented with works of both the early stage (romances to the words of Pushkin and Lermontov translated into Chuvash) and modern (romances with ethnic sounding accompaniment with a characteristic Chuvash folk music mode and metrorhythmics, with Russian and Chuvash texts).
Дисертації з теми "Medieval romance lyric"
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Silvia, Rozza. "Il sistema dei generi nella poesia lirica romanza medievale." Doctoral thesis, Università di Siena, 2020. http://hdl.handle.net/11365/1106571.
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The present work analyzes the so-called 'system' of lyric genres within medieval romance literatures, selecting as field of investigation the Occitan, Old French and Galician-Portuguese traditions. The aim is to verify the solidity of the lyrical taxonomies developed in the modern era, determining to what extent they actually correspond to the data obtainable from the analysis of ancient sources and questioning the applicability of the concepts of 'genre' and 'system' to the medieval literary context. To this end, the present work deals separately with the three traditions, identifying within each of them some significant research areas to reconstruct the degree of distinctive consciousness possessed by the authors and the public of Troubadour poetry.
The study starts from the analysis of the author's metageneric terminology; through the quantitative and qualitative analysis of the terms used in the practice of self-designation of the text and in the metapoetic reflections have been identified some genres well recognizable at the time of production of the lyrics, while other categories have been proved to be devoid of an explicit acknowledgement by the authors or provided of a still uncertain degree of specialization. At the terminological level the three linguistic areas have shown some inevitable points of contact, but each of them then has distinguished itself for having developed a range of terms functional to the specific repertoire.
The study of lyric texts has been accompanied by the examination of the manuscript tradition, always with the aim of finding information related to the degree of recognizability of generic categories. Initially we have focused on the individual manuscript witnesses, studying the phenomenology of the generic ordering criterion within the anthologies. For each tradition, an overall picture has been presented through a wide range of cases, which took into account the presence of generic sections and more or less explicit groupings of typologically homogeneous texts. A very diversified scenario has emerged: not only each lyrical tradition, but also the single manuscript witnesses show that they have made independent choices in the distribution of the texts and in the emphasis given to the different genres. Analogies and differences have been further underlined at a later stage, when the discussion has taken the point of view of the textual categories, analyzing in a transversal way the position and the weight of the single genres within the manuscript tradition of romance lyric.
The study of the chansonniers has led us to focus on a further aspect: the paratextual apparatus, although marginal compared to the lyric text, are in fact the bearers of a great deal of information related to the genre of poems. In all the three lyric traditions analyzed, the rubrics have proved to be fundamental in providing confirmations or additional data in relation to the degree of recognizability of some genres and to the perception that copyists and compilers of songbooks had of them.
The data emerged from the survey carried out within the lyric tradition have been then compared with those obtained from the analysis of external (but chronologically not too distant from the era of production of the lyrics) textual corpora, as in the case of the Provençal vidas and razos or the first Old French novels with lyrical insertions. Also medieval treatises have proved to be a particularly profitable research area: they manifest the will to offer, for the first time in a systematic way, a comprehensive overview of medieval lyric genres, although the witness of the artes poeticae is the result of a retrospective reflection and concerns in a very unequal way the three lyric traditions.
On the basis of information gathered within the ancient sources, we have proceeded to a critical examination of the repertoires published in the modern era, trying to highlight their strengths and problematic aspects; the operation has led to a reconsideration of some categories of doubtful legitimacy, such as the Provençal sirventes-canso and the Galician-Portuguese escarnio de amor.
Although it cannot be denied that medieval authors had the perception of the existence of certain textual categories (corresponding to our 'genres'), the overall picture is so differentiated - not only between different repertoires, but also within the same repertoire - that speaking of 'one' system of genres has proved to be substantially groundless for the complex of medieval romance lyric.
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Bowe, David James Alexander. "'E io a lui' : dialogic models of conversion and self-representation in medieval Italian poetry." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:ae039556-3805-42b8-90ed-bcc4b065d4da.
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This thesis examines the role of dialogic processes in representations of conversion narratives and expressions of poetic subjectivity across the works of four poets: Guittone d’Arezzo (c.1235-1294), Guido Guinizzelli (c.1230-1276), Guido Cavalcanti (c.1255-1300) and Dante Alighieri (1265-1321). The introduction proposes a definition of ‘dialogic processes’ drawing on theoretical models of performativity and dialogism. It presents the usefulness of these approaches to the analysis of narratives of conversion and accounts of subjectivity in poetry. Chapter 1 analyses Guittone’s conversion poetics in light of these processes and seeks to complicate the teleology of his narrative of self. Chapter 2 examines the poetry of Guinizzelli and Cavalcanti, first establishing the ‘poetic conversion’ of Guinizzelli in dialogue with his own and others’ poetry. It then examines Cavalcanti’s physiological performance of a polyphonic subjectivity and how far this poetic expression partakes in the dialogic processes previously discussed in relation to religiously inflected writing. Chapters 3 and 4 will explore the manifestations of these phenomena of dialogue and performance in Dante’s oeuvre with particular focus on the Commedia as a key site for intertextual interaction both with his own earlier texts and with the texts (and figures) of the other poets under discussion. These chapters will seek to reopen the teleological closure which Dante tries to impose on his vernacular predecessors, as well as on his own works. The weight of critical engagement with Dante’s predecessors has treated them as sources or reference points for Dante’s own praxis. I aim to consider Guittone, Guinizzelli and Cavalcanti on their own terms and in dialogue with one another before approaching Dante through these poets, thus reconstructing the networks of poetic dialogue in late medieval Italy, and situating Dante firmly within a dialogic tradition of narratives of self and conversion.
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Tramet, Marina. "Un roman chansonnier dans les marges du monde arthurien: le 'Roman de la Violette' de Gerbert de Montreuil." Doctoral thesis, Università degli studi di Padova, 2011. http://hdl.handle.net/11577/3423331.
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Gerbert de Montreuil's Roman de la Violette is a XIIIth century text dedicated to Marie, countess of Ponthieu, and belongs to the wager cycle, in which women are falsely accused. The author aims so to glorify women's virtues and is. Using the enchâssement technique of lyric insertions into a narrative, and relating the misadventures of a young couple of heroes, the author inscribes this novel of popular origin in a typical arthurian errance scheme, a solid structure that can support any thematic development. On one hand, the different adventures based on the quête scheme, allow the author to repeatedly question the courtly world and its inhabitants. On the other, lyric insertions chosen in the repertoires of the first and second generation of troubadours and trouvères, voice the characters’ love discourse, creating different effects throughout the text. Gerbert questions both the Arthurian values and traditional courtly rhetoric, and plays with his public by challenging and frustrating their aesthetic expectations, showing a conscious and playful distance from his models. By glorifying his patron and manifesting a strong opposition against any usurpation of the rights on a land—Marie of Ponthieu was a victim of such crime after Bouvines battle—Gerbert stands out in late Medieval literature: behind the mis à mal of certain codes and traditions, one can see his ironic smile.Il Roman de la Violette de Gerbert de Montreuil è un testo dell'inizio del XIII secolo che appartiene al ciclo della scommessa e della donna ingiustamente accusata, volto a glorificare le virtù femminili e dedicato a Maria, contessa di Ponthieu. L'autore, che fa uso la tecnica dell'enchâssement di frammenti lirici nella narrazione, inscrive questo romanzo di origine popolare, incentrato sulle disavventure di una giovane coppia di eroi, in uno schema di erranza tipicamente arturiana, una solida struttura di supporto per lo sviluppo di particolari tematiche. Da un lato quindi il susseguirsi delle varie avventure fondate sul canovaccio narrativo della quête consente all'autore di interrogare a più riprese il mondo della corte e i suoi abitanti. Dall'altro poi, gli inserti lirici che l'autore sceglie nel repertorio di poeti, trovatori e trovieri di prima e seconda generazione, danno voce alla parola amorosa dei personaggi e percorrono il testo suscitando molteplici effetti. L'autore, che interroga perciò al contempo il sistema di valori arturiano e la tradizionale retorica cortese, alimenta un gioco sottile e complice con il suo pubblico, fondato sul rinnovamento di un orizzonte d'attesa costantemente disatteso, con una distanza cosciente e divertita dai suoi modelli. Così, glorificando la sua mecenate e manifestando una viva opposizione contro qualsiasi usurpazione legata alla terra, cosa di cui Maria di Ponthieu era stata vittima dopo la battaglia di Bouvines, Gerbert esprime con il suo romanzo una posizione originale sulla letteratura del suo tempo perché spesso, dietro la mise à mal di alcuni codici e tradizioni, si intravede il suo sorriso ironico.
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Piantanida, Cecilia. "Classical lyricism in Italian and North American 20th-century poetry." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:4422c01a-ba88-4fe0-a21f-4804e4c610ce.
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This thesis defines ‘classical lyricism’ as any mode of appropriation of Greek and Latin monodic lyric whereby a poet may develop a wider discourse on poetry. Assuming classical lyricism as an internal category of enquiry, my thesis investigates the presence of Sappho and Catullus as lyric archetypes in Italian and North American poetry of the 20th century. The analysis concentrates on translations and appropriations of Sappho and Catullus in four case studies: Giovanni Pascoli (1855-1912) and Salvatore Quasimodo (1901-1968) in Italy; Ezra Pound (1885-1972) and Anne Carson (b. 1950) in North America. I first trace the poetic reception of Sappho and Catullus in the oeuvres of the four authors separately. I define and evaluate the role of the respective appropriations within each author’s work and poetics. I then contextualise the four case studies within the Italian and North American literary histories. Finally, through the new outlook afforded by the comparative angle of this thesis, I uncover some of the hidden threads connecting the different types of classical lyricism transnationally. The thesis shows that the course of classical lyricism takes two opposite aesthetic directions in Italy and in North America. Moreover, despite the two aesthetic trajectories diverging, I demonstrate that the four poets’ appropriations of Sappho and Catullus share certain topical characteristics. Three out of four types of classical lyricism are defined by a preference for Sappho’s and Catullus’ lyrics which deal with marriage rituals and defloration, patterns of death and rebirth, and solar myths. They stand out as the epiphenomena of the poets’ interest in the anthropological foundations of the lyric, which is grounded in a philosophical function associated with poetry as a quest for knowledge. I therefore ultimately propose that ‘classical lyricism’ may be considered as an independent historical and interpretative category of the classical legacy.
Книги з теми "Medieval romance lyric"
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Steinle, Eric Martin. The medieval lyric romance. Ann Arbor, MI: University Microfilms International, 1985.
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Fernández, Fernando Carmona. Lírica románica medieval. [Murcia]: Universidad de Murcia, 1986.
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The subject of crusade: Lyric, romance, and materials, 1150 to 1500. Chicago: The University of Chicago Press, 2020.
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Menocal, Maria Rosa. Shards of love: Exile and the origins of the lyric. Durham: Duke University Press, 1994.
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editor, Barroso Ernesto, and Latorre Marta editor, eds. Estudios sobre lírica medieval. Madrid [España]: CECE, Centro para la Edición de los Clásicos Españoles, 2014.
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J, Tobin Frank, Vivian Kim, and Lawson Richard H, eds. Arthurian romances, tales, and lyric poetry: The complete works of Hartmann von Aue. University Park, Pa: Pennsylvania State University Press, 2001.
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Romanische alba- und somni-Dichtungen: Ein Beitrag zur Motiv- und Themengeschichte der romanischen Lyrik des Mittelalters. Berlin: De Gruyter, 2012.
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Brittain, F. Medieval Latin and Romance Lyric to A. D. 1300. Cambridge University Press, 2009.
Знайти повний текст джерелаЧастини книг з теми "Medieval romance lyric"
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"Alliterative Proverbs in Romance, Lyric, and Drama." In Alliterative Proverbs in Medieval England, 98–132. Ohio State University Press, 2016. http://dx.doi.org/10.2307/j.ctvrf8903.7.
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Dickason, Kathryn. "Romancing the Dance." In Ringleaders of Redemption, 174–206. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197527276.003.0007.
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This chapter addresses the relationship between religion and dance in popular, vernacular literature. While some scholars view secular and religious works as separate, unrelated phenomena, I demonstrate how medieval romances co-opted sacred dance motifs. In these texts, dance functioned as a ritual, deifying courtly love (including troubadour lyric) and conferring a sacred aura onto courtliness. The first section uses Guillaume de Lorris’s section of Le Roman de la Rose (The Romance of the Rose) to show how dance in romance championed aristocratic values (including the chivalry of medieval knights), the gift economy, and enchantment. The second section focuses on Jean de Meun’s section of Le Roman de la Rose. It shows how Jean co-opted the Rose’s dance content to critique the project of courtly love. The third section analyzes Dante’s poetry from the Paradiso (Paradise), in which the poeticization of dance enabled Dante to best express divine love.
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Gilbert, Jane, Simon Gaunt, and William Burgwinkle. "Living History." In Medieval French Literary Culture Abroad, 84–121. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198832454.003.0004.
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This chapter discusses Peter Langtoft’s French-language epic chronicle of British history (c. 1307 and disseminated mainly in north-eastern England), and its most luxurious surviving manuscript: London, BL, Royal MS 20 A II. This early fourteenth-century manuscript contained other historical, lyric, and prophetic material in French and English; in the second half of the same century, abridged segments of the Lancelot en prose and Queste del Saint Graal were appended, along with a letter about recent events in the eastern Mediterranean. We ask: how does a historical text produce itself, how does it authorize itself, and what are the roles of language and of discourse? We show how the Arthurian prose romance extracts in French adapt the manuscript’s earlier contents to England’s changing political and cultural concerns. The use of a single language—French—enhances and directs the potential for meaningful conflict within and beyond the language community.
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Putter, Ad. "The Organisation of Multilingual Miscellanies." In Insular Books. British Academy, 2015. http://dx.doi.org/10.5871/bacad/9780197265833.003.0005.
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This chapter examines the use of multiple languages, and particularly the co-existence of English and French items, in one and the same codex, focusing on miscellanies from the 13th to the 15th centuries. It argues that the question of whether scribes mixed French and English texts in manuscript miscellanies depended not just on chronology but also on the types of text they copied. To substantiate this case, I compare the situation of romances, which rarely circulated with French-language companions in manuscript, with those of lyrics, which mixed freely with French lyrics. The association of the lyric with francophone culture explains why English and French lyrics continued to be copied alongside each other in medieval manuscripts.
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McNamer, Sarah. "Lyrics and romances." In The Cambridge Companion to Medieval Women's Writing, 195–209. Cambridge University Press, 2003. http://dx.doi.org/10.1017/ccol052179188x.014.
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"Introduction." In Stolen Song, edited by Eliza Zingesser, 1–48. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501747571.003.0001.
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This introductory chapter provides an overview of how troubadour song came to occupy a unique place in the French literary canon. The story of the current misprision of troubadour song as French begins in the earliest stages of its transmission in francophone space. Far from being treated as a foreign entity, Occitan lyric was already considered “native” in French sources, even long before Occitan-speaking territories were officially annexed to France. To tell this story of assimilation, the process through which Occitan song was domesticated, this book surveys the two types of medieval material—songbooks and lyric-interpolated narratives—that quote or compile Occitan song in native francophone territory. The chapter then looks at the relationship between the troubadours and their francophone counterparts, the trouvères. It also describes birdsong, and explains two of the assimilative strategies that are common to both songbooks and the lyric-interpolated romances that quote the troubadours: Gallicization and geographical remapping of troubadour song into either francophone or transitional regions between French- and Occitan-speaking territories.