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Raimbaut de Vaqueiras, “Domna, tant vos ai prejada” (BdT 392.7)This paper will attempt to read Raimbaut de Vaqueiras’ ‘contrasto’ from the viewpoint of its explicit addressees: the late twelfth-century imperial nobility of north-western Italy, as embodied by the Malaspina family. The text’s distinctive bilingualism thus assumes social and political significance since it pits the claims of the feudal aristocracy of the hinterland against the power of the Genoese bankers and merchants. The dialectical relationship of the two sides involved, played out by the voices of the jongleur and the Genoese lady, is nevertheless also literary: Raimbaut appears to match popular poetry, poetry which is «non regulata» as Dante would later call it, against a century of courtly Occitan poetry distinguished by an extremely formal tradition. A carnivalesque dimension is thus present in the reciprocal illumination of the two poetic voices: if popular poetry is unregulated despite its expressive qualities, troubadour poetry is confined, by means of the parody of the genre of the ‘salut’, to topics far-removed from reality. Raimbaut’s aim then is to restructure trobar by going back to the beginning: to the Count of Poitiers and his political and cultural act of inventing a secular poetry of aristocratic inspiration and in the vernacular. A ‘male’ poetry that will be formulated by the surprising gap at the end of the poem.
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Folclore e cultura clerical na Idade Média: a viagem de São BrandãoThe narrative of the journey of Saint Brendan was one of most popular histories of its kind in the Middle Ages. Having been written for the first time at the 10th century, this narrative have elements of the period where it appeared as verbal tradition, probably around the end of 6th C. and the beginning of the 7th C., it also incorporates characteristics of the place and time where it was written and it serves to the posterior contexts where it was read/recited. It conjugates elements of the Irish poetical traditions and Christianity. It is, therefore, an important document for analysis of New Cultural History in understanding the processes of circulation in the production of cultural devices at the middle ages. The traditional division of the medieval culture in two strata (folklore and clerical culture) does not have to overshadow that these two focuses belonged to one same set – to the similarity of the focuses of an ellipse – and one of its main differences is the vehicle of expression (oral/written records).
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Le faux « Jugement de Pâris »— une lecture du frontispice de « La Philosophie dans le boudoir »Le frontispice de La Philosophie dans le boudoir représente, en apparence, un Jugement de Pâris. Par son ambiance galante et philosophique, il attire le lecteur/spectateur et l’incite à entrer dans le monde sadien. Cette « trompeuse amorce » permet en fait à l’auteur de renverser toutes les valeurs établies par le biais d’une redéfinition du plaisir, et ouvre à un questionnement sur « l’usage » du faux dans le contexte pédagogique des Lumières.<br>The frontispiece of La philosophie dans le boudoir seemingly represents the scene of the Judgement of Paris. By establishing a gallant and philosophical ambiance, it attracts the reader/spectator and calls her or him into Sade’s world. The art, both pictorial and textual, of employing the “trompeuses amorces” consists of reversing all of the established values through a redefining of pleasure. It reappraises the problems of the use of the false in the pedagogic context of the Enlightenment.