Download PDF by Olivia Holmes: Assembling the Lyric Self: Authorship from Troubadour Song

By Olivia Holmes

ISBN-10: 0816633436

ISBN-13: 9780816633432

ISBN-10: 0816633444

ISBN-13: 9780816633449

Throughout the thirteenth century Western Europe witnessed an explosion in vernacular literacy, leading to a wide physique of manuscript anthologies of secular and well known troubadour lyrics. almost immediately afterwards, those multi-authored compilations have been succeeded through books of poems through unmarried authors, particularly through Petrarch in the course of the 14th century. This designated but readable thesis attracts on an intensive variety of archival resources to ascertain the explanations for this transition in Provencal and Italian literature, combining basic analyses of manuscripts and authors with particular reviews of, for instance, Guittone d' Arezzo, Dante's Vita Nova , Nicolo de Rossi and Petrarch's Canzoniere . Extracts translated.

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Since Zumthor, critics have generally seen the functions of the vidas and razos as those of identifying the universalizing poetic “I” with a historical composer and of furnishing the nonreferential canso genre with “realistic” historical referents, thus breaking the boundary between textual and extratextual reality (the articles by Caluwé and Huchet are exemplary). If, then, the purpose of Uc’s vida is to unify the implied author of the texts with the real one, and to testify to the truth and the authenticity of the events described in the poems, these ends are sought in a surprising way.

44 Petrucci (“Scrivere il testo” 224–27) argues that Barberino’s polemics against the methods of manuscript production in his time and his supervision and participation in the compilation of his own book suggest a self-conscious revindication on his part of the role of the author. But although there is a first-person character in the frame situation, this text cannot be seen as “autobiographical,” and thus lies outside the scope of the present investigation; its allegorical structure likens it more to narrative works such as Brunetto Latini’s Tesoretto or the Fiore.

The biographer informs us: “mas ben se saup feigner enamoratz ad ellas ab son bel parlar. 11–12). Since Zumthor, critics have generally seen the functions of the vidas and razos as those of identifying the universalizing poetic “I” with a historical composer and of furnishing the nonreferential canso genre with “realistic” historical referents, thus breaking the boundary between textual and extratextual reality (the articles by Caluwé and Huchet are exemplary). If, then, the purpose of Uc’s vida is to unify the implied author of the texts with the real one, and to testify to the truth and the authenticity of the events described in the poems, these ends are sought in a surprising way.

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Assembling the Lyric Self: Authorship from Troubadour Song to Italian Poetry Book by Olivia Holmes


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