Abstract

Giorgio Agamben contends that the medieval lyric stanza constructs a privileged space for the construction of the self through language, as well as for the exploration of the fear of death that subtends such a construction. Troubadour poetry deploys the cambra (chamber) as a place for exploring erotic tensions between enclosure and communication. Arnaut Daniel's sestina and related poems give rise to narratives that explore the cambra as a site of love and loss. Two Catalan narratives (a nova and the romance Curial e Guelfa) use the cambra to explore divergent readings of the motif. The troubadour cambra and its Catalan reception is explored in terms of place and gender.

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