Guillaume De Research Articles

Symmetries In Classical Music. From Guillaume de Machaut to Cesar Franck

Reflection, translation, rotation are terms frequently used in mathematics and generally associated with the sense of sight: we can use tiles or stained glass to clarify these concepts, but it is possible to exemplify the same concepts using the sense of hearing. In the first case the x and y coordinates of the plane are, for example, the width and height of a stained-glass window, in the second case the variables are respectively time and sound height, but instead of vision, we need hearing and memory to recognize the symmetry. Musicians and composers are aware of these con- cepts and use them with rigor and ingenuity. We present several musical examples from different eras, analysing compositions ranging from Guillaume de Machaut (14th century) to Cesar Franck (19th century), through Mozart's joviality and Bach's genius (18th century).

The Reception of Chaucer's Shorter Poems, 1400–1450: Female Audiences, English Manuscripts, French Contexts by Kara A. Doyle

Reviewed by: The Reception of Chaucer's Shorter Poems, 1400–1450: Female Audiences, English Manuscripts, French Contexts by Kara A. Doyle Sarah Wilma Watson Kara A. Doyle. The Reception of Chaucer's Shorter Poems, 1400–1450: Female Audiences, English Manuscripts, French Contexts. Chaucer Studies. Cambridge: D. S. Brewer, 2021. Pp. 306. $99.00 cloth; $24.99 e-book. Kara A. Doyle's new book uncovers an exciting early chapter in the reception of Chaucer's poetry. Exploring six manuscript compilations dating to [End Page 397] between 1410 and 1450, Doyle demonstrates how early compilers placed Chaucer in a French literary context that encouraged readers to focus on Chaucer's female-voiced critique of fin'amors. Creators of fifteenth-century compilations developed Chaucer's reputation as "womanis frend" by positioning his poetry alongside French and English texts that highlight female perspective, agency, and voice. Through codicological interpretation and comparative literary analysis, Doyle reconstructs the intertextual reading experience of medieval audiences, showing how compilers and readers encountered Chaucer, Hoccleve, and Lydgate through the lens of French lyric sequences and dits and debats amoureux. This French literary context foregrounded for medieval readers a concept that Doyle terms "the female hermeneutic dilemma"—"when confronted with fin'amor gallantry, should women believe men's protestations of love and fidelity or treat them with skepticism?" (3). Tracing the development of this idea in Chaucer's poetry and in the works of his French and English contemporaries and successors, Doyle explores how medieval authors, compilers, and readers responded to bids for female agency and challenges to courtly and chivalric masculinity. Before turning to the six manuscript compilations that structure her book, Doyle devotes Chapter 1 to exploring the "female hermeneutic dilemma" featured in all six collections. Influenced by Ovid's Heroides; the Ovide moralisé; the dits amoureux of Guillaume de Machaut; and the French lyric sequences of Eustache Deschamps, Christine de Pizan, and John Gower, Chaucer developed a female-voiced critique of fin'amors that is portrayed especially prominently in Anelida and Arcite. Analyzing this poem, Doyle identifies five tropes that constitute the female hermeneutic dilemma: "female ventriloquism, exposing male fickleness, skepticism about male fin'amor rhetoric, demonstrating female fidelity, and warning the female audience" (21). Doyle argues that this critique of fin'amors runs through much of Chaucer's work prior to the Canterbury Tales and receives especially extended and sincere treatment in Anelida and Arcite, a text popular among Chaucer's early readers. With the female hermeneutic dilemma in mind, in Chapter 2, Doyle turns to Cambridge University Library, MS Gg.4.27 (c. 1410–25), the earliest known attempt to compile a complete works of Chaucer. Doyle observes that the compiler opens the collection with "French-inflected materials" to create a "French lyric backdrop" (13) for Chaucer's works, and closes the collection with John Lydgate's Temple of Glass, a text that offers "an unusually thoughtful retrospective on the female-voiced tropes [End Page 398] in Chaucer's work" (14). The compiler of Gg.4.27 thus "encourages readers to see Chaucer through the lens of late fourteenth-century French literature and sets audiences up to think of Chaucer as 'womanis frend'" (52). Next, in Chapter 3, Doyle analyzes Durham Cathedral Library, MS Cosin V.ii.13, an anthology dating to between 1425 and 1450 that includes Chaucer's Troilus and Criseyde and Thomas Hoccleve's Letter of Cupid (an adaptation of Christine de Pizan's Epistre au dieu d'amours). Doyle argues that by pairing these texts, "the compiler gives Chaucer's masterpiece a French framework and helps construct a Chaucer who teaches women to be wary readers of [fin'amors] rhetoric" (76). In Chapter 4, Doyle returns to Chaucer's Anelida and Arcite, considering how this text is positioned within two anthologies created by John Shirley: British Library, Additional MS 16165 and Trinity College, Cambridge, MS R.3.20. In both manuscripts, Shirley situates Anelida and Arcite in a context that reinforces female skepticism of fin'amors rhetoric, placing Chaucer's poem alongside lyric poems that question the morality of courtly life and show the wide range of male intentions that women must interpret. Through prologues, headers, and marginal...

Author, Scribe, and Book in Late Medieval English Literature

Author, Scribe, and Book in Late Medieval English Literature

Le synodal de Reims dans sa tradition manuscrite médiévale

The earliest preserved synodal book of Reims, dated around 1330, exists in five copies. Of these, three manuscripts coming from the cathedral chapter have never been studied before, whereas two of them are probably the oldest ones known. The study intends to present the manuscripts, including medieval additions to the text, in an attempt to establish the internal logic of the compilation made for Guillaume de Trie and to underline the need for a critical edition of these statutes.

LA SEMAINE, O ÉPICO BÍBLICO SOBRE A CRIAÇÃO

The epic Renaissance La semaine (1578), by writer Guillaume de Saluste Du Bartas, was published during the French religious wars. In his long poem, the poet addressed the creation of the world, paraphrasing the book of Genesis. In this article, we explore, through Epic Semiotization of Discourse (SILVA) and Epic Poems: Reading Strategies (RAMALHO), analytical elements that contribute to the study of the genre.

A pápai Kúria tagjai és a magyar javadalmak a 14. században: Petrus Begonis életpályája

The papal government was characterized by centralisation in the 14th century in which the tax system and the papal beneficial policy were two main factors. The Avignon popes strived to extend their influence on every stratum of the ecclesiastical hierarchy by rewarding the members of the Curia’s developing administrative system with benefices in the local churches. The changes in the functioning of the papal curia offered a great opportunity for a growing number of qualified clerics to build successful careers in the papal service. The process briefly described above had an impact on the contemporary ecclesiastical structure of the Hungarian Kingdom, as more and more clerics tried to obtain benefices with papal protection, especially in the second half of the 14th century. Soon not only papal officers, but cardinals and the members of their entourage held Hungarian ecclesiastical titles as well. The main aim of the present paper is to analyse the lifepath of a curialist, Petrus Begonis. First procurator of cardinal Guillaume de la Jugie, later papal chaplain, Petrus Begonis was granted various church offices – also in the Hungarian Kingdom – and charged with diverse diplomatic tasks in different parts of Europe (Hungary, Holy Roman Empire, Italy). His ecclesiastical career – spanning from the reign of Clement VI to that of Urban VI – gives an insight in the functioning of the papal curia in Avignon and helps us comprehend the administrational changes in the 14th century.

Tangut captivity of Genghis Khan

The article puts forward a hypothesis about the capture of Genghis Khan by the Tanguts during his attack on the Tangut state of Xi Xia in 1207-1208. The only source that provides this information is the work of Guillaume de Rubruk, who visited Mongolia in 1253-1255. No supporting information has yet been found, however, there is no data that would completely exclude the possibility of Genghis Khan being captured. On the basis of Chinese, Mongolian, Persian, Tibetan, and Tangut sources, the author reconstructs a picture of the Mongol invasions into Xi Xia in search of the moment when this event had the maximum chance to occur. Special attention is paid to the goals that the Mongols may have set in each of the five documented attacks on the Tangut country. Analysis of the sources suggests that the nature of these raids changed dramatically after the second Tangut campaign of 1207-1208: predatory raids were replaced by a full-scale war, which ended with the submission of Xi Xia to the Mongols. Perhaps the reason for this was revenge for the stay of the Mongol leader in Tangut captivity. The possibility of Genghis Khan being held captive in the Chin Empire is also briefly discussed, which is also only reported in a thirteenth-century Chinese diplomat's essay

“What me is”: Insomnia Cures, Saintly Miracles, and Chaucer’s Book of the Duchess as Illness Narrative

Unlike its immediate sources, French dits amoureux by Guillaume de Machaut and Jean Froissart that privilege love adventure, Chaucer’s Book of the Duchess is centrally concerned with illness and healing and the ways that they shape embodied experience. The medicalized attention Chaucer’s poem brings to the narrator’s insomnia in particular reveals connections to both contemporary natural philosophy and hagiographic miracle collections, which sometimes included insomnia among conditions cured through saintly intervention. In the Book of the Duchess, sleeplessness is a canvas for an immersive meditation on the body, its creative processes, and problems of identity, or “what me is” (line 31). Looking beyond the French courtly register that has dominated critical interpretation, this essay reframes Chaucer’s poem in its contemporary intellectual context as an early instance of “illness narrative,” drawing methodological support from theories of intertextuality as well as the sociology and ethnography of illness. The poem’s healing trajectory, differently relevant to the dreamer, the Man in Black, and White, ultimately affirms the communicative movement from self to other and the therapeutic value of empathy as necessary conditions for the poet’s creative agency.

The Afterlife of the Roman de la rose

Mobility in learned circles was a reality in the Europe of the Middle Ages, and it is only when we consider the reception of well-known works, such as the thirteenth-century Roman de la rose, in the countries where they circulated in the local language that we are able to gain a more complete understanding of their impact on literary and cultural currents even after the authors had passed away. Guillaume de Lorris and Jean de Meun’s conjoined Roman de la rose (1236, 1269-78) is without a doubt one of the foundational works of French medieval literature with over 360 extant manuscripts. Focusing on two non-French adaptations of this work that appeared within a century of the date of its composition, I show that these translations, or more accurately rewritings, enabled its survival and contributed to its sustained popularity in medieval Europe. The adaptations that are the subject of this analysis are Il Fiore, a thirteenth-century translation and adaptation into Italian often attributed to Dante, and the Romaunt of the Rose, commonly attributed to Geoffrey Chaucer. I conclude that through the medieval practice of interpretatio, the authors of the Fiore, and the Romaunt of the Rose adapt the original text to reflect their own contemporary cultural realities.

«THE RUSSIAN CAMPAIGN OF 1812» IN FRENCH HISTORIOGRAPHY OF THE XIX CENTURY

The Patriotic War of 1812 occupies a special place in the historical memory of Russia. Сoncurrently, in France, the events of this historical period also left an indelible imprint in the memory of the French society. Based on a historiographical review of the historical works written by French historians (Frédéric François Guillaume de Vaudoncourt, R.J. Durdan, E. Labaume, Gaspard Gourgaud, Philippe-Paul de Ségur, L. de Gouvion Saint-Cyr, G. Chambray, A. Jomini and J. Pelet-Clozeau) the author analyzes the development of French historiography devoted to the personality of Napoleon Bonaparte and the historical period of 1812 taken as a whole. It should be noted that Bonaparte’s invasion into the territory of the Russian Empire entered the Russian historiographical tradition as the «Patriotic War of 1812», while in France these events became known in history as the «Napoleon’s Russian Drive» or «Napoleon’s Russian Campaign». The author analyzes the influence of Bonaparte’s personality on the historical consciousness of the European and the Russian society of the XIX century, when the so-called «Napoleonic myth» was very popular, which idealized the personality of this person. Foreign historiography of the war of 1812 differs in that researchers considered the military campaign in Russia in the context of the Napoleonic era as a whole, as a result of which there were either separate studies on the war with Russia, or general works about the period of Bonaparte’s military campaigns.

Lessons from Ovid's Ibis in the Middle Ages

ABSTRACT This article considers the popularity and pedagogical functions of Ovid's exilic poem Ibis in the Middle Ages. In Ibis, the relegated Ovid inveighs against an unknown enemy, laying curse after curse upon him via complex and riddlelike allusions. Although the poem has now itself been relegated to the understudied margins of Ovid's corpus, this was not always the case. On the contrary: it was known and studied both in medieval England and on the Continent. This article argues that Ibis was a tool of teaching: for medieval instructors, the poem's puzzles provided a course in classical culture with which to teach mythography. Beyond the schoolroom, Ibis formed a potential model for moral behavior in Guillaume de Deguileville's Le Pèlerinage de la Vie Humaine and John Lydgate's The Pilgrimage of the Life of Man. Here, we see the limits of the exilic Ovid's assimilation into medieval Christian culture.

The Elements of Contemporary Turkish Composers’ Solo Piano Works Used in Piano Education

It is thought that to be successful in piano education it is important to understand how composers composed their solo piano works. In order to understand contemporary music, it is considered that the definition of today’s changing music understanding is possible with a closer examination of the ideas of contemporary composers about their artistic productions. For this reason, the qualitative research method was adopted in this study and the data obtained from the semi-structured interviews with 7 Turkish contemporary composers were analyzed by creating codes and themes with “Nvivo11 Qualitative Data Analysis Program”. The results obtained are musical elements of currents, styles, techniques, composers and genres that are influenced by contemporary Turkish composers’ solo piano works used in piano education. In total, 9 currents like Fluxus and New Complexity, 3 styles like Claudio Monteverdi, 5 techniques like Spectral Music and Polymodality, 5 composers like Karlheinz Stockhausen and Guillaume de Machaut and 9 genres like Turkish Folk Music and Traditional Greek are reached. It is thought that the results will contribute to the field because it will cause a better understanding in the artistic viewpoints of contemporary composers, as well as being a step for the piano and music educators and the students who have studied academic piano education in order for them to be able to understand the contemporary music.

Crimean Gothia in the First Half of the 13th Century

Introduction. The toponym Gothia in written sources from the 8th century was used to designate the territory of the Mountain Crimea inhabited by the Alans and the Goths between Inkerman and the north-eastern suburb of Alushta. The same region was called the Klimata of Cherson and the Klimata of Gothia. Methods. Fragmentary information about Gothia is contained in the “Synopsis of St. Eugenios” compiled by John Lazaropoulos until 1364 and in the “Alanian Epistle” by the bishop Theodore. These works describe the same period in the history of the Gothic Klimata, 1223–1227 and 1223, respectively. Analysis. The considered evidence confirms the entry of Cherson and its subordinate Klimata of Gothia into the empire of Trebizond, at least in the first half of the 13th century. It is methodically incorrect to judge the situation in the Klimata in the first half of the 13th century from the descriptions contained in later sources of what happened in the 14th–15th centuries. The “Epistle” says about the flight of bishop Theodore to an Alanian village neighboring to Cherson. Supporters of identifying the village with the Qırq-Yer fortress remote from the city on the Chufut-Kale plateau ignore geographical and historical realities. Results. There is no evidence of the existence of single-ethnic Gothic and Alanian regions in the mountains and on the southern coast in written sources. In Sudak, Guillaume de Rubrouck was talked about speakers of Teutonic and other languages in the mountains of Crimea. Historian’s allegations about the division of Gothia into two principalities are disproved by the results of archaeological excavations in the territory of Klimata of Gothia. The toponym Klimata is not mentioned in the descriptions of events that occurred after the middle 13th century. However, archaeological excavations of cities on the Inner Ridge revealed the preservation of active and diverse life activities of the population of the region until the end of the 13th century. Probably, the history of the administrative formation of the Klimata of Gothia was interrupted in 1298/99, when Nogai’s troops destroyed Cherson, cities on the Eski-Kermen plateau, Bakla and others.

From Socially Distant to Socially Engaged: Exploring the Soundscape and Material Environment of Guillaume de Machaut’s Remede de Fortune

Ostensibly a story about gaining confidence in love, Guillaume de Machaut’s Remede de Fortune has been explored as a summa of contemporary musical styles and a treatise on the memorial arts. It has also been examined as an important example of the use of citation and allusion in the fourteenth century because it incorporates references to Boethius’ Consolation of Philosophy and Guillaume de Lorris and Jean de Meun’s Le roman de la Rose. This essay enhances these studies by focusing on a particular aspect of the narrative: the use of soundscape and material environment to express the protagonist’s emotional growth. After exploring key concepts such as soundscape, authorial self-presentation, and melancholy, it considers how sound is introduced and presented in relation to the narrator’s emotional world and how music is woven through the narrative. An analysis of how sound and touch play a role in the narrator’s interaction with Lady Hope leads to a discussion of the use of soundscape and material environment in the description of the Park of Hesdin and the festivities at the manor house. As this examination of soundscape and environment will show, Machaut chooses to use them as a means to convey the narrator’s burgeoning confidence: he gives a minimal and cliched description of the wonderful park when the narrator is mired in melancholy yet offers an elaborate, exciting treatment of the manor house after the narrator’s confidence-building interaction with Lady Hope. The essay closes with a consideration of how the presentation of sound and material environment relates to Machaut’s use of Boethius. In the context of the material turn within medieval studies, I argue that we can view sound and objects within medieval literature as media for the communication of ideas about narrative and character development and that this form of analysis sits comfortably with other lenses of interpretation.

The Arts of Disruption: Allegory and “Piers Plowman.” by Nicolette Zeeman

Reviewed by: The Arts of Disruption: Allegory and “Piers Plowman.” by Nicolette Zeeman Rebecca Davis Nicolette Zeeman. The Arts of Disruption: Allegory and “Piers Plowman.” Oxford Studies in Medieval Literature and Culture. Oxford: Oxford University Press, 2020. Pp. xiii, 432. $90.00. Nicolette Zeeman’s ambitious new book is an apt sequel to her first, “Piers Plowman” and the Medieval Discourse of Desire (Cambridge, 2006). Here again Piers Plowman is the hub of a teeming intellectual and literary history that encompasses classical rhetoric and ethical writings, Latin pastoralia, and allegorical narratives in French and English. Also like the earlier book, Zeeman’s latest study uncovers the deep structural workings of the poem through careful attention to its recurrent forms and, crucially, by placing Langland’s poetic practice in a rich context of contemporary discourses. Piers Plowman, notoriously, challenges students and scholars alike to get a sense of their footing in the poem, to determine which of the poem’s numerous speakers are trustworthy, and which are suspect. More than any other study I have read, The Arts of Disruption explains how and why [End Page 360] Langland creates these peculiarly disorienting effects, and it is sure to change future conversations about the poem. Equally important, however, is its contribution to the wider field of medieval literary studies, for here Zeeman offers a theory of allegory as a “disruptive art” whose implications are by no means limited to Piers Plowman. Against the tendency even among sophisticated readers to understand allegory as a binary set with a “controlling discourse,” she defines allegory in more capacious terms as a contingent and dynamic relation, one that, as the ensuing chapters make clear, transcends genre. For Zeeman, allegory emerges at “the confluence of any two or more relatively distinct and mutually commenting discourses, each of which nuances, refigures and redirects, but may also unpack, critique, and even contradict, the others present” (7–8). Zeeman’s chief interest is personification and the associated genres of dialogue and debate; but as the later parts of the book demonstrate, Zeeman’s supple definition of allegory as a “disruptive art” encompasses a broad range of literary activities. “Qualification and even negation must be its mode,” she writes, “because all descriptions exclude even as they include, every formulation is capable of becoming a complacency, and words always demand more words. Allegory is a response to the contingency and multi-dimensionality of being in the world” (2). Setting out to locate these hallmarks of disruptive allegory, the book traces five “conflictual structures” that are marked by “some form of diegetic tension, conflict, or internal contradiction” (1). These five structures are found throughout the broader medieval allegorical tradition as well as in Piers Plowman. Intricately organized, the book is divided into five two-chapter parts that correspond to the five allegorical structures. The first three parts begin with a chapter devoted to the allegorical tradition and then, in a paired chapter, trace its presence in Piers Plowman. In the last two parts, Zeeman discusses Piers Plowman in each chapter, interweaving discussion of the poem with discussion of the larger allegorical tradition. In Part 1, Zeeman introduces the trope of paradiastole, a rhetorical technique in which vices are “redescribed” as virtues, and vice versa. Paradiastole developed in classical legal settings, and is known to have resur-faced in early modern rhetoric, but Zeeman presents ample evidence for its continued use in medieval allegory and pastoral and devotional writing: “What had originally been primarily a Classical rhetorical technique . . . became in the Middle Ages part of a wide-ranging body of psychological [End Page 361] and ethical thought about the subtler manifestations of hypocrisy and self-deception” (38). Chapter 1, “The Hypocritical Figure,” identifies a particular type of allegorical personification that arises from the practice of paradiastole. “The hypocritical figure,” Zeeman writes, “is marked by various forms of tension, discrepancy, or slippage so as to reveal hidden corruption, but also other more insidious problems of decline, formalism, or complacency” (3). The chapter ranges widely, tracing paradiastole from Latin pastoral and devotional texts such as Gregory the Great’s Regula pastoralis, to narrative allegory, from Prudentius’s Psychomachia, to Guillaume de Deguileville’s Pelerinage...

The Christian Lark: Spenser’s Faerie Queene I. x.51 and Shakespeare’s Sonnet 29

Abstract The likening of the lark to the Christian worshipper as in Herbert’s “Easter Wings” was anticipated by both Spenser and Shakespeare in references that have been overlooked to date. These stand in a tradition most richly represented by the early fourteenth- century French allegorist Guillaume de Deguileville, in his Pèlerinage de l’Ame, in which the pilgrim soul, guided towards the gate of Heaven by his guardian angel, finds himself surrounded by larks whose cruciform shapes in flying match their singing of the name “Jhesu.” Having fallen for the second time when fighting the dragon, Spenser’s Red Cross Knight rises on the third morning to find himself victorious. In his rising he is compared with the lark at dawn. The Edenic setting (which underlines the theme of the redemption of “fallen” man by the risen Christ) is also illuminated by Deguileville’s Ame; Spenser’s two trees are reminiscent of the “green and the dry” in the French allegory, according to which Christ appears as the apple pinned to the dry tree in reparation for the apple stolen by Adam. When one examines Shakespeare’s reference to the lark in Sonnet 29 in the light of the tradition represented by Deguileville (whose work not only Spenser but also Shakespeare might have read in English translation) the question arises as to whether the beloved addressed in line 10 (“thee”) could be Christ, and the speaker a Christian worshipper moving from self reproach to Christian gratitude. Such an interpretation is challenged by the standard assumption that the sonnets reflect a narrative produced by a love triangle. But from Petrarch’s Canzoniere on, sequences of love sonnets had contained poems of religious adoration.

A Critical Companion to Medieval Motets, edited by Jared C. Hartt

Book Review| December 01 2020 A Critical Companion to Medieval Motets, edited by Jared C. Hartt A Critical Companion to Medieval Motets, edited by Jared C. Hartt. Studies in Medieval and Renaissance Music. Rochester, NY: Boydell Press, 2018. xx, 397 pp. Tamsyn Mahoney-Steel Tamsyn Mahoney-Steel TAMSYN MAHONEY-STEEL is Lecturer in Digital Humanities at the University of Central Lancashire. Her research interests include medieval French music and literature and the use of text mining and text encoding. She has published on the application of the Text Encoding Initiative for editing the works of Guillaume de Machaut, medieval motets, and soundscapes in medieval narratives. She is an editor of the new complete works edition of Machaut. Search for other works by this author on: This Site PubMed Google Scholar Journal of the American Musicological Society (2020) 73 (3): 800–806. https://doi.org/10.1525/jams.2020.73.3.800 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Tamsyn Mahoney-Steel; A Critical Companion to Medieval Motets, edited by Jared C. Hartt. Journal of the American Musicological Society 1 December 2020; 73 (3): 800–806. doi: https://doi.org/10.1525/jams.2020.73.3.800 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of the American Musicological Society Search Motet scholars see the world in terms of motets: that which is complex, beautiful, and multivalent can be deemed motet-like. Jared Hartt claims this esteemed identifier for his own volume on medieval motets, and he has earned the right to do so. Like those of medieval motets, the contributing voices are competing yet harmonious, working together to provide a rich understanding of the genre, but never attempting to reduce these pieces to a common core. Hartt's A Critical Companion to Medieval Motets is what the field of motet studies needs: a volume that captures the complexity of the evolution of motets in a manner that is satisfying for scholars yet accessible for students. The introduction contains the best summary of medieval motets I have read, alerting the reader to all the traditional definitions, while acknowledging outliers and edge cases—such as the monophonic motet—that may in fact allow us to reorient... You do not currently have access to this content.

Nourritures terrestres et nourritures spirituelles dans "La Vie de Saint Gilles" de Guillaume de Berneville

La Vie de saint Gilles, texto anglonormando de finales del siglo XII escrito por Guillaume de Berneville, es una reescritura de una Vitae latina del siglo X. Las Vidas en lenguas vernáculas surgidas en el contexto anglonormando tienen como finalidad la de edificar a los fieles, a la vez que la de entretener y divertir. Guillaume de Berneville no duda en alternar motivos literarios paganos, con motivos hagiográficos tradicionales, para hacer más accesible la Vida a un público laico. El objetivo de este trabajo es el de analizar cómo el autor utiliza el motivo de la comida y el ayuno, uno de los preceptos del ascetismo, a la hora de estructurar y dar coherencia a su relato hagiográfico. La Vie de saint Gilles, an Anglo-Norman text from the late twelfth century written by Guillaume de Berneville, is a rewriting of a Latin Vitae from the tenth century. Lives in vernacular languages emerged in the Anglo-Norman context are intended to edify the faithful, as well as giving entertainment and fun. Guillaume de Berneville does not hesitate to alternate pagan literary motifs with traditional hagiographic motifs, to make Life more accessible to a lay public. The objective of this work is to analyse how the author uses the motive of food and fasting, one of the precepts of asceticism, when structuring and giving coherence to his hagiographic account.

Time and the Reader of the Roman de la Rose

ABSTRACT This article argues for reading the Roman de la Rose according to an asynchronous model of narrative time. In particular, this article shows that the Roman de la Rose explicitly thematizes and inscribes its reader within a non-linear praxis of reading that has consequences for how meaning is forged within vernacular verse narrative. It begins by establishing a view of narrative time, and the reader’s affective experience of time, according to an Augustinian model that allows for asynchronous experience to pass through a present moment of reading. The article then outlines the temporal orientations of Guillaume de Lorris’s and Jean de Meun’s poems, which it views as presenting distinct modes of reading the Roman de la Rose according to the dual functions of anticipation and memory.

Machaut's motets on secular songs

ABSTRACTIn his three motets with tenors taken from secular songs, Guillaume de Machaut experiments with upper voice structures that borrow from the talea principle used in chant-based motets, creating hybrid forms that reflect aspects of the motet's overall subject. In two cases, Machaut sets up upper-voice taleae that do not coincide with their song-based tenor but interact with it in interesting ways. Trop plus est bele / Biauté paree de valour / Je ne sui mie certeins (M20) balances these formal principles to reflect a perfect love balanced between the dedicatory and the sacralised, while Lasse! comment oublieray / Se j'aim mon loyal ami / Pour quoy me bat mes maris? (M16) creates three opposing forms that reflect a Lady looking in two different directions, towards a beloved and a husband who abuses her. Dame je sui cilz qui weil endurer / Fins cuers doulz, on me deffent / T. Fins cuers doulz (M11) does not define regular upper-voice taleae, but rather uses the tools by which taleae are defined in the upper voices – long rests, hocket sections, and melodic repetition – to merge disparate formal principles in the service of a motet that discusses a woman who merges a soft appearance with a hard reality. Here Machaut also uses hexachordal punning, combining sharps and flats to express the Lady's contradictory qualities.