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Copyright of Journal of the International Arthurian Society is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article makes a significant contribution to research on the problem of the connection between Marie de France and Chrétien de Troyes, the most famous and innovative French authors of the reign of Henry II. The aim of the work is to demonstrate how this influence is reflected through a systematic review of the numerous indirect echoes and reciprocal references, in other words, the intertextual and interdiscursive links between the works of Chrétien and Marie. These links allow us to consider certain lays of Marie de France devoted to the metamorphoses of people into animals (e. g., “Yonec,” “Bisclavret”) as a “Breton” version of ancient Ovid’s “Metamorphoses.” These motifs borrowed from Marie were then adapted by the young Chrétien as well as certain episodes (paternal love in the “Two Lovers” and the “Philomena,” the meeting at the window in “Rossignol” and “Lancelot,” the drops of bird’s blood in the “Aüstic” and “Perceval”) and the use of the word “surplus” attest this.

In Yvain ou le Chevalier au Lion, a French Arthurian romance written by Chrétien de Troyes around 1180, the protagonist finds three hundred captive maidens forced to work on silk fabrics in a cursed castle and complaining about their insufficient remuneration. According to the Gesta Abbatum Trudoniensum, a twelfth-century chronicle of the Abbey of Sint-Truiden (Limburg, Flanders), hired weavers were forced by domanial officers – most probably their employers – to pull a false ship from Kornelimünster near Aachen to Sint-Truiden in 1133. In this article, the two mentioned texts are examined using semantic methods to understand the logics behind the combination of coercion and remuneration in textile labour. The action phrases are analysed, as are the lexical fields of poverty and freedom. The weavers in the Gesta Abbatum Trudoniensum seemed to have the status of hired servants (mercennarius), which implied temporary servitude for the duration of a contract. In Yvain, the insufficient wage of the weaving maidens is presented as chicanery employed to force them to work more. In both texts, poverty is conceptualised in a social, economic, legal, and political sense at once.

El trabajo coordinado por María Pilar Suárez y José Ramón Trujillo está organizado en diez capítulos, en el que participan nueve autores que analizan el concepto de la búsqueda como hilo conductor de los textos de temática artúrica que tratan.

The five Arthurian romances of Chrétien de Troyes were hugely influential in establishing King Arthur's world as one that could easily expand to include the adventures of a seemingly endless group of chivalric heroes. Chrétien's use of character details to connect his romances and suggest a shared fictional world inspired other romance writers as well as medieval translators, illustrators, and manuscript copyists and compilers. The result was a multimedia Arthurian universe akin to the modern narratological concept of the transmedial storyworld. This storyworld relied on the recognisability of the Arthurian knights as characters and existed in many different forms across written and visual media, including the unique combinations of text and image that appear in different manuscript witnesses of Chrétien's romances. Emphasising the utility of both individual manuscripts and modern narratology, this article investigates three manuscripts that contain romances by Chrétien: Paris, BNF fr. 1450, Paris, BNF fr. 1433, and Montpellier, Bibliothèque interuniversitaire, H 249. Through examining the distinct arrangement, editing, and decorative choices in these manuscripts, I argue that they illustrate the potential of character as a means of worldbuilding, not only for medieval authors but also for other creators and audiences. [ABSTRACT FROM AUTHOR]

This study explores a statement made by the twelfth-century poet Chrétien de Troyes in his Conte du Graal (c. 1181–90), which includes the line 'Que nus contes de ce n'amende' [because no tale improves on the retelling], under the light of a possible relationship with the notion of pre-print publishing. In the context of the current scholarly upsurge of interest in 'medieval publishing', and through an analysis of similar phrases found both in other medieval romances and in other of Chrétien's works, this article proposes we should understand this phrase in a dual sense: on the one hand, as an internal narrative device to avoid repetition, and – importantly on the other – as an outward-facing warning against the alteration of his work in its retelling, functioning in some ways akin to a modern declaration of copyright. [ABSTRACT FROM AUTHOR]

Copyright of Thélème is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In Yvain ou le Chevalier au Lion, a French Arthurian romance written by Chrétien de Troyes around 1180, the protagonist finds three hundred captive maidens forced to work on silk fabrics in a cursed castle and complaining about their insufficient remuneration. According to the Gesta Abbatum Trudoniensum, a twelfth-century chronicle of the Abbey of Sint-Truiden (Limburg, Flanders), hired weavers were forced by domanial officers - most probably their employers - to pull a false ship from Kornelimünster near Aachen to Sint-Truiden in 1133. In this article, the two mentioned texts are examined using semantic methods to understand the logics behind the combination of coercion and remuneration in textile labour. The action phrases are analysed, as are the lexical fields of poverty and freedom. The weavers in the Gesta Abbatum Trudoniensum seemed to have the status of hired servants (mercennarius), which implied temporary servitude for the duration of a contract. In Yvain, the insufficient wage of the weaving maidens is presented as chicanery employed to force them to work more. In both texts, poverty is conceptualised in a social, economic, legal, and political sense at once. [ABSTRACT FROM AUTHOR]

Copyright of Revista de Filología Románica is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article examines the semantic transformations of the Old French word surplus in French and Provencal literature of the 12th century. In the dictionaries of Godefroy and Tobler-Lommatzsch, surplus is defined as “the rest,” “what is left,” “(all) the rest.” It is in this sense that the word appears in historiography, and then in courtly literature. However, when analysing the novels of Chrétien de Troyes and lais of Marie de France, a semantic shift is revealed: in some fragments, the word surplus becomes an erotic euphemism, denoting “the highest favour of a lady.” There is reason to believe that the origins of this euphemistic meaning go back to the lyrics of the troubadours, in which the words plus and sobreplus were used to denote the highest erotic pleasure. In lai of Nightingale, Marie de France places in a similar context not surplus, but plus. Thus, it can be assumed that the poetess was the first to discover the euphemism among the troubadours, and Chrétien used it under the influence of lais. In the prologue to the lais, written after all twelve texts, Marie de France gives the word surplus a new meaning. It turns into a metaphor of cognition and interpretation, introducing new, additional meanings in the ancient text.

Reseña de: Ménard, Philippe (2022), Temas y problemas de literatura artúrica. Edición y traducción de Carlos Alvar y José Ramón Trujillo. San Millán de la Cogolla: Cilengua. 259 pp. ISBN: 978-84-18088-17-9

Chrétien de Troyes's Erec et Enide is about a husband's appalling and disturbing mistreatment of his wife. Yet, this article contends, it can also be understood as a (perhaps surprisingly) critical reflection on sexual consent, which overlaps with key concerns of both medieval canon law and modern consent theory. In dialogue with each of these domains, this essay studies, first, how particular episodes not only call attention to the importance of sexual consent but also to factors that mitigate it—as well as to the more general limitations of the concept. Second, the article explores how the larger adventure series, which makes up the core of the romance, is persistently engaging with some of the knottiest issues in both medieval and modern thinking on sexual consent, such as its relation to equality, silence, volition, and the active/passive binary. Finally, the article reflects on the implications of considering this courtly romance alongside modern consent theory. On the one hand, modern theory pushes the medievalist to confront what is at stake in deeming Enide unable meaningfully to consent to the terms of her union with Erec. On the other, this medieval romance responds with crucial insights on, in particular, the history of the relationship between patriarchy and the concept of sexual consent. [ABSTRACT FROM AUTHOR]

The article deals with the actual problem of cultural contact for modern historical knowledge on the example of the origin and development of the legends about King Arthur and the Knights of the Round Table. The main purpose of the research is to reflect the understanding of historically important images and symbols of European society through the subjective ideas, thoughts and intentions of a person of the Middle Ages. The main method of research is the socio-cultural approach, focused on the relations of people of the time, characterized by cultural diversity. Christianity in the Arthurian legends of the Middle Ages was one of the elements that had a significant impact on their formation and further development. This was influenced by the early and peaceful Christianization of the British Isles, as well as the cultural and religious contact of the Celtic settlers with the population of Armorica. This article examines two branches of the development of Arthurianism, the Christian origins of the legend of the Holy Grail, as well as the influence of Christian morality and homiletics on the plot-forming motifs of the medieval chivalric novel. In the course of the study, it is traced what influence on the development of the Arthurian cycle, in addition to the ancient Celto-Welsh tradition, was exerted by the early Christianization of the British Isles and how the combination of these factors turned Arthurian into a significant cultural tradition of European civilization.

An analysis of “weather events” and their meaning in works of French medieval literature – La Chanson de Roland, Le Chevalier au lion, Le Roman de la rose, Le Livre du Cuer d’amours espris and Le Debat d’entre le gris et le noir – finds different forms of interaction between the outside world and human beings. Whether a connection between man and nature is mediated by God, set by the human arrangement of or incursion into a natural setting, or left so loose as to suggest nature’s indifference to human witness, weather contributes to the picture.

This article seeks to resituate critical discussions about logic in the Old French Grail romances and Thomas Malory's Tale of the Sankgreal. Where previous scholarship has emphasised the mystical elements of the Old French Grail narratives to suggest alternate meanings for the Grail itself, this article reads the Grail miracles as structuring devices that reflect classical theories of dialectic and demonstrative argumentation. Through examining one example from Chrétien de Troyes' Perceval, the Didot-Perceval, The Vulgate Cycle Queste del Saint Graal, and Thomas Malory's Tale of the Sankgreal, this article also highlights fundamental similarities between the logical systems underlying each Grail narrative that are not restricted by language or date of composition. Thus, the article depicts Malory not just as consciously drawing upon the Vulgate Queste del Saint Graal, but also as unconsciously inheriting elements from each of his Old French predecessors. [ABSTRACT FROM AUTHOR]

Human experience of places is based on emotional resonance: places make little sense to us if they don’t resonate with our feelings, and they are rather meaningful according to the intensity of the feelings we attach to them. Based on this general assumption, the paper will essentially focus on the idea that Chrétien de Troyes describes places so as to make them resonate with the interiority of his characters. In some relevant cases the very idea of emotional resonance substantially informs the way places are shaped in consideration of the overall meaning of the episode and/or the entire narrative. [ABSTRACT FROM AUTHOR]

In courtly literature, the subject of the Errant Knight appears frequently, such as Eretz, Lancelot, and Perceval. In the Icelandic sagas, we can also meet such figures as. The purpose of this article is to show that the Olaf Tryggvason described by Odder Snorrrson was the Errant Knight as well. The author wants to show it by comparing Olaf Tryggvason with Perceval through their lives and their correlations. The author wants to show it by comparing Olaf Tryggvason and Perceval's lives. These characters are correlated with each other. This is because Oddr and Chrétien de Troyes have built the plot of their works based on religion and love plots. They wanted to show a character who strives for the ideal through mistakes and learning. [ABSTRACT FROM AUTHOR]

Este artículo emplea el esquema de representación mitológica de Jordan Peterson (que deriva del análisis de los arquetipos de Jung) para tratar de ofrecer una interpretación novedosa de El cuento del Grial de Chrétien de Troyes. Se concluye que Perceval es el héroe exploratorio que se aventura en el mundo de lo desconocido (el bosque, lo inexplorado, el caos, la Naturaleza, la Gran Madre), para extraer conocimiento que revitaliza la tradición. Al afrontar lo desconocido (el dragón del caos) el héroe arriesga su integridad física y moral. Llega, incluso, a extraviar el ideal durante años, pero su humildad (su apertura cognoscitiva) le salva. Reconoce su ignorancia y renace espiritualmente. Cabe conjeturar, de acuerdo con la lógica interna de esta narración inacabada, que el héroe seguirá buscando la lanza y el Grial; hasta que, encontrándolos, cure la invalidez del Rey Pescador y devuelva la fecundidad a sus tierras (y de ese modo, simbólicamente, redima también a su padre de su muerte desgraciada y reverdezca las tierras de la Yerma Floresta). Así, Perceval, el héroe exploratorio, el conocedor, actualizará lo ya conocido (la caballería, lo explorado, el orden, la Cultura, el Gran Padre), transformándolo creativamente.

In his Novel « Yvain » adapted from an original Celtic Tale Chrétien de Troyes named « Pesme Aventure » the mythical Episode which constrains Yvain to stand a last qualifying Proof. In this Episode Chrétien has inserted the Description of a weaving Factory where three hundred captives Maiden (« pucelles ») are working in awful Conditions. This Passage has been considered for Decades as an Evidence for a social and economic Reality of the XIIth Century presenting an unwonted Evocation of a supposed unfair exploitation of these Working girls. In a courtly Novel where feudal Realism is enhanced with the Myth of Folktales it was at least surprising. and should be justified. These young Ladies, Subjects of a King from « The Isle of Maiden », are Captives who Yvain rescues out of her Prison in triumphing over two diabolical Champions. Beside the Theme of a mythical Custom the Working girls' Lament remains difficult to understand in his economic Details. The shameful Situation the Girls are living should be reconsidered and it is necessary to re-examine the Structure of the Novel in order to understand the Signification and Integration of the Episode in it. A new Interpretation of the Words chosen by the Author for the Girls' Complaint could be fit to rejuvenate the Controversy upon its Signification.

La historia de los amores de Lancelot y Ginebra posee una centralidad indiscutible en la producción romancesca de materia artúrica, desde que, en el siglo XII, Chrétien de Troyes sellara el destino del caballero al servicio de su reina en Lancelot o El caballero de la Carreta. De esta forma, Chrétien inventó una leyenda que rápidamente vino a competir, en términos análogos y a partir de una temática similar, con el popular mito de Tristán e Iseo, el cual, desde los oscuros parajes de la Bretaña insular, había conquistado la imaginación de los hombres medievales. En función de esta aseveración, el objetivo del artículo es revisar la relación que el escritor establece entre las dos parejas mediante el análisis particular de El caballero de la Carreta. Presentaré algunas hipótesis relativas al tipo de amor que el caballero siente para con su reina, el cual no parece reproducir los sentimientos de Tristán por Iseo. Finalmente, intentaré esbozar un panorama de la posición que el texto ocupa en toda la obra de Chrétien de Troyes, especular sobre las líneas directrices que guiaron su producción en general y proponer algunas explicaciones de cómo el roman responde a coordenadas intelectuales específicas de su momento de escritura.

Basado en las premisas de la literacy, la cual considera al lenguaje escrito y oral un sistema dialéctico que transforma y es transformado por la realidad, a partir de su acción en los espacios de lectura y de escritura, el presente artículo muestra un análisis de las diversas copias de los manuscritos de los cinco romans courtois de Chrétien de Troyes, con el objetivo de establecer el posible alcance y su relación con la cultura material de los siglos XIII al XV. En este sentido, se hace énfasis en la posible procedencia de los manuscritos, sus características físicas, su lengua y su contenido, así como su relación con otros textos incluidos en diversos corpus documentales.

A partir de um episódio do Conto do Graal, de Chrétien de Troyes, são analisados alguns elementos formais dessa narrativa, sobretudo, aqueles relacionados com os encadeamentos dos episódios e com as motivações de seu protagonista, tentando colocar em evidência a lógica de seu funcionamento. Para que se deixe mais evidente essa lógica, é feita uma comparação com dois episódios de O crime e castigo, do romancista russo Fiódor Dostoiévski. Os sentidos propostos a partir dessa análise são, enfim, situados em seu contexto mais amplo e relacionados, em particular, com o estatuto da pessoa no Ocidente medieval.

An analysis of "weather events" and their meaning in works of French medieval literature - La Chanson de Roland, Le Chevalier au lion, Le Roman de la rose, Le Livre du Cuer d'amours espris and Le Debat d'entre le gris et le noir - finds different forms of interaction between the outside world and human beings. Whether a connection between man and nature is mediated by God, set by the human arrangement of or incursion into a natural setting, or left so loose as to suggest nature's indifference to human witness, weather contributes to the picture. [ABSTRACT FROM AUTHOR]

Copyright of Journal of the International Arthurian Society is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article seeks to articulate the representation of the landscape and its connection with the chapter of the hero in O guarani, by José de Alencar, the masterpiece of Brazilian Romanticism; in other words, it seeks to articulate space and normativity as essential components of narrative. Since Gaston Bachelard, space has been configured as an important instance for fiction, but only from the analysis of Iuri Lotman and Henri Mitterand it will cease to be an accessory, in order to become decisive for the organization of the plot. Lotman coined the notion of frontier, while Mitterand proposed the concept of overcoming frontiers. Both definitions are fundamental to understand the process of constitution of the hero in Alencar's novel, since Peri will be the only character to move freely through the spaces of the "house" and the "forest", incorporating values of one and the other. Dialoging with the medieval narratives of Chrétien de Troyes, particularly "Le chevalier au lion" and "Le conte du Graal", the hero of O guarani breaks, however, with the chivalrous code of honour by adopting treason as a regular procedure. It will be the forest, as the central topos of the medieval imagery (Le Goff), which will provide such a hybrid and ambivalent stature of the hero. [ABSTRACT FROM AUTHOR]

The popular narrative that the French relationship between the sexes is more emotionally rewarding than its American counterpart has entered into scholarly discourse over the past decades. Promoted by several well-known French feminist scholars, the narrative locates the particularity of the French relationship in its paradoxical structure: women are both equal and not equal to men. Sexual difference lies in the particular, which is subordinate to the universal value of equality. The narrative was most recently revived in the anti-#MeToo manifesto published in Le Monde in January 2018. This article surveys the narrative's history, beginning with French feudal law and tracing it through some of its later iterations to highlight how it has long offered French women a way of performing femininity while exercising power. The emotional investment in this narrative explains why it continues to be accepted among at least some French intellectuals, whereas it is generally rejected by American feminists. [ABSTRACT FROM AUTHOR]

La Biblioteca Riccardiana di Firenze conserva un “curioso” testimone del Perceval di Chrétien de Troyes, noto tramite i lavori di Keith Busby sulla tradizione manoscritta dei romans di Chrétien, ma liquidato dagli editori del testo per la sua scarsa autorevolezza. Il contributo si propone di approfondirne gli aspetti materiali, di analizzare le peculiarità del suo copista principale, e di verificare due “suggestive” ipotesi formulate dallo stesso Busby: il codice potrebbe essere stato allestito sotto dettatura, e in un secondo momento esser stato revisionato da quattro correttori mediante l’impiego di uno o più codici e non sulla base del suo antigrafo (quindi per contaminazione).

Este artículo busca articular la representación del paisaje y su conexión con el carácter del héroe en O guarani, de José de Alencar, la obra maestra del Romanticismo brasileño; o, en otras palabras, articular espacio y normatividad como componentes esenciales de la narrativa. Desde Gastón Bachelard, el espacio se configuró como una instancia importante para la ficción, pero será a partir del análisis de Iuri Lotman y Henri Mitterand que dejará de ser accesorio para tornarse decisivo para la organización de la trama. Lotman acuñó la noción de frontera, mientras que Mitterand propuso el concepto de superación de las fronteras. Ambas definiciones son fundamentales para comprender el proceso de constitución del héroe en la novela de Alencar, ya que Peri será la única personaje a moverse libremente por los espacios de la “casa” y del “bosque”, incorporando valores de uno y otro. Dialogando con las narrativas medievales de Chrétien de Troyes, particularmente “Le chevalier au lion” y “Le conte du Graal”, el héroe de O guarani rompe, sin embargo, con el código de honor caballeresco al adoptar la traición como procedimiento regular. Será el bosque, como topos central de lo imaginário medieval (Le Goff), que proporcionará una estatura tan híbrida y ambivalente del héroe.

In his Novel « Yvain » adapted from an original Celtic Tale Chrétien de Troyes named « Pesme Aventure » the mythical Episode which constrains Yvain to stand a last qualifying Proof. In this Episode Chrétien has inserted the Description of a weaving Factory where three hundred captives Maiden (« pucelles ») are working in awful Conditions. This Passage has been considered for Decades as an Evidence for a social and economic Reality of the XIIth Century presenting an unwonted Evocation of a supposed unfair exploitation of these Working girls. In a courtly Novel where feudal Realism is enhanced with the Myth of Folktales it was at least surprising. and should be justified. These young Ladies, Subjects of a King from « The Isle of Maiden », are Captives who Yvain rescues out of her Prison in triumphing over two diabolical Champions. Beside the Theme of a mythical Custom the Working girls' Lament remains difficult to understand in his economic Details. The shameful Situation the Girls are living should be reconsidered and it is necessary to re-examine the Structure of the Novel in order to understand the Signification and Integration of the Episode in it. A new Interpretation of the Words chosen by the Author for the Girls' Complaint could be fit to rejuvenate the Controversy upon its Signification. [ABSTRACT FROM AUTHOR]

Composed around 1177 Chrétien de Troyes's Yvain: The Knight of the Lion questions the ideals of the Arthurian court by portraying the adventures of a knightly figure, Yvain, who undergoes a psychological transformation following the disappointment that he has inflicted on his wife. Torn between the ideals of knighthood and the responsibilities that he is expected to fulfil as a husband, Yvain fails in ascertaining a stable position for himself--which in the long run earns him a fragmentary perception that prevents him from seeing the broader picture--that he can both be a good knight and a good husband. Only after Yvain's sense of self does get shattered and he loses his mind in the face of various humiliations and misadventures, his vision gets regenerated and he manages to prove himself as a worthy lover. Hence, the aim of this article is to present a detailed examination of the transformation that Yvain undergoes and to analyse the process in which he cleanses himself of his lack of true feeling and of foresight. [ABSTRACT FROM AUTHOR]

Copyright of Lemir is the property of Universitat de Valencia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Basado en los planteamientos de la lógica social del texto, este artículo presenta un estudio del público que escuchaba los romances corteses entre los siglo XII y XIII, específicamente los realizados por Chrétien de Troyes –clérigo lector de la Corte de Leonor de Aquitania y de Enrique II Plantagenet–, además de establecer y analizar las diversas salas de los castillos donde estas obras literarias eran narradas.

The medieval monachal model is marked out by the faith, by the power, by the morality. It is also shared between confidence and fear with regard to the power on the earth, but, certainly, all the clerks and the monks of the Middle Age know and assume the rule Redde Caesari quae sunt Cesaris and quae sunt Dei Deo. The medieval literature, the unfaithful mirror, is reflected in an incomplete and sometimes idealized way, the example of the hermit, but it constitutes in the essential source of its paradigm. I shall stop to Chrétien of Troyes and to its novels, they are the most glorious proof of the Renaissance of the 12th century.

Perceval grows up in the woodland solitude isolated from the courtly world and — at least so his mother intends — protected from the dangers of chivalry; this undertaking fails, however, for Perceval’s predestination to be a courtly knight through his noble birth wins out in the end. This article shows how the motif of the woodland solitude develops thematically: from an idyll disconnected from time and space in Chrétien de Troyes (Conte du Graal) and from a place which must be created and cultivated in the course of strategic settlement (Bliocadran) into Wolfram von Eschenbach’s Soltâne, an artificial paradise undermined by the acts of the characters living within it (Parzival), and into a fleeting episode in Ulrich Fuetrer’s text which the young man suddenly leaves, ‘after he became bored with his stay there’ (Buch der Abenteuer). [ABSTRACT FROM AUTHOR]

Copyright of Lemir is the property of Universitat de Valencia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

En este trabajo se expone el contraste entre las dos traducciones al francés y al castellano de Filomela, una de las fábulas de las Metamorfosis de Ovidio, realizadas en los siglos xii y xiii por Chrétien de Troyes y Alfonso X. Por medio del análisis y cotejo de tres momentos narrativos, veremos la forma en que la materia antigua es tratada según el contexto determinado en el que se producen las traducciones. La versión francesa hace énfasis en una dimensión cortés en donde el personaje femenino es altamente valorado; por su parte, la versión castellana reivindica una racionalización de la fábula ovidiana, supeditada a una visión política e histórica. Se puede constatar así que las traducciones medievales no son serviles con respecto a la fuente latina sino que demuestran una gran libertad en la selección y combinación de elementos.