Search

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.

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.

Французский кинематограф 1970-х получил в искусствоведении массу противоречивых оценок и осмыслений. До сих пор способы и механизмы обращения режиссеров «Новой волны» к средневековому эпосу не получили теоретических объяснений. Автор статьи выявляет, насколько далеко режиссер фильма «Персеваль Валлиец» Эрик Ромер уходит от традиций экранизации куртуазной литературы. Оригинальные выводы: режиссер свободно варьирует художественные приемы средневековых романов, эпохи модерна и постмодерна. Гиперманьеризм проявляется в ироничном обращении с «пышно» описанными эпизодами сражений, укорачивании «богатых» и распространенных диалогов оригинального романа. Неоэкспрессионизм - в отсылках к немецкому кино 1920-х через характерные декорации. Музыка фильма расставляет важные акценты и обозначает связь между персонажами, обогащая художественную ткань фильма., French cinema of the 1970s received a lot of contradictory assessments and thoughts in art history. Until now, the methods and mechanisms of the New Wave directors’ appeal to the medieval epos have not received theoretical explanations. The article focuses on the image of one of the central characters in the medieval epos - Knight Gawain - in the movie Perceval le Gallois (1978) by Eric Rohmer (1920-2010). Using techniques of a cross-disciplinary analysis, the author for the first time compares the film and the medieval chivalric romance Perceval, the Story of the Grail by Chretien de Troyes (c. 1135-1180/1190). The author makes original observations. In terms of expressive means, the director freely varies artistic touches of the medieval epos, the era of the modernist style and postmodernism, thus forming a vertically multidimensional text lying in the plane of conceptual art. The author determines the artistic landmarks of the film: hypermannerism is manifested in the ironic treatment of the “lavishly” described episodes of battles, shortening the “rich” and lengthy dialogues of the original romance. Neo-expressionism is also observed in references to the German cinema of the 1920s through characteristic scenery. The author uses the methods of semiotic, comparative, and historical-film analysis developed in the works of such classics of art criticism as Siegfried Krakauer, Georges Sadoul, Gilles Deleuze. The author concludes that the image of Gawain in the text of the romance seems almost flawless. For Gawain, the concept of knightly honor is defining and the most important. At the same time, Gawain’s behavior can be described as “courtly philandering”. In the film, Gawain is even more perfect: he is not a hedonist, but a knight without fear and reproach. The means of expression indicate a connection between Gawain and the main character Perceval - they are both the strongest knights of the Round Table. At the same time, calm, reasonable, always true to himself, Gawain acts as the opposite of the ardent, passionate, changing protagonist in the course of the narrative. The director of the film clearly demonstrates a break with the traditions of big historical films, presenting an original interpretation of the medieval epos.

Le cortège est une pratique sociale fortement ritualisée et éminemment narrative. C'est sa représentation littéraire qui est l'objet de cette thèse de doctorat, dans les romans courtois français des XIIe et XIIIe siècles. Loin de n'être que l'occasion pour le poète de montrer son habileté dans l'art de la description, la scénographie des cortèges ­-et en particulier celle du cortège du graal et celle du défilé de la Mesnie Hellequin-est l'occasion d'interroger le récit et d'en approfondir l'interprétation, que cela concerne la trame de celui-ci, ses personnages, ses motifs ou encore l'art même de le conter. Le cortège littéraire peut être considéré, par mise en abyme, comme un micro-récit dans le récit principal qui offre une image du roman et condense les enjeux de ce dernier. La relation entre roman et cortège s'enrichit encore dès lors que plusieurs cortèges entrent en dialogue dans un même roman ou par le biais de l'intertextualité.

application/pdf, 14世紀中英語韻文ロマンスSir Percyvell of Gales はその原典を12世紀後半Chrétien de Troyes が著したPerceval ou le Conte du Graal に求められる。特筆すべき両者の違いは，Sir Percyvell of Gales における主人公の滑稽な人物像とそれによって創り出された作品自体が持つ喜劇性にある。とりわけ通常騎士が乗ることのない牝馬は少年Percyvell の滑稽な人物像を創り上げることに大きく貢献している。しかし他の中英語騎士物語などと比較しながら牝馬とPercyvell とのやり取りを詳細に分析すると，牝馬というモチーフが笑いを誘う主人公の人物描写や作品そのものへの喜劇性の付与という機能を持つだけではなく，騎士物語の一つの伝統として見られる少年に生得的に備わっていた騎士としての資質を示す役割も担っていることが見えてくる。

This dissertation presents the results of a cross-cultural study of emotive representation in several European versions of one Arthurian story, that of the Knight with the Lion. It offers an intertextual comparison of the (re)drawing of emotionality in Chrétien de Troyes’s Yvain ou le chevalier au lion (1170–90) and its first generation translations that came about from the early thirteenth until the early fourteenth century. Methodologically, the study adopts the recently developed theoretical approach of analysing and comparing these medieval narratives by means of their underlying emotive script. Together with the emotional lexis of a text, an emotive script is made up of generically predetermined emotional codes that constitute ways of narrating emotion. These linguistic and literary means for displaying emotionality, i.e. the vocabulary and narrative strategies that make an emotional representation meaningful to an audience, have been shown to deviate between literary traditions, sometimes quite significantly. This meant that, along with the introduction of Yvain to other European textual traditions, came foreign linguistic and cultural codes that will very likely have included emotional signifying systems. This dissertation sheds light on this textual transferral (translatio) and explores what happens when emotive scripts of different literary traditions meet in the process of cross-cultural translation. How have the different textual traditions rendered any unfamiliar representations in the process of adapting the story to new literary contexts? What linguistic, (socio-)cultural and/or generic divergences regarding the literary representation of emotion does a comparative close reading of these narratives bring to light? More specifically, how did translators ‘mediate’ any incompatibilities between emotive scripts into meaningful renditions for their audiences? The questions posed are explored in the form of three case studies. In addition to discussing different vernacular literary traditions, each case study highlights varying narrative strategies for the staging of emotion. Chapter one examines poetic imagery and metaphorical representations of the heart in the Old French Yvain and the Old Norse-Icelandic Ívens saga, occasionally drawing on the Old Swedish Hærra Ivan as well. Chapter two foregrounds the emotional behaviour of characters as mediated through gesture and speech in Yvain and its Middle High German rendition Iwein. In addition to studying emotion as an individual phenomenon, chapter three explores the representation of collective emotions for Yvain, Ívens saga and the Middle English Ywain and Gawain. Together these case studies help us to gain insight into the adaptation process that emotive representation in the story of the Knight with the Lion underwent in order to make it speak to new cultural audiences., Í rannsókn þessari birtast niðurstöður þvermenningarlegrar rannsóknar um framsetningu tilfinninga í nokkrum evrópskum útgáfum einnar af Arthúrssögnunum, eða sögunni um riddarann og ljónið, þ.e. Yvain eða Ívens saga á íslensku. Í rannsókninni er notaður textasamanburður til að greina breytingar á framsetningu tilfinninga í sögu Chrétien de Troyes, Yvain ou le chevalier au lion (1170–90) og fyrstu þýðingum hennar sem birtust snemma á þrettándu öld og fram að byrjun fjórtándu aldar. Aðferðafræði rannsóknarinnar byggir á nýlegri hugmyndafræðilegri nálgun sem nýtir undirliggjandi tilfinningalegar forskriftir (e. emotive script) til greiningar og samanburðar á miðaldasögunum. Tilfinningalegar forskriftir byggja á ákveðnum hegðunarmynstrum sem eru notaðar til að miðla tilfinningum ásamt tilfinningalegum orðaforða innan textans. Málvísindalegar og bókmenntafræðilegar aðferðir sem bera á borð tilfinningasemi, þ.e. orðaforði og frásagnarháttur þar sem framsetning tilfinninga er þýðingamikil fyrir áheyrendur, virðist vera breytileg milli bókmenntahefða, í sumum tilfellum er mismunurinn verulegur. Þetta þýðir að þýðingin á Yvain bar með sér ýmis menningarbundin tákn, þar með talið forskriftir að tilfinningalegri hegðun. Þessi rannsókn varpar ljósi á þennan textaflutning (translatio) og kannar afleiðingar þess þegar tilfinningalegar forskriftir mismunandi bókmenntahefða mætast í gegnum þýðingaferla mismunandi menningarheima. Hvernig hafa mismunandi textahefðir veitt framandi framsetningu nýjan farveg í gegnum aðlögun sögunnar að nýju samhengi? Hvaða tungumálalegu, menningarlegu og tilfinningalegu frávik getur nákvæmur samanburður frásagnanna leitt í ljós? Ennfremur má spyrja hvernig þýðendur miðla ósamræmi milli tilfinningalegra forskrifta til nýrra áheyrenda? Framangreindum spurningum er hér svarað með rannsókn á þremur birtingarmyndum slíkrar miðlunar. Auk þess sem kaflarnir varpa ljósi á mismunandi bókmenntahefðir, þá draga þær einnig fram mismunandi frásagnarhátt þegar kemur að sviðsetningu tilfinninga. Í fyrsta kafla erljóðrænt myndmál tengt framsetningu hjartans í forn-frönsku sögunni Yvain og hinni fornnorsk-íslensku Ívens sögu kannað. Þá er einnig fornsænska þýðingin Hærra Ivan notuð til samanburðar. Í öðrum kafla er tilfinningatengd hegðun persóna í forgrunni, eins og henni er miðlað í gegnum látbragð og málfar í Yvain og í þýðingu hennar á mið-háþýsku í Iwein. Í þriðja kafla er ekki aðeins rýnt í tilfinningar sem einstaklingsfyrirbæri, heldur er jafnframt kannað hvernig hóptilfinningar birtist í sögunum Yvain, Ívens sögu og hinni miðensku Ywain and Gawain. Saman veita þessar sagnaútgáfur okkur innsýn í aðlögunarferlið sem tilfinningaleg framsetning sögunnar um Yvain undirgekkst til að ná til mismunandi menningarhópa og áheyrenda., University of Iceland Research Fund; Icelandic Research Fund (Rannís)

Swer rehtiu wort gemerken kan, der gedenke wie ein wîse man hie vor bî alten zîten sprach, dem sît diu welt der volge jach. 5 in dûhte der niht wol gemuot der al der liute willen tuot. den frumen haʒʒent ie die zagen : daʒ s...

1 Le texte dont la traduction suit devrait pouvoir retenir l’attention d’une médiévistique soucieuse d’apprécier le degré d’adéquation existant entre un « objet culturel » provenant d’un âge prénational et des démarches critiques inspirées par le désir de sortir des limites des philologies nationales. Ou bien, en effet, le Lanzelet est par nature un texte qui appelle une telle approche parce qu’il est le produit de contacts successifs entre différentes aires culturelles et qu’il fait le pont ...

�������������� �� �������������������������� �������������������������������� �������������������� �������������������������� ���������������������������������� ������������ ���������� �� ���� ����������������-�������������������� ������������ ��� ���������������������� ������������ ��������������������, ������ ���������������� �� �������������� ���������������� ���� �������� (����.1135 ��� 1180/ 1190), ������ ������������������ ������������ �� ���������� �� ������������������������ ����������������������: ���������������� ���������� ���������������� ���������������������� ���������������� �������������� ������������������������ ��������������, ������������������, �������������� ���������������������� ���������������������������� ������������ ���������������������������� ����������, ���������� �������������� �� ����������������������, ���������������� ����������������������-���������������������� ��������������. ���������������������� �������������������������� ���������������������� ��������������, ���������������� �������������� ������������, �������������������� ������������������������ ������������ ����������������������., The author of the article considers the interpretation of the image of Perceval in the film Perceval le Gallois (1978) directed by Eric Rohmer (1920���2010). For the first time in domestic art history, the author carries out a comparative interdisciplinary analysis of the film and its historical and cultural basis ��� the courtesy novel Perceval, the Story of the Grail by Chr��tien de Troyes (c. 1135���1180/1190). The research methodology is based on the classical works of Siegfried Kracauer, Georges Sadoul, Gilles Deleuze and includes methods of historical and film studies, semiotic, comparative, and musical analysis. The interdisciplinary approach made it possible to come to new and original conclusions (although Eric Rohmer closely adheres to the text of the novel, he still uses expressive means freely and diversely ��� in the spirit of postmodern). Observations have been made regarding the aesthetic and artistic focuses of the film (the director boldly brushes off the established traditions of great historical films, mixes the artistic techniques of the medieval epic, the era of Art Nouveau and postmodernism, and forms a vertically multidimensional ���text��� lying in the plane of conceptual art). The following conclusions have been made. Perceval by Chr��tien de Troyes as a traditional hero of the medieval epic is associated with nature. Each new episode highlights and enriches this connection. Perceval by Eric Rohmer is independent of nature and led by internal motives (search for fame, recognition as a knight), he acts more actively and independently. The director removes irreal locations from the film, leaving only one ��� the Fisher King���s castle ��� and emphasizing the sense of the scene in it. The traditional epic flashes forward (prophecies, text cropping, director���s episodes insertion) play an important role in the film. The musical accompaniment allows deepening and expanding the cultural space of the film: it not only plays the role of a voice-over narrator, but also places emphasis, links sections of the film, and becomes an integral part of the media text. Eric Rohmer���s film demonstrates a powerful drive forward in the field of film adaptation of the medieval epic.

Le choix de cet auteur du xiie siècle – le premier de la longue liste glorieuse de la littérature française – est motivé par son statut. L’analyse sera circonscrite au thème – langages du pouvoir au Moyen Âge – liée à la dialectique masculin / féminin et à ses manifestations romanesques, discursives, corporelles chez Érec et Énide et leurs compagnons. Ils procèderont à des jeux incessants, signes indubitables de la (re)prise ou, au contraire, de la perte du pouvoir de domination.

espanolEste articulo pretende demostrar que la consideracion de usos puntuarios interesantes pero aislados en los textos medievales lleva en ocasiones a conclusiones precipitadas. Analizamos, en concreto, la puntuacion de Yvain en el manuscrito BnF Fr. 12560, codice en el que los versos se hallan puntuados de modo practicamente sistematico a final de verso. Los llamativos casos en que se produce ausencia de puntuacion en ese contexto parecen responder a una primera explicacion: tal ausencia se deberia a la presencia de palabras gramaticales y a una forma de continuidad sintactica. Pero esta explicacion no es suficiente, cuando contrastamos los casos de ausencia y los casos de presencia de puntuacion, en un estudio del texto en su conjunto. EnglishThis paper investigates the punctuation of Yvain in the manuscript BnF Fr. 12560 and demonstrates that focusing on interesting details only leads to misleading conclusions. Most verses are marked by a final punctuation mark. The more seldom cases that display no punctuation mark draw attention and require an explanation. By examining only these specific cases, we could think that the presence of function words and the continuity of syntactic structures from one verse to the next are valid explanations. However, such conclusions do no hold if the whole text is taken into account. Indeed, the contrast between the presence and the absence of punctuation is not strong enough. francaisDans cette contribution, il est montre que la prise en consideration exclusive de details interessants mene a des conclusions hâtives. Quand on examine le texte d’Yvain dans le manuscrit BnF Fr. 12560, on observe que ce dernier est ponctue de facon pratiquement systematique en fin de vers. Les cas ou la ponctuation manque attirent l’œil et reclament une explication. En observant uniquement ces cas, on a l’impression que cette explication est claire : c’est la presence de mots-outils et celle d’une forme de continuite syntaxique qui expliquerait cette absence. Toutefois, quand on prend en consideration l’ensemble du texte et que l’on met en contraste les cas ou la ponctuation manque et ceux ou elle est presente, il n’est plus possible de tirer de conclusions.

La famiglia lessicale di acoint è ben attestata in anticofrancese e da qui il suo impiego si è diffuso nelle altre lingue romanze e in quelle germaniche. Nella narrativa medievale, e in particolare nei romanzi arturiani tanto in versi che in prosa, essa ricorre nella rappresentazione della società di corte con le sue relazioni e con i suoi incontri tanto quotidiani che eccezionali. Tra Chrétien de Troyes e il Lancelot en prose, è in effetti possibile riconoscere alcune tendenze condivise e per esempio isolare, tra gli impieghi dei lemmi della famiglia come parole-tema, alcuni casi di impiego come parola-chiave. Si constata tuttavia una differenza nel modo in cui l’impiego come parola-chiave si realizza nei testi in versi e in quelli in prosa. Mentre nei primi sono soprattutto i procedimenti di tipo retorico-stilistico, in particolare figure di parola, a determinare lo scarto rispetto all’impiego come parola-tema, nei secondi la marcatura avviene invece per mezzo di figure di pensiero e meccanismi narrativi, dal gioco di riprese a distanza all’alternanza dei piani percettivi e cognitivi., Carte Romanze. Rivista di Filologia e Linguistica Romanze dalle Origini al Rinascimento, V. 8 N. 2 (2020)

A lenda do Rei Artur deu origem a um dos grandes gêneros da literatura ocidental, que ficou conhecido como romance de cavalaria ou romance arturiano. Na obra Romances da Távola Redonda(1998), do escritor francês Chrétien de Troyes (1130-1191), há quatro narrativas pertencentes ao gênero mencionado e, dentre elas, selecionamos Cliges ou a que fingiu de morta para analisar e comentar os aspectos que nos permitem considera-la como um texto que se filia ao gênero da ficção de cavalaria, tais como a idealização das personagens, os constantes torneios e batalhas, o amor cortês, o final feliz.

Dictionnaire de la Méditerranée, sous la direction de Dionigi Albera, Maryline Crivello et Mohamed Tozy, en collaboration avec Gisèle Seimandi, Actes Sud, 2016, 1694 p., ISBN 978-2-330-06466-2., Imprimés, Dicomed-179, DicoMed : Dictionnaire de la Méditerranée

International audience