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Estudio de las advertencias que introduce Jacobo de la Vorágine sobre la naturaleza apócrifa de algunas leyendas o ciertos elementos narrativos que incluye en su Legenda aurea. Partiendo de la teoría de G. P. Maggioni de que la mayor parte de estas advertencias fueron introducidas por el dominico en su segunda redacción de la obra (LA2), analizamos en qué medida y de qué manera son recogidas en la tradición catalana de la obra, y tomamos como base para nuestro trabajo la edición más reciente del texto latino (Maggioni 2007), y cuatro de los manuscritos más importantes de la tradición catalana. Con este estudio comparativo pretendemos aportar nuevos datos a la historia textual de la Legenda aurea catalana en relación con su posible modelo latino y comprobar en qué medida hay en ella preocupación por delimitar claramente lo ‘apócrifo’ de cara al público al que va dirigida. A study on Iacobus de Voragine’s warnings and observations about the apocryphal nature of some narrative elements within his Golden Legend. According to G. P. Maggioni's theory, most of these observations were inserted by Voragine in his second redaction of the work (LA2), and here we analyse to what extent and in what ways they are cited in the Legenda Aurea’s Catalan tradition, taking as the study’s basis the most recent edition of the Latin text (Maggion 2007) and four of the most important manuscripts of the Catalan tradition. We aim to provide new data about the textual history of the Catalan Golden Legend and its Latin model; and also, to find out to what extent the Catalan tradition was concerned with pinpointing its apocryphal material for the audience’s benefit. Este trabajo se inscribe en el marco del proyecto de investigación FFI2017-83950-P del Ministerio español de Ciencia, Innovación y Universidades.

Enrique de Villena (1384-1434), noble aficionado a las letras, autor bilingüe en catalán y castellano, residente algunos años (ca. 1416-1429) de manera intermitente en la corte valenciana de Alfonso V de Aragón y Juan de Navarra, influyó en el concepto de literatura del autor de la novela caballeresca Curial e Güelfa (Enyego d’Àvalos?), escrita en catalán (Nápoles-Milán, c. 1445-1448) y relacionable con la corte italiana del Magnánimo. El Curial presenta conexiones intertextuales con la obra de Villena, además de hápax y neologismos compartidos. Su autor conoció, sin duda, Los dotze treballs d’Hèrcules (Valencia, 1417) y parodió errores mitográficos de la Eneida romanceada, glosada y moralizada por Villena (Valencia, 1427-1429), dos obras a las que alude implícitamente en la suya. Ambos escritores difundieron el ideal del vir scientificus Hércules (Coluccio Salutati) como alegoría del esfuerzo que los caballeros sçientíficos/scientífichs ponían en estudiar los clásicos greco-latinos para crecer en virtud. Y ambos parece que anticiparon un «virgilianismo político» interpretable como la idea de embellecer literariamente los hechos históricos para eternizar la gloria militar en un digno formato., Enrique de Villena (1384-1434), a nobleman keen on arts, a bilingual author in Catalan and Spanish, who lived for some years (ca. 1416-1429) –in a sporadic way– in the Valencian court of Alfonso V of Aragon and John of Navarre, had an influence on the concept of literature to the author of the chivalric novel Curial e Güelfa (Enyego d’Àvalos?), written in Catalan (Naples-Milan, ca. 1445-1448) and which could be related with the Italian court of the Magnanimous. The Curial displays intertextual con-nections with Villena’s work, apart from shared hapaxes and neologisms. The author was aware of –undoubtedly– Los dotze treballs d’Hèrcules (Valencia, 1417) and parodied mythographic mistakes from the romanced, glossed and moralised Aeneid by Villena (Valencia, 1427-1429), two works that he alludes to implicitly in his own. Both writers spread the ideal of the vir scientificus Hercules (Coluccio Salutati) as an allegory of the effort the sçientíficos/scientífichs knights put on studying the Greek-Latin classics to grow up in virtue. And both seem to anticipate a «political virgilianism» which could be interpreted as the idea of embellishing literarily the historical events to perpetuate the military glory in a respectable format.

A cuantitative analysis of translations into medieval Catalan, Castilian, and Portuguese, taking into account the languages of origin, intermediary languages, and the distribution of subjects, based on information found in the PhiloBiblon database

This contribution is a further partial anticipation of the critical edition of the mythological faules of Joan Roís de Corella (15th century) for Barcino (ENC), after that appeared in Magnificat, vol.3, 2016. It focuses on one of the author's most mature and significant faules, as well as one of the most prestigious testimonies both of the presence of the myth of Ero and Leandro in the Iberian 15th century, and of the peninsular reception of the Heroides. The paper consists of two parts. In the first part, Introduction, the current situation of the studies related to the Istòria is first summarized. Next, the analysis of the literary memory that supports the discursive construction of the faula is provided, with the intent of demonstrating how the narration actualizes a game of mirroring, projections, refractions, intertextual references, and symbolic-allusive evocations that make res and characters the reviviscence of a plurality of classical and medieval models. Such a reviviscence results loaded of a new pathetic energy. The analysis is based on certain thematic words and specific topical-rhetorical matrices, reused either a lo profano or a lo divino, always within the idea of “dying together" and of love beyond death. It focuses on the communication strategies through which the text - a ficció sentimental, become a point of convergence of thematic, metaphorical and figural intertwinements, anchored to the Tristanian, lyrical-amorous, ausiasmarquiana, cancioneril and Passionist imagery of planctus virginis - transforms memory and reuse into an invention. The second part of the paper is the critical edition of the text. Anticipated by the Criteria of Edition, it contains the Text, with footnotes concerning the constitutio textus, and the Critical Apparatus.

En aquest article, a partir de l’elaboració del corpus complet de les unitats fràsiques (uf) del Llibre dels fets, s’hi estudien contextualitzades algunes de les locucions, fórmules i parèmies, a fi d’analitzar-ne els aspectes formals i les connotacions conceptuals i estilístiques que hi aporten. Alhora, s’hi ha atès l’evolució diacrònica d’aquestes uf, i, en el cas dels proverbis, s’han contrastat amb documentació concordant. També s’hi han tingut en compte algunes expressions metadiscursives recurrents, que s’han analitzat com a marques d’autoria rellevants. For the purposes of this article, a complete corpus of the phraseological units in the Llibre dels fets was compiled in order to study some of the idioms and proverbs in the text in the context in which they are used. The aim here was to analyze some of the text’s formal aspects and the conceptual and stylistic connotations that emerge from them. At the same time, the diachronous evolution of these phraseological units has been observed and, in the case of the proverbs, illustrated with supporting documentation. Some recurrent metadiscursive expressions have also been considered and analyzed as significant markers of the text’s authorship.

Presentación de: Llibre dels feits. Jaume I / introd. y trad. Mostapha Jarmouni Jarmouni. Madrid: IVITRA Editorial; Instituto Egipcio de Estudios Islámicos, 2017. (Clásicos del Mediterráneo; 2). ISBN 978-84-942629-8-2

The Vita Christi of Isabel de Villena is an excepcional work. She wanted to give live models to her sisters of religion, and that is why the role of the female protagonists of the life of Christ gain relief in the pages of his work. This article emphasizes the teaching of the abbess of the Trinitat present in this book and in other works known and now lost., La Vita Christi de Isabel de Villena es, sin duda, una obra excepcional. La autora deseaba dar modelos de vida a sus hermanas de religión, y es por esto que el papel de las protagonistas femeninas de la vida de Cristo ganan relieve en las páginas de su obra. En este artículo se hace hincapié en la voluntad didáctica de la abadesa de la Trinitat, presente en esta obra y en otros trabajos suyos conocidos y ahora perdidos.

La Vita Christi de Isabel de Villena es, sin duda, una obra excepcional. La autora deseaba dar modelos de vida a sus hermanas de religión, y es por esto que el papel de las protagonistas femeninas de la vida de Cristo ganan relieve en las páginas de su obra. En este artículo se hace hincapié en la voluntad didáctica de la abadesa de la Trinitat, presente en esta obra y en otros trabajos suyos conocidos y ahora perdidos. The Vita Christi of Isabel de Villena is an excepcional work. She wanted to give live models to her sisters of religion, and that is why the role of the female protagonists of the life of Christ gain relief in the pages of his work. This article emphasizes the teaching of the abbess of the Trinitat present in this book and in other works known and now lost.

Il contributo, che è un’anticipazione parziale dell’edizione critica integrale delle narrazioni mitologiche di Joan Roís de Corella (XV sec.) per Barcino (ENC), nasce dall’esigenza di rivedere la situazione testuale della faula in oggetto (Lamentació de Mirra, de Narciso, de Píramus i Tisbe) e di avanzare, dove necessario, nuove proposte di lettura. Esso consta di due parti, delle quali la prima contiene l’Introduzione, la seconda il Testo con note a piè di pagina, in cui si discutono questioni relative alla constitutio textus, l’Apparato e l’Apparato complementare. Nell’Introduzione si danno informazioni essenziali circa la tradizione manoscritta delle Lamentacions (altrimenti note come Lo jardí de amor) e le edizioni di cui sono state oggetto fino ad oggi; quindi si illustra in breve lo stato degli studi (pochi articoli) dedicati ad esse. Seguono riflessioni sulla coerenza diegetica e semantica del testo; sostanzialmente, ci si chiede perché l’autore combini i tre miti e come li amalgami, e quale sia il ruolo svolto da ciascuna delle tre figure esemplari; quindi, si mettono a fuoco i tratti di autonomia dell’opera rispetto alla formulazione ovidiana (o neo ovidiana) delle tre storie. Il contributo, che è un’anticipazione parziale dell’edizione critica integrale delle narrazioni mitologiche di Joan Roís de Corella (XV sec.) per Barcino (ENC), nasce dall’esigenza di rivedere la situazione testuale della faula in oggetto (Lamentació de Mirra, de Narciso, de Píramus i Tisbe) e di avanzare, dove necessario, nuove proposte di lettura. Esso consta di due parti, delle quali la prima contiene l’Introduzione, la seconda il Testo con note a piè di pagina, in cui si discutono questioni relative alla constitutio textus, l’Apparato e l’Apparato complementare. Nell’Introduzione si danno informazioni essenziali circa la tradizione manoscritta delle Lamentacions(altrimenti note come Lo jardí de amor) e le edizioni di cui sono state oggetto fino ad oggi; quindi si illustra in breve lo stato degli studi (pochi articoli) dedicati ad esse. Seguono riflessioni sulla coerenza diegetica e semantica del testo; sostanzialmente, ci si chiede perché l’autore combini i tre miti e come li amalgami, e quale sia il ruolo svolto da ciascuna delle tre figure esemplari; quindi, si mettono a fuoco i tratti di autonomia dell’opera rispetto alla formulazione ovidiana (o neo ovidiana) delle tre storie. This contribution is a partial anticipation of the integral critical edition of the mythological faules of Joan Roís de Corella(XV century) for Barcino (ENC). It derives from the need to revise the textual situation of the most representative faula of the initial Corellan narrative phase, namely Lamentació de Mirra, de Narciso, de Píramus i Tisbe, and to propose,where necessary, new textual lessons. It consists of an introductory section followed by a new edition of the text with its critical and complementary apparatuses. In the introduction, essential information is at first provided on the manuscript's tradition and previous editions of the Lamentacions, otherwise known as Lo jardí de amor, with reference to the few existing papers specifically dedicated to it. Then, reflections on the diegetic and semantic coherence of the Corellannarration follow, by inspecting on why the author combines and how he amalgams the three myths, and focusing on the traits of the faula’s autonomy from Ovidian (or neo-Ovidian) formulation of the three stories. This new edition of the faula is accompanied by footnotes, where questions related to the constitutio textus are discussed in detail.

Explicitació i aclariment de passatges amb expressions multiplicatives en textos medievals en català: (1) "Estar en quatre tants" (Facet); (2) "A cent doblàries" (Vita Christi d'Isabel de Villena); (3) "Doble és l'afany" (poema 1 d'Ausiàs March). An explicitation and clarification of three medieval Catalan texts' passages with multiplicative expressions: (1) "Estar en quatre tants" (Facet); (2) "A cent doblàries" (Vita Christi by Isabel de Villena); (3) "Doble és l'afany" (Ausiàs March, poem 1).

El Tractat de les penes particulars d’infern de Joan Pasqual, mestre en teologia i franciscà de Castelló d’Empúries, forma part d’una obra de divulgació teològica dividida en dos volums: el Llibre de beatitud, dedicat el 1436 a Joan Llull, conseller en cap de Barcelona, i el Llibre de pena, completat amb aquest Tractat que descriu teològicament les penes particulars de l’infern mitjançant fonts poètiques: l’Inferno de Dante, la primera redacció del Comentum de Pietro Alighieri i la tercera del De fabulis poetarum (o Ovidius moralizatus) de Pierre Bersuire. L’establiment del text crític consisteix en una emendatio del testimoni únic (Biblioteca de Catalunya, 468, ff. 164-207) assistida per aquestes fonts i llur tradició manuscrita, que és objecte d’un extens estudi complementari. L’estudi introductori aporta dades documentals inèdites que permeten traçar una biografia de Joan Pasqual i descriure el context cultural que l’induí a adoptar Dante com a model, The Tractat de les penes particulars d’infern, by Joan Pasqual, a Master of Theology and Franciscan from Castelló d’Empúries, is part of a work of theological diffusion divided in two volumes: the Llibre de beatitud, dedicated in 1436 to Joan Llull, chief counselor of Barcelona, and the Llibre de pena, including this Tractat intended for the theological description of the particular punishments in hell, although its main sources are poetical: Dante’s Inferno, the first draft of the Comentum by Pietro Alighieri and the third draft of De fabulis poetarum (or Ovidius moralizatus) by Pierre Bersuire. The establishment of the critical text consists on an emendatio of the unique manuscript (Biblioteca de Catalunya, 468, fol. 164-207), assisted by these sources. The introductory study contributes some unpublished documentary data which enables to trace a biography of Joan Pasqual and to describe the cultural context that induced him to take Dante as a model

Reflexiones sobre la importancia del análisis de los cancioneros religiosos y sobre las dificultades con las que puede tropezar su estudio: fundamentalmente, la detección de los modelos y fuentes de las obras que en ellos se contienen y la fijación de los límites que los separan de otros textos religiosos o de devoción. Se ejemplifican estos problemas en el llamado Cançoner sagrat de vides de sants, ordenado no al estilo de los legendarios, sino sobre la base de conceptos religiosos (el sufrimiento y la virtud de los santos, la cruz, la pasión y muerte de Cristo…), y articulado como un cancionero «intencional»., Reflections on the importance of the analysis of the religious cancioneros and the difficulties with which your study might come across: mainly, the detection of the models and sources of the works which are contained in them and the fixing of the limits that separate them from other religious texts. This problems are exemplified in the so called Cançoner sagrat de vides de sants, which is arranged not in the ways of the legendary but based on religious concepts (the suffering and the virtue of the saints, the cross, the passion and the death of Christ…), and constructed as an «intentional» cancionero.

Aquest article ofereix un panorama històric dels formats digitals emprats al segle XX en un petit camp de les Humanitats: la filologia catalana medieval, com a exemple de moltes altres àrees de recerca similars, no avantguardistes, i centrades en estudis textuals. S'hi mostra que la gestió textual i de vocabulari, així com les bades de dades lèxiques i bibliogràfiques, van constituir els seus primers projectes. L'article conclou amb una brevíssima valoració dels desafiaments digitals en el futur immediat, especialment en eines de publicació: pdf front a epub, i l'accelerat procés de compartir la recerca més recent a través de les xarxes socials d'investigadors. S'hi defén la via de la cultura en obert, i els acords de dades en obert, fonamentalment a través de Creative Commons. This article offers a historical survey of the twentieth-century digital formats used in a small field of the Humanities, medieval Catalan philology, as representative of many other non avant-garde, text-centred areas of humanist academic research: Word- and text management, alongside with lexical and bibliographical databases, were its first digital endeavours. The article concludes with the briefest assessment of digital challenges for the immediate future, with an emphasis on publishing tools: pdf versus epub, and the acelerating process of sharing the newest research through the new academic social networks. Open culture and open-data agreements, mainly through Creative Commons, are advocated.

Reflexiones sobre la importancia del análisis de los cancioneros religiosos y sobre las dificultades con las que puede tropezar su estudio: fundamentalmente, la detección de los modelos y fuentes de las obras que en ellos se contienen y la fijación de los límites que los separan de otros textos religiosos o de devoción. Se ejemplifican estos problemas en el llamado Cançoner sagrat de vides de sants, ordenado no al estilo de los legendarios, sino sobre la base de conceptos religiosos (el sufrimiento y la virtud de los santos, la cruz, la pasión y muerte de Cristo...), y articulado como un cancionero «intencional». Reflections on the importance of the analysis of the religious cancioneros and the difficulties with which your study might come across: mainly, the detection of the models and sources of the works which are contained in them and the fixing of the limits that separate them from other religious texts. This problems are exemplified in the so called Cançoner sagrat de vides de sants, which is arranged not in the ways of the legendary but based on religious concepts (the suffering and the virtue of the saints, the cross, the passion and the death of Christ...), and constructed as an «intentional» cancionero.

Estudi de la consideració de la prosa d'Isabel de Villena com a "afectiva" per la crítica literària al llarg dels segles. Se sosté que aquesta prosa no és més afectiva que la de la resta de vitae Christi. Es presenta una catalogació de l'ús de diminutius en aquesta autora, i es mostra que en va fer un ús molt més escàs que no es pensava abans. A study of the consideration of Isabel de Villena's prose as "affectionate" by the literary critics throughout the ages. It is maintanied that her prose is no more affectionate than the rest of vitae Christi's. A cataloguing of the use of diminutives by Villena is presented, and shown that she used diminutives much more scarcely that was believed before.

En aquest article, Fèlix Manel Alarcon prova d’aprofundir en el coneixement d’una de les vides més populars de l’hagiografia medieval: la del pare dominic Vicent Ferrer. Més enllà de la visió popular que se n’ha transmés a base de devocionaris i rondalles, l’aportació d’Alarcon té en consideració diverses fonts medievals i actuals per a definir els perfils del personatge al voltant de tres eixos: «El naixement i la joventut», «El predicador» i «Sant Vicent Ferrer en els nostres dies». In the present paper, Fèlix Manel Alarcon aims to further improve the knowledge on one of the most popular lifes in Medieval hagiography: that of the Dominican Father Vicent Ferrer. Beyond the popular view that has been transmitted through devotionals and popular tales, Alarcon’s contribution takes into consideration several Medieval and current sources to define the character’s profile around three axes: «Birth and youth», «The preacher», «Saint Vicent Ferrer in our days».

Estudio interdisciplinar, a la vez literario e histórico sobre la literatura de estados "estados en que biven los omnes", limitado aquí a los esquemas triestamentales, pero con varios ensayos de tipología que abarcan el conjunto de dicho tema literario. Se estudian tanto su vertiente discursiva como también su fecundidad narrativa sobretodo en la hagiografía y sus derivados. Se hace hincapié en la aportación hispánica a esta temática, común a la cristiandad latina y precursora de la sociología, con Isidoro de Sevilla, la Collectio hispana, Tajón de Zaragoza, Ramón Llull, Rodrigo Sánchez de Arévalo y Ramón Sibiuda., With interdisciplinar approach, at the same times literary and historical, the a. studies the Literature of status hominum, "estados en que biven los omnes", limited here to the social triads but proposing tipologies for the whole field of this literary theme. The a. analyzes its discursive face as much as its narrative fecondity in hagiografic genres. He emphatises also the Hispanic contribution to this thematic, commun to the whole Latin christendom and precursory of sociology, with Isidoro de Sevilla, the Collectio hispana, Tajón de Zaragoza, Ramón Llull, Rodrigo Sánchez de Arévalo and Ramón Sibiuda.

A new, philological edition of the marginal notes in Andreas Capellanus’ «DeAmore’s» medieval Catalan translation, uniquely preserved in Real Biblioteca de Madrid’s manuscript II-3096 (I), accompanied by transcriptions of the sentence or paragraph which each note refers to. These notes are thematically classified in four groups and described so as to outline their medieval annotator’s main interests.

Jordi de Sant Jordi uses more than thirty comparisons in his lyric poetry. These may be classified on the basis of their typology and semantic functions: true comparisons (where two elements are compared by means of a connector, the first being defined as ‘real’ and corresponding to the situation of the lyric persona, the second, figurative, presenting in metaphorical terms the same characteristics as the first element); comparisons between the ‘real’ situation and that of an unspecified human being, to which reference is made by means of the demonstrative ‘the one’ («axí com cell...»); hyperbolic comparisons, where the ‘real’ element is given hyperbolically as having to the same or to a greater extent a quality for which the second element is the example par excellence (‘stronger than Hercules’). Finally, we have identified a particular figure —which we have called an ‘abbreviated priamel’— whereby two situations are given between which the lyric persona must choose, stating that it prefers one and not the other.

The «Elegia di madonna Fiammetta» has an evident impact of the story of Leandre and Hero, especially in the moments in which the lady suffers while waiting for her lover, who never comes. Fiammetta makes obvious this parallelism on several occasions, and manages to invent an end for the story loaded of pathos. Joan Roís de Corella realises about this relationship between both two works and makes the inverse path: he uses the tone and some narrative elements of the Elegia for writing his Leander and Hero. It is demonstrated that the so contreversial end of Corella’s story is not original of the Valencian, but it also depends on Boccaccio’s text

[ENG] The Occitan «mala cansó» of the twelfth and thirteenth centuries and the Catalan «maldit» of the fourteenth and fifteenth centuries both display a singular aspect of medieval literary misogyny. In both cases criticism is not levelled against women in general, but against a particular lady who has been previously loved by the poet and is now rejected. The poet blames her directly and harshly because, after leaving him, she has given herself to a man from an inferior social background. As a result, the poet bids farewell to her and moves away. Some of the Catalan poets of the Middle Ages persisted in this literary outlet. They borrowed for their own «maldits» the motifs and expressions that were characteristic of the break-up and the violent farewell, and adapted them to their own language and to the bourgeois environment of the towns.

Tal com revela sovint la terminologia amb què els traductors medievals es refereixen a la seva activitat, la traducció no es pot desvincular de les pràctiques acadèmiques de la glossa i el comentari. La incorporació d'aquests instruments interpretatius en les traduccions del llatí a les llengües vulgars, afegida a altres manipulacions de caràcter formal, modifica el valor i la fesomia dels textos traduïts i en condiciona la recepció, la lectura i les possibilitats d'explotació literària. Aquest article descriu i il·lustra aquests fenòmens a partir de traduccions medievals catalanes i, més particularment, mostra com Ausiàs March i Joanot Martorell van saber convertir les traduccions de les Tragèdies de Sèneca i de les Heroides d'Ovidi, filtrades per la prosificació i els comentaris, en models de retòrica i d'estil. As is often revealed in the terminology medieval translators used, translation cannot be considered apart from the academic practices of gloss and commentary. In translations from Latin into the vernaculars, the value and character of translated texts is conditioned by these hermeneutical instruments as well as by formal manipulations. Their reception, their reading, and the possibilities of their literary exploitation are therefore affected. This paper aims to describe and illustrate these phenomena in Catalan medieval translations. More particularly, it aims to show the way in which Ausiàs March and Joanot Martorell managed to turn translations of Seneca's Tragèdies and Ovid's Heroides, already modified by prosification and commentary, into rhetorical and stylistic models.

This 1987 PhD dissertation, was de facto supervised by professors Lola Badia (Universitat de Barcelona) and Alan Deyermond (Queen Mary University of London), although, because of legal limitations at that time, supervision was officially signed by another professor). This was a pioneer work in the field of women’s studies, particularly in the so-called “querelle des femmes”, although, as the dissertation study specifies, this label would only become known as such in post-medieval times. This work, then, does not deal with all misogynistic references in the whole corpus of medieval Catalan literature (that would be quite impossible in one publication), but only with those texts arguing for or against women in the context of the medieval literary debate on whether women were inherently good or evil. Therefore, an inventory, analysis, and history of the medieval Catalan works engaged with the literary debate on women is presented, work after work. Each topic within this debate is put into its western European context, with a special attention to medieval Latin, French and Occitan works with which the Catalan texts engage or follow. Works studied include: --Troubadour times, with an eye to secular as well as clerical works (including Ramon Llull’s), and within this chapter, troubadour Cerverí de Girona and his debate works, with a special attention to his Maldit bendit, in which this debate develops in detail. Latin as well as vernacular sources are established for it. --Fourteenth century, with attention to lyrical poems, including Jaume March and Pere March, followed by clerical literature, especially Francesc Eiximenis’s Llibre de les dones and Crestià; also the Facet, an educational text translated from a twelfth-century Latin original, as well as the anonymous Sermó del bisbetó, finally focusing on the debate on women within Bernat Metge’s Lo somni, which is dissected in detail, and its cultural references put in context. --Fifteenth century, which is the longest part of this dissertation, as witnesses are more abundant. The chapter starts with a survey of what would happen in neighbouring contemporary Castile, and the problems that would arise when debate on women, usual in Catalan literature, starts arriving in that kingdom (which, unlike most parts of Europe, had kept quite apart from this literary debate). After that, it studies some lyrical works that deal with debate on women, and establishes its cultural debts: Jordi de Sant Jordi, Ausiàs March, Ramon Boter, the Conhort, and the Bendir de dones are analyzed. After that, a survey of this debate on fifteenth-century narrative works is presented, with an eye to a fabliau, Francesc de la Via’s Llibre de fra Bernat, and then to Tirant lo Blanc, Curial e Güelfa, the spectacular pro-feminist Vita Christi by Isabel de Villena, and Joan Roís de Corella’s Triumfo de les dones. But the protagonist of this chapter is Jaume Roig’s Espill, which deals with this debate, taking the anti-feminist part with a force not previously known in western Europe. This formidable inventory of misogynistic topics is dissected and each topic put in its cultural context. This last part would become the origin of Rosanna Cantavella’s later monograph Els cards I el llir: una lectura de l’“Espill” de Jaume Roig (Quaderns Crema, 1992). In sum, this pioneer dissertation shows that this kind of literary production in Catalan followed quite general western European patterns, and especially French models (among many others, Jean de Meung’s Roman de la Rose), which are identified and given the necessary acknowledgement. This 1987 PhD dissertation, was de facto supervised by professors Lola Badia (Universitat de Barcelona) and Alan Deyermond (Queen Mary University of London), although, because of legal limitations at that time, supervision was officially signed by another professor). This was a pioneer work in the field of women’s studies, particularly in the so-called “querelle des femmes”, although, as the dissertation study specifies, this label would only become known as such in post-medieval times. This work, then, does not deal with all misogynistic references in the whole corpus of medieval Catalan literature (that would be quite impossible in one publication), but only with those texts arguing for or against women in the context of the medieval literary debate on whether women were inherently good or evil. Therefore, an inventory, analysis, and history of the medieval Catalan works engaged with the literary debate on women is presented, work after work. Each topic within this debate is put into its western European context, with a special attention to medieval Latin, French and Occitan works with which the Catalan texts engage or follow. Works studied include: --Troubadour times, with an eye to secular as well as clerical works (including Ramon Llull’s), and within this chapter, troubadour Cerverí de Girona and his debate works, with a special attention to his Maldit bendit, in which this debate develops in detail. Latin as well as vernacular sources are established for it. --Fourteenth century, with attention to lyrical poems, including Jaume March and Pere March, followed by clerical literature, especially Francesc Eiximenis’s Llibre de les dones and Crestià; also the Facet, an educational text translated from a twelfth-century Latin original, as well as the anonymous Sermó del bisbetó, finally focusing on the debate on women within Bernat Metge’s Lo somni, which is dissected in detail, and its cultural references put in context. --Fifteenth century, which is the longest part of this dissertation, as witnesses are more abundant. The chapter starts with a survey of what would happen in neighbouring contemporary Castile, and the problems that would arise when debate on women, usual in Catalan literature, starts arriving in that kingdom (which, unlike most parts of Europe, had kept quite apart from this literary debate). After that, it studies some lyrical works that deal with debate on women, and establishes its cultural debts: Jordi de Sant Jordi, Ausiàs March, Ramon Boter, the Conhort, and the Bendir de dones are analyzed. After that, a survey of this debate on fifteenth-century narrative works is presented, with an eye to a fabliau, Francesc de la Via’s Llibre de fra Bernat, and then to Tirant lo Blanc, Curial e Güelfa, the spectacular pro-feminist Vita Christi by Isabel de Villena, and Joan Roís de Corella’s Triumfo de les dones. But the protagonist of this chapter is Jaume Roig’s Espill, which deals with this debate, taking the anti-feminist part with a force not previously known in western Europe. This formidable inventory of misogynistic topics is dissected and each topic put in its cultural context. This last part would become the origin of Rosanna Cantavella’s later monograph Els cards I el llir: una lectura de l’“Espill” de Jaume Roig (Quaderns Crema, 1992). In sum, this pioneer dissertation shows that this kind of literary production in Catalan followed quite general western European patterns, and especially French models (among many others, Jean de Meung’s Roman de la Rose), which are identified and given the necessary acknowledgement.