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À l’aube des traditions littéraires en langue vernaculaire, le discours amoureux galloroman se présente d’emblée comme figé au sein d’un système discursif dont l’expression de la joie représente l’un des vecteurs principaux. Dans les traditions d’oc et d’oïl, cependant, elle apparaît sous des formes qui sont assimilables uniquement dans la projection collective du gaudium, tandis que la manifestation d’un joi (ou d’une joie) intime acquiert des sens et adopte des contextes complètement divergents. At the beginning of vernacular literatures in medieval Europe, courtly love in gallo-roman traditions appears as fixed within a discursive system in which the expression of joy is one of the main vectors. In the Oc and Oïl traditions, however, it appears in forms that can only be assimilated in the collective projection of the gaudium, while the manifestation of an intimate “happiness” acquires completely divergent meanings and adopts completely different contexts.

The Old French epic poem La Prise d’Orange (late 12th-early 13th c.) systematically treats the conventional motifs, narrative patterns, characters and style of the chanson de geste with a comedic irreverence and an ironic distance that have led it to be labeled “the courtly parody of an epic,” but the text remains fundamentally organized by the generic paradigm from which it pointedly deviates. In Genettian terms, the Prise’s dominant hypertextual operation is travesty, which burlesques a prestigious text or story by recasting its characters and action in a ridiculously incongruous style—here, the narrative and rhetorical style associated with courtly discourse. The Prise cultivates a somewhat anxious enjoyment of its subversion of epic norms by thematizing the “folly” of its protagonist, Guillelme, whose absurd impersonation of a courtly lover casts doubt upon his legitimacy as an epic hero and the Prise’s “authenticity” as a chanson de geste. However, satirical transformation is ultimately reincorporated into the genre’s conservative narrative and ideological frameworks in a manner difficult to grasp through Genette’s system for lack of adequate distinctions between satire’s various possible ideological functions and stakes. La chanson de geste La Prise d’Orange (fin xiie-début xiiie s.) montre envers les motifs, les schémas narratifs, les personnages et le style conventionnels du genre une irrévérence soutenue, et garde vis-à-vis d’eux une distance ironique, qui lui ont mérité la réputation de « la parodie courtoise d’une épopée ». Le poème est pourtant foncièrement ordonnancé par le paradigme générique dont il s’efforce de s’écarter. En termes genettiens, le procédé hypertextuel qui prédomine dans la Prise est le travestissement, qui tourne en ridicule un texte ou un récit prestigieux en transposant son action et ses personnages dans un style plaisamment incongru—ici, le style rhétorique et narratif associé au discours courtois. La Prise suscite une appréciation quelque peu inquiète de sa subversion des normes épiques en thématisant la « folie » du protagoniste, Guillelme, dont l’imitation absurde d’un amant courtois jette un doute sur son statut de héros épique légitime et sur l’« authenticité » du texte en tant que chanson de geste. Mais la transformation satirique est enfin réincorporée dans les structures narratives et idéologiques conservatrices du genre d’une manière dont le système genettien ne peut que malaisément rendre compte, faute des distinctions nécessaires entre les divers fonctions et enjeux idéologiques possibles de la satire. La chanson de geste La Prise d’Orange (fine XII-inizio XIII secolo) mostra una sostenuta irriverenza e un’ironica distanza dai motivi convenzionali, dagli schemi narrativi, dai personaggi e dallo stile del genere, che le hanno fatto guadagnare la reputazione di « parodia cortese di un’epica ». Eppure il poema è fondamentalmente ordinato dal paradigma generico da cui si sforza di allontanarsi. In termini genettiani, il dispositivo ipertestuale predominante in La Prise è il travestimento, che ridicolizza un testo o una narrazione prestigiosa trasponendo la sua azione e i suoi personaggi in uno stile piacevolmente incongruo – qui, lo stile retorico e narrativo associato al discorso cortese. La Prise suscita un apprezzamento un po’ scomodo della sua sovversione delle norme epiche attraverso la tematizzazione della « follia » del protagonista, Guillelme, la cui assurda imitazione di un amante cortese mette in dubbio il suo status di legittimo eroe epico e l’« autenticità » del testo come chanson de geste. Ma la trasformazione satirica viene infine reincorporata nelle strutture narrative e ideologiche conservatrici del genere in un modo che il sistema genettiano può solo mal spiegare, mancando le necessarie distinzioni tra le varie funzioni possibili e le poste in gioco ideologiche della satira.

Este artículo considera la cuestión de la importancia social que pudo acarrear la acusación de «maldiciente» de las mujeres en el ambiente de las cortes del siglo XV. El punto de partida es un acta notarial en la que se describe una cierta actuación del poeta valenciano Ausiàs March. En ella se trasluce que a March le importaba muchísimo que constara por escrito que él no había ido soltando por la corte del duque de Gandía críticas al género femenino, lo que podría considerarse una falta de cortesía caballeresca. A raíz de este documento, se propone que los tres intentos literarios conocidos de la figura algo posterior de Pere Torroella (Pedro Torrellas) de restar importancia a su notorio poema misógino, el Maldezir de mugeres, fueron más auténticos de lo que podríamos suponer en una primera lectura de su obra. This article considers the question of the social importance that was attached to the accusation of maldiciente or slanderer of women in the context of the courts. The starting-point is a notarial document involving the fifteenth-century Valencian poet Ausiàs March. In it, it is clear that March was very concerned that it should be recorded that he publically refuted the accusation of making misogynistic remarks in the court of the Duke of Gandia, something that would be considered reprehensible in a knight. In the light of the document it is argued that the three known literary attempts by the slightly later figure of Pere Torroella (Pedro Torrellas) to minimize the effects of his own notorious and much maligned misogynistic poem, the Maldezir de mugeres, were almost certainly more in earnest than we might at first suppose.

This dissertation investigates the links between Chrétien de Troyes’ romance Le Chevalier au lion from the late twelfth century and the Old Swedish text Herr Ivan, written at the behest of Queen Eufemia of Norway at the beginning of the fourteenth century. The study has two parts. The first sets out to determine the sources of the Swedish text: Was Le Chevalier au lion really the source text of Herr Ivan? The second part raises the question of what happened to the courtly ideals that characterize the French romance when they were transferred into Swedish. The analysis of the question concerning the sources of Herr Ivan confirms that Le Chevalier au lion was the translator’s main source, while the Old Norse version Ívens saga, from the middle of the thirteenth century, was used as a secondary source. The relationship between Le Chevalier au lion, Ívens saga and Herr Ivan is examined through a comparison of the three texts: the choice of verse or prose, the role of prologues and epilogues, and the use of the voice of a narrator and of direct and indirect discourse. Four specific passages are compared at a micro-level. By comparing Herr Ivan to its sources, it becomes clear that the Swedish translator wanted to stress certain courtly ideals by presenting a distinct and coherent interpretation of what Chrétien de Troyes refers to as courtoisie. This indicates that the function of the text was to present a set of ideological and aesthetic values. The analysis of the transmission of courtly ideals takes its point of departure in the uses of the French word courtois and the Swedish equivalent hövisker. As a next step, three elements intimately linked to courtliness are examined: aventure, gaieté and honneur. Also the different roles played by the lion are highlighted. Finally, it is shown how the courtly ideals of Herr Ivan can be read in the light of the other Old Swedish texts written at the behest of Queen Eufemia: Hertig Fredrik av Normandie and Flores och Blanzeflor.

International audience; In the Lai de Franchise, Eustache Deschamps, a poet who lived during the reign of the early Valois, repudiates the poetic presuppositions governing a courtly existence at a loss for standards. Courtly inspiration linked to an ideal and political denunciation are merged in a poetic background. The lyrical subject “I”, heir to a tradition, the memory of which it celebrates, is the intradiegetic eyewitness of clerical disintegration and journeys toward the generating framework of a new type of governance. This is revealed to him a contrario through mirrors, a droplet of dew and a flower, the reflections of which are powerless tools for reform. By means of satire, he departs from the courtly and, by so doing, clerical arena to re-discover an art of living and writing that corresponds to the elementary dimension commended by his entire body of work.; Le Lai de Franchise d’Eustache Morel, dit Deschamps participe d’une veine littéraire qui réinvestit d’une intention morale les conventions poétiques issues de la courtoisie lyrique. Le propos est généralisant, il ne concerne pas un « je » particulier mais un groupe identifié et élu par le fait de sa proximité avec l’auteur et par celui de son statut modélisant : la cour de France. Le dessein particulier du Lai de Franchise dépasse le simple divertissement ou le jeu de cour car le fond argumentatif le destine à instruire un auditoire curial, princier, voire royal. Ce faisant, le texte disqualifie le discours amoureux au profit de la morale politique.