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Dansa
A ''dansa'' (), also spelt ''dança'', was an Old Occitan form of lyric poetry developed in the late thirteenth century among the troubadours. It is related to the English term "dance" and was often accompanied by dancing. A closely related form, the ''balada'' or ''balaresc'', had a more complex structure, and is related to the ballade but unrelated to the ballad. Both terms derive from Occitan words for "to dance": ''dansar'' and ''balar/ballar''. A ''dansa'' begins with a ''respos'' of one or two lines, whose rhyme scheme matches that of the first line or two of each subsequent stanza. The actual ''respos'' may have been repeated between stanzas, of which there were usually three, as a refrain. The few surviving melodies of ''dansas'' seem like incipient virelais. The verses of the ''dansa'' were sung by a soloist while the refrain was sung by a choir. A ''dansa'' lacking a vuelta is called a ''danseta''. In a ''balada'' each stanza is divided into three parts. The first part ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cançoneret De Ripoll
The Cançoneret de Ripoll (, la, Carmina Riulpullensa), now manuscript 129 of Ripoll in the Arxiu de la Corona d'Aragó, is a short Catalan- Occitan chansonnier produced in the mid-fourteenth century but after 1346, when Peter IV of Aragon held a poetry competition which is mentioned in the chansonnier.This dating, from Martín de Riquer (1964), ''Història de la Literatura Catalana'', vol. 1 (Barcelona: Ariel), 509 and n3, has been disputed, Lola Badia placing it as early as the 1320s. Influenced by Cerverí de Girona, the chansonnier and its ideology serve as transition in the history of Catalan literature between the dominance of the troubadours and the new developments of Ausiàs March. The provenance of the manuscript has been debated. Arguments in favour of an origin with the monastic community of Ripoll, where the manuscript is first recorded in the library before heading to the archives in Barcelona, include the use of Latin headings to introduce some of the poems and the a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Guiraut D'Espaigna
Guiraut d'Espanha (Also ''d'Espagna'' or ''d'Espaigna''. or de Tholoza (fl. 1245–1265) was of the last generation of troubadours, working in Provence at the court of Charles of Anjou and Countess Beatrice.Aubrey, 24. Many of his poems were addressed to Beatrice. Guiraut was either from Spain or Toulouse—the manuscripts differ—but ten of his ''dansas'', a ''pastorela The ''pastorela'' (, "little/young shepherdess") was an Occitan lyric genre used by the troubadours. It gave rise to the Old French ''pastourelle The pastourelle (; also ''pastorelle'', ''pastorella'', or ''pastorita'' is a typically Old Fre ...'', and a '' baladeta'' survive. One of his ''dansas'', ''Ben volgra s'esser poges'', survives with a melody. It begins: And ends: He also wrote ''Per amor soi gai''. Sources *Aubrey, Elizabeth. ''The Music of the Troubadours''. Indiana University Press, 1996. . Notes {{DEFAULTSORT:Guiraut Despanha 13th-century French troubadours People from ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Troubadour
A troubadour (, ; oc, trobador ) was a composer and performer of Old Occitan lyric poetry during the High Middle Ages (1100–1350). Since the word ''troubadour'' is etymologically masculine, a female troubadour is usually called a '' trobairitz''. The troubadour school or tradition began in the late 11th century in Occitania, but it subsequently spread to the Italian and Iberian Peninsulas. Under the influence of the troubadours, related movements sprang up throughout Europe: the Minnesang in Germany, '' trovadorismo'' in Galicia and Portugal, and that of the trouvères in northern France. Dante Alighieri in his '' De vulgari eloquentia'' defined the troubadour lyric as ''fictio rethorica musicaque poita'': rhetorical, musical, and poetical fiction. After the "classical" period around the turn of the 13th century and a mid-century resurgence, the art of the troubadours declined in the 14th century and around the time of the Black Death (1348) it died out. The texts of t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pastorela
The ''pastorela'' (, "little/young shepherdess") was an Occitan lyric genre used by the troubadours. It gave rise to the Old French ''pastourelle The pastourelle (; also ''pastorelle'', ''pastorella'', or ''pastorita'' is a typically Old French lyric form concerning the romance of a shepherdess. In most of the early pastourelles, the poet knight meets a shepherdess who bests him in a bat ...''. The central topic was always the meeting of a knight with a shepherdess, which could lead to any of a number of possible conclusions. They were usually humorous pieces. The genre was allegedly invented by Cercamon, whose examples do not survive, and was most famously taken up by his (alleged) pupil Marcabru. Table of ''pastorelas'' Only a few pastorelas have survived; Audiau counts 24 "true" Old Occitan examples, mentioning 10 others which resemble them but belong to other genres and one which is a translation from French. Zemp reduces this number further, to 17. Notes Referenc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Old Occitan
Old Occitan ( oc, occitan ancian, label= Modern Occitan, ca, occità antic), also called Old Provençal, was the earliest form of the Occitano-Romance languages, as attested in writings dating from the eighth through the fourteenth centuries. Old Occitan generally includes Early and Old Occitan. Middle Occitan is sometimes included in Old Occitan, sometimes in Modern Occitan. As the term ' appeared around the year 1300, Old Occitan is referred to as "Romance" (Occitan: ') or "Provençal" (Occitan: ') in medieval texts. History Among the earliest records of Occitan are the '' Tomida femina'', the ''Boecis'' and the '' Cançó de Santa Fe''. Old Occitan, the language used by the troubadours, was the first Romance language with a literary corpus and had an enormous influence on the development of lyric poetry in other European languages. The interpunct was a feature of its orthography and survives today in Catalan and Gascon. The official language of the sovereign principality ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Martín De Riquer
Martin may refer to: Places * Martin City (other) * Martin County (other) * Martin Township (other) Antarctica * Martin Peninsula, Marie Byrd Land * Port Martin, Adelie Land * Point Martin, South Orkney Islands Australia * Martin, Western Australia * Martin Place, Sydney Caribbean * Martin, Saint-Jean-du-Sud, Haiti, a village in the Sud Department of Haiti Europe * Martin, Croatia, a village in Slavonia, Croatia * Martin, Slovakia, a city * Martín del Río, Aragón, Spain * Martin (Val Poschiavo), Switzerland England * Martin, Hampshire * Martin, Kent * Martin, East Lindsey, Lincolnshire, hamlet and former parish in East Lindsey district * Martin, North Kesteven, village and parish in Lincolnshire in North Kesteven district * Martin Hussingtree, Worcestershire * Martin Mere, a lake in Lancashire ** WWT Martin Mere, a wetland nature reserve that includes the lake and surrounding areas * Martin Mill, Kent North America Canada * Rural Municipalit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cobla (Occitan Literary Term)
A ''cobla esparsa'' ( literally meaning "scattered stanza") in Old Occitan is the name used for a single-stanza poem in troubadour poetry. They constitute about 15% of the troubadour output, and they are the dominant form among late (after 1220) authors like Bertran Carbonel and Guillem de l'Olivier.Simon Gaunt and Sarah Kay, edd. (1999), ''The Troubadours: An Introduction'' (Cambridge: Cambridge University Press, ). The term ''cobla triada'' is used by modern scholars to indicate a ''cobla'' taken from a longer poem and let stand on its own, but its original medieval meaning was a ''cobla esparsa'' taken from a larger collection of such poems, since ''coblas esparsas'' were usually presented in large groupings. Sometimes, two authors would write a cobla esparsa each, in a ''cobla'' exchange; this corresponds, in a shorter form, to the earlier ''tenso'' or ''partimen''.Martín de Riquer (1964), Història de la Literatura Catalana, vol. 1 (Barcelona: Ariel), 509ff. Whether such excha ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Parody
A parody, also known as a spoof, a satire, a send-up, a take-off, a lampoon, a play on (something), or a caricature, is a creative work designed to imitate, comment on, and/or mock its subject by means of satiric or ironic imitation. Often its subject is an original work or some aspect of it (theme/content, author, style, etc), but a parody can also be about a real-life person (e.g. a politician), event, or movement (e.g. the French Revolution or 1960s counterculture). Literary scholar Professor Simon Dentith defines parody as "any cultural practice which provides a relatively polemical allusive imitation of another cultural production or practice". The literary theorist Linda Hutcheon said "parody ... is imitation, not always at the expense of the parodied text." Parody may be found in art or culture, including literature, music, theater, television and film, animation, and gaming. Some parody is practiced in theater. The writer and critic John Gross observes in his ''Oxfor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Canso (song)
The ''canso'' or ''canson'' or ''canzo'' () was a song style used by the troubadours. It was, by far, the most common genre used, especially by early troubadours, and only in the second half of the 13th century was its dominance challenged by a growing number of poets writing ''coblas esparsas''. The ''canso'' became, in Old French, the '' grand chant'' and, in Italian, the ''canzone''. Structure A ''canso'' usually consists of three parts. The first stanza is the ''exordium'', where the composer explains his purpose. The main body of the song occurs in the following stanzas, and usually draw out a variety of relationships with the ''exordium''; formally, aside from the ''envoi''(''s''), which are not always present, a ''canso'' is made of stanzas all having the same sequence of verses, in the sense that each verse has the same number of metrical syllables. This makes it possible to use the same melody for every stanza. The sequence can be extremely simple, as in ''Can vei la ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Uc De Saint Circ
Uc de Saint Circ (San Sir) or Hugues (Hugh) de Saint Circq (fl. 1217–1253Aubrey, ''The Music of the Troubadours'', 22–23.) was a troubadour from Quercy. Uc is perhaps most significant to modern historians as the probable author of several '' vidas'' and '' razos'' of other troubadours, though only one of Bernart de Ventadorn exists under his name.Gaunt and Kay, 290. Forty-four of his songs, including fifteen ''cansos'' and only three ''canso'' melodies, have survived, along with a didactic manual entitled ''Ensenhamen d'onor''.Egan, 111. According to William E. Burgwinkle, as "poet, biographer, literary historian, and mythographer, Uc must be accorded his rightful place as the 'inventor' (trobador) of 'troubadour poetry' and the idealogical trappings with which it came to be associated." Uc is probably to be identified with the Uc Faidit (meaning "exiled" or "dispossessed") who authored the ''Donatz proensals'', one of the earliest Occitan grammars. This identity fits ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sirventes
The ''sirventes'' or ''serventes'' (), sometimes translated as "service song", was a genre of Old Occitan lyric poetry practiced by the troubadours. The name comes from ''sirvent'' ('serviceman'), from whose perspective the song is allegedly written. Sirventes usually (possibly, always) took the form of parodies, borrowing the melody, metrical structure and often even the rhymes of a well-known piece to address a controversial subject, often a current event. The original piece was usually a canso, but there are sirventes written as contrafacta of (at least) sestinas and pastorelas. They were always opinionated, being either highly complimentary or, more often, oozing with vitriol; however, these features are not unique to the sirventes, so a piece can be positively identified as one only if its nature is explicitly stated in the text (which it often is) or the original piece it is based on has been preserved (which is also often the case: for a parody to work, it had to target ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Viadeyra
The ''viadera'' (, oc, viadeira ; also spelled ''viadeyra'' or ''viandela'') was a lyric genre of Catalan and Occitan literature invented by the troubadours. It was a dance song devised to lighten the burden of a long voyage or to enliven the trip. It was a popular as opposed to "high" form and only infrequently used by cultivated poets. According to the Catalan Cançoneret de Ripoll, it was ''la pus jusana spècies qui és en los cantàs'' (the most humble genre of song there is) and elsewhere it is called ''la més baixa espècie de cançons'' (the most base genre of song). One of the more famous ''viadeyras'' was composed by Cerverí de Girona. It begins ''No.l'' ("Don't take that false husband") and is preserved in the Cançoner Gil. The theme of the song is that of a warning to a girl, either ''Jana delgada'' (delicate Joanna) or ''Na Delgada'', a ''senhal'' (pet name) meaning "delicate lady". The line ''jana delgada'' (read either as ''Jana delgada'' or ''ja, Na Delgada'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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