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Here at last is a fully annotated critical edition of the Châteauroux text of the Chanson de Roland. Even in the Corpus edition, C was represented by a simple transcript. The Roland Corpus edition of 2005 took Venice 7 as the base text and V7 laisses 92A and 108A were relegated to Appendix A. This obscured crucial evidence demonstrating the greater authority of C as representing the shared model and the role of V7 as modifier of that model. Close comparison of C with V7 and of both texts with the other versions disproves the Segre thesis of the anteriority of V7. In this edition, the aim is always to provide an authentic text with minimal emendation, so as to show the salient characteristics of C, but to discuss its readings in detailed footnotes. All arguments are solidly based on textual analysis throughout and particularly in C’s repetitions and associated assonanced passages. In addition, the linguistic characteristics are studied and the historical background to C pre-1328 and its possible route from Venice to Paris between 1746 and 1792 investigated.
An exploration of the many depictions of Charlemagne in the Italian tradition of chivalric narratives in verse and prose. Chivalric tales and narratives concerning Charlemagne were composed and circulated in Italy from the early fourteenth to the mid-sixteenth century (and indeed subsequently flourished in forms of popular theatre which continue today). But are they history or fiction? Myth or fact? Cultural memory or deliberate appropriation? Elite culture or popular entertainment? Oral or written, performed or read? This book explores the many depictions of the Emperor in the Italian tradition of chivalric narratives in verse and prose. Beginning in the age of Dante with the earliest tales composed for Italians in the hybrid language of Franco-Italian, which draw inspiration from the French tradition of Charlemagne narratives, the volume considers the compositions of anonymous reciters of cantari and the prose versions of the Florentine Andrea da Barberino, before discussing the major literary contributions to the genre by Luigi Pulci, Matteo Maria Boiardo and Ludovico Ariosto. The focus throughout is on the ways in which the portrait of Charlemagne, seen as both Emperor and King of France, is persistently ambiguous, affected by the contemporary political situation and historical events such as invasion and warfare. He emerges through these texts in myriad guises, from positive and admirable to negative and despised.
Professor Joseph J. Duggan, emeritus professor at the University of California (Berkeley) is an eminent scholar of Medieval Studies who has written seminal works on Romance Literatures (and Old French epics in particular). His work ranges from editions of medieval classics such as the Chanson de Roland to articles about troubadours’ lyrics and a monograph on Chrétien de Troyes. Here, fifteen contributions from his former students and colleagues offer literary, narratological, philological, and contextual studies of the texts he has taught and researched over his long and prestigious career.
Strange Words offers separate but interrelated close readings of four medieval Roland texts in French and Occitan, paying particular attention to scenes in which the speeches of various characters perform or mirror narrative functions. In this clearly written and accessible book, Margaret Jewett Burland focuses on discourse and narrative within the fictional universe to argue persuasively that medieval authors and audiences understood the battle of Roncevaux and its aftermath as an appropriate story in which to incorporate implicit commentaries about contemporary issues. It allows readers to interpret the well-known Oxford version, The Song of Roland, within the expanded context of its larger medieval textual tradition. The similarities and differences among the four versions Burland analyzes help modern readers to better appreciate which aspects of a given Roland text are most innovative and thus most suggestive of its particular political, social, or literary agenda. Strange Words is the first book in fifty years to compare multiple medieval Roland texts, and the first to do so in English. It will be welcomed by students and scholars of French and medieval studies.
This work probes the question of Ganelon's treason within the context of medieval law and the epic poem. Since the beginning of studies on the medieval epic tradition, scholars have debated what to make of Ganelon's role in the epic and his defense at the trial. To what extent would a medieval audience sympathize with Ganelon's trial defense? Does the conflict revolving around Ganelon and his family reflect tension between the crown and the nobility, between a new sense of Roman law and kingship and an older tradition of custom and baronial authority? This book explores each stage of Ganelon's treason and trial to determine what can be learned by a careful study of the issues and procedures of the trial in the light of medieval practice. Thus the study frequently ranges beyond the confines of the poem to discuss such broad subjects as the nature of the duel, medieval proofs, the nature and punishment of treason, and the gradually changing role of the family and the state in governance and in the legal process. An understanding of the issues in Ganelon's trial illuminates many questions pertaining to the Roland, medieval composition, and the medieval period.
Die Beihefte zur Zeitschrift für romanische Philologie zählen zu den renommiertesten Fachpublikationen der Romanistik. Sie pflegen ein gesamtromanisches Profil, das neben den Nationalsprachen auch die weniger im Fokus stehenden romanischen Sprachen mit einschließt. In der Reihe erscheinen ausgewählte Monographien und Sammelbände zur Sprachwissenschaft in ihrer ganzen Breite, zur mediävistischen Literaturwissenschaft und zur Editionsphilologie.