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A treacherous journey, a band of desperate rogues, a shocking, hidden truth. When Nicholas Elyot and his friends set out to spend the Christmas season in the country, they are prepared for a hard journey in winter weather. They are also wary of violence on the road, for these are troubled times after the Great Pestilence, when bands of dispossessed and desolate men roam the countryside of England. It is not surprising, therefore, when troubadours hired to provide entertainment at Leighton Manor are attacked in Wychwood. Yet why should this insignificant group draw the attention of outlaws... what could they be searching for? Is one of the troubadours not quite what he seems? A thrilling addition to the pulse-pounding medieval mystery series, perfect for fans of C. J. Sansom, Edward Marston and Paul Doherty.
First Published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.
The dazzling culture of the troubadours - the virtuosity of their songs, the subtlety of their exploration of love, and the glamorous international careers some troubadours enjoyed - fascinated contemporaries and had a lasting influence on European life and literature. Apart from the refined love songs for which the troubadours are renowned, the tradition includes political and satirical poetry, devotional lyrics and bawdy or zany poems. It is also in the troubadour song-books that the only substantial collection of medieval lyrics by women is preserved. This book offers a general introduction to the troubadours. Its sixteen newly-commissioned essays, written by leading scholars from Britain, the US, France, Italy and Spain, trace the historical development and setting of troubadour song, engage with the main trends in troubadour criticism, and examine the reception of troubadour poetry. Appendices offer an invaluable guide to the troubadours, to technical vocabulary, to research tools and to surviving manuscripts.
On his long journey home from the Third Crusade, Richard the Lionheart--one of history's most powerful and romantic figures--was ship-wrecked near Venice in the Adriatic Sea. Forced to make his way home by land through enemy countries, he traveled in disguise, but was eventually captured by Duke Leopold V of Austria, who in turn conveyed him to Henry VI, the Holy Roman Emperor. Henry demanded a majestic ransom, and Richard's mother, Eleanor of Aquitaine, raised the historic sum--one quarter of the entire wealth of England--and Richard was returned. But a peculiar legend followed him--that a troubadour named Blondel, a friend of Richard's, had journeyed across Europe singing a song he knew Richard would recognize in order to discover his secret place of imprisonment. David Boyle recreates the drama of the Third Crusade and the dynamic power politics and personalities of the late 12th century in Europe, as well as the growing fascination with romance and chivalry embodied in the troubadour culture. An evocation of a pivotal era, The Troubadour's Song is narrative history at its finest.
Sam Galloway was the Last of the Troubadours. Of course you know about the troubadours. The encyclop�dia says they flourished between the eleventh and the thirteenth centuries. What they flourished doesn't seem clear--you may be pretty sure it wasn't a sword: maybe it was a fiddlebow, or a forkful of spaghetti, or a lady's scarf. Anyhow, Sam Galloway was one of 'em.
This collection of Korean folk tales is sure to delight the hearts of all children between the ages of eight and eighty. Written with earthy wit and pathos, these Korea children's tales unveil the inevitable foibles of people everywhere and expose the human-like qualities of animals and the animal-like qualities of humans. Pulsating with the rhythm of life and the seasons, these stories transport the reader to a wonderland, where a tiny mouse teaches filial piety to a spoiled child, a blind man can "see" evil spirits, and fleas drink rice wine. It is somehow deeply reassuring to know that even in present-day war-ravaged and politically-divided Korea, these same stories are still being told, just as they have been for generations.
A comprehensive examination of the rituals and philosophies that created and sustained medieval troubadour culture • Debunks the myth of the platonic nature of courtly love, showing the many sexual similarities to the Tantric practices of India • Reveals how the roots of courtly love go back to the matriarchal cultures of neolithic times The widespread turmoil that shook Western Europe as it entered the new millennium with the year 1000 prompted a vast reevaluation of the chief tenets of society. Foremost among these was a new way of looking at love and the place held by women in society. The Christian-inspired tradition that at best viewed women with contempt--and often with outright fear and loathing--was replaced by a new perspective, one in which women enjoyed a central role as the inspiration for all male action. For several hundred years courtly love, with its emphasis on adultery, carnal pleasures, and the power of the feminine, dominated European culture despite its flouting of conventional Christian morality. Medieval historians by and large have tended to regard courtly love as a sterile parlor game for the upper classes. To the contrary, Jean Markale shows that the stakes were much higher: the roots of the ritual re-created here go all the way back to the great mother goddess. In addition, the platonic nature attributed to these relationships is based on a misunderstanding of courtly love; underneath the refined poetry of the troubadours' verses flourished a system of sexual initiation that rivaled Indian Tantra.
Love is a key ingredient in the stereotypical fairy-tale ending in which everyone lives happily ever after. This romantic formula continues to influence contemporary ideas about love and marriage, but it ignores the history of love as an emotion that shapes and is shaped by hierarchies of power including gender, class, education, and social status. This interdisciplinary study questions the idealization of love as the ultimate happy ending by showing how the conteuses, the women writers who dominated the first French fairy-tale vogue in the 1690s, used the fairy-tale genre to critique the power dynamics of courtship and marriage. Their tales do not sit comfortably in the fairy-tale canon as they explore the good, the bad, and the ugly effects of love and marriage on the lives of their heroines. Bronwyn Reddan argues that the conteuses' scripts for love emphasize the importance of gender in determining the "right" way to love in seventeenth-century France. Their version of fairy-tale love is historical and contingent rather than universal and timeless. This conversation about love compels revision of the happily-ever-after narrative and offers incisive commentary on the gendered scripts for the performance of love in courtship and marriage in seventeenth-century France.
Guillaume, an Austin musician, has a problem. He loves whole-heartedly, but he does not know how to "unlove." Haunted by the phantoms of lovers and friends, he is imprisoned by the past. To Guillaume, all love stories are ghost stories in the end. When he learns that his love has been murdered, he journeys to Oaxaca, Mexico, to uncover the circumstances of her death. He meets a Zapotec curandero in the mist-enshrouded Sierra and learns the rhythms of a good life - and a good death.
Integrates folklore, anecdote, and memoir in tales that evoke the lords and peasants, Christian princes and infidels, and a rich and sun-drenched landscape bequeathed to the shepards of Provence by the wandering troubadours of old