The aim of this work is to identify and analyze the different female figures traced in the troubadour lyric. The aim is to highlight common aspects and contrasts. To the Occitan textual canon is opposed, in fact, a series of desecrating, lubricious, obscene poems from which emerges an image antithetical to the "vulgate" image of the courtly woman. These texts use a language and present characteristics that refer directly to the sphere of love and the values of courtship. Taking into consideration the figurative theme, the phrasal construction and the forms of the text in the courtly and anti-courtly lyrics, will be highlighted common aspects and differences in the description and use of the lexicon . It will be evident how the ineffability and the indeterminacy of the attributes of midons are converted into a worldly and grotesque conception of the body, marked by exclusively carnal love. All that is high, spiritual and ideal is overturned through trivialization and lowering on the material and bodily plane. This clear contrast between sacred and profane, eros and spirituality, translates, from a formal point of view, into laus and vituperium: on the one hand purified and sublimated eroticism, on the other hand obscene and grotesque realism. Starting from the descriptio as a mode of amplification in the medieval Artes Poeticae, the work aims to first analyze the canonical figure of the bona domna provenzale, characterized by unparalleled beauty and virtue, and then consider the wide range of malas femnas, these descriptions are unconventional. It is considered the modus describendi by which the troubadours represent the shepherdess, the prostitute, the old woman and the women who speak within the genre of tenzone. The physical and moral elements present in both textual types will be listed and discussed.
L’obiettivo del presente lavoro è quello di identificare e analizzare le diverse figure femminili tracciate nella lirica trobadorica. Lo scopo è di metterne in luce gli aspetti comuni e i contrasti. Al canone testuale occitanico si oppone, infatti, una serie di poesie dissacratorie, lubriche, oscene da cui emerge un’immagine antitetica a quella “vulgata” della donna cortese. Questi testi, che presuppongono l’altro e il contrario di sé, utilizzano un linguaggio e presentano caratteristiche che rinviano direttamente all’ambito della fin’amor e ai valori della cortezia. Prendendo in considerazione il tema figurale, la costruzione frasale e le forme del testo nella lirica cortese e in quella anticortese, verranno evidenziati gli aspetti comuni e le differenze nella descrizione e nell’utilizzo del lessico. Risulterà evidente come l’ineffabilità e l’indeterminatezza degli attributi di midons si convertano in una concezione terrena e grottesca del corpo, improntata all’amore unicamente carnale. Tutto ciò che è alto, spirituale e ideale viene ribaltato tramite la trivializzazione e l’abbassamento sul piano materiale e corporeo. Questa contrapposizione netta tra sacro e profano, eros e spiritualità, si traduce, da un punto di vista formale, in laus e vituperium: da un lato l’erotismo depurato e sublimato, dall’altro il realismo osceno e grottesco. A partire dalla descriptio come modalità dell’amplificatio nelle Artes Poeticae medievali, il lavoro mira ad analizzare in primis la canonica figura della bona domna provenzale, di bellezza e virtù impareggiabili, per poi considerare l’ampio ventaglio di malas femnas, la cui descrizione risulta non convenzionale. Viene considerato il modus describendi tramite cui i trovatori rappresentano la pastorella, la prostituta, l’ostessa, la vecchia e le donne che prendono la parola all’interno del genere della tenzone. Saranno, dunque, elencati e discussi gli elementi fisici e morali presenti in entrambe le tipologie testuali.
«Bonas domnas» e «malas femnas»: la figura femminile nella lirica trobadorica.
PEPI, SILVIA
2023/2024
Abstract
The aim of this work is to identify and analyze the different female figures traced in the troubadour lyric. The aim is to highlight common aspects and contrasts. To the Occitan textual canon is opposed, in fact, a series of desecrating, lubricious, obscene poems from which emerges an image antithetical to the "vulgate" image of the courtly woman. These texts use a language and present characteristics that refer directly to the sphere of love and the values of courtship. Taking into consideration the figurative theme, the phrasal construction and the forms of the text in the courtly and anti-courtly lyrics, will be highlighted common aspects and differences in the description and use of the lexicon . It will be evident how the ineffability and the indeterminacy of the attributes of midons are converted into a worldly and grotesque conception of the body, marked by exclusively carnal love. All that is high, spiritual and ideal is overturned through trivialization and lowering on the material and bodily plane. This clear contrast between sacred and profane, eros and spirituality, translates, from a formal point of view, into laus and vituperium: on the one hand purified and sublimated eroticism, on the other hand obscene and grotesque realism. Starting from the descriptio as a mode of amplification in the medieval Artes Poeticae, the work aims to first analyze the canonical figure of the bona domna provenzale, characterized by unparalleled beauty and virtue, and then consider the wide range of malas femnas, these descriptions are unconventional. It is considered the modus describendi by which the troubadours represent the shepherdess, the prostitute, the old woman and the women who speak within the genre of tenzone. The physical and moral elements present in both textual types will be listed and discussed.File | Dimensione | Formato | |
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https://hdl.handle.net/20.500.12608/68721