scholarly journals De grant mal amaladis e la pastorella nascosta in Aucassin et Nicolette: una proposta di datazione della chantefable

2019 ◽  
Vol 31 ◽  
pp. 235-258
Author(s):  
Lucilla Spetia
Keyword(s):  
Adam De La Halle ◽  
Terminus Post Quem

L’anonima chantefable Aucassin et Nicolette, fondata sulla parodia, ha una controversa datazione. Tuttavia la presenza di l’autrier – marca lessicale identificativa del genere pastorella –, e una serie di allusioni erotiche autorizzano a rileggere con maggiore attenzione il cap. XI, e inparticolare il v. 21 che riproduce il v. 12 del prologo, a conferma della centralità della scena rappresentata, in connessione sia con la lirica del gattorosso di Guglielmo IX, sia con la pastorella maggiore di Marcabruno ad essa connessa. Non solo, ma l’analisi lessicale di un altro vocabolo dello stesso capitolo consente di cogliere un ulteriore gioco intertestuale con le Jeu de la Feuillée di Adam de la Halle, che fornisce il 1276 come terminus post quem per la datazione della chantefable e di porre la sua composizione nell’ambiente borghese di Arras, di cui condivide le istanze sociali e culturali declinate attraverso il ricorso alla parodia.  

De grant mal amaladis e la pastorella nascosta in Aucassin et Nicolette: una proposta di datazione della chantefable

2019 ◽  
pp. 235-258
Author(s):  
Lucilla Spetia
Keyword(s):  
Adam De La Halle ◽  
Terminus Post Quem

L’anonima chantefable Aucassin et Nicolette, fondata sulla parodia, ha una controversa datazione. Tuttavia la presenza di l’autrier – marca lessicale identificativa del genere pastorella –, e una serie di allusioni erotiche autorizzano a rileggere con maggiore attenzione il cap. XI, e inparticolare il v. 21 che riproduce il v. 12 del prologo, a conferma della centralità della scena rappresentata, in connessione sia con la lirica del gattorosso di Guglielmo IX, sia con la pastorella maggiore di Marcabruno ad essa connessa. Non solo, ma l’analisi lessicale di un altro vocabolo dello stesso capitolo consente di cogliere un ulteriore gioco intertestuale con le Jeu de la Feuillée di Adam de la Halle, che fornisce il 1276 come terminus post quem per la datazione della chantefable e di porre la sua composizione nell’ambiente borghese di Arras, di cui condivide le istanze sociali e culturali declinate attraverso il ricorso alla parodia.

scholarly journals Vasyl Domanytskyi’s Participation in Work of “Vik” Publishing House

2019 ◽  
pp. 21-32
Author(s):  
Bohdan Tsymbal
Keyword(s):  
Publishing House ◽  
Limited Range ◽  
Starting Point ◽  
Terminus Post Quem ◽  
Archival Documents ◽  
History Of ◽  
The Russian Empire ◽  
Relationship Of ◽  
The Relationship ◽  
Printed Sources

The paper explores the initial activity of Kyiv publishing house “Vik” and Vasyl Domanytsky’s participation in its work. The history of the publishing house has not been properly studied yet. The vast majority of sources used by the scholars contain many inconsistencies, and the existing research works don’t pay attention to the causes of the differences, but rather exacerbate the problem due to uncritical attitude to the sources. The author, therefore, focuses on three issues: 1) the time when the publishing house was founded; 2) its employees; 3) Domanytskyi’s participation in its work. Researchers date the origins of the publishing house differently, within a wide period of 1894–1897. Most of them rely on a limited range of printed sources that may contain some mistakes. Based on the crossed analysis of the ‘main’ (popular) sources with the involvement of those less popular among specialists, the author identified the causes of differences in the works of the scholars and made an attempt to explain the causes of such inaccuracies. The new archival materials not only confirmed the results of studying the printed sources but also helped to establish the earliest documented date directly related to the work of the publishing house. This date may be reasonably taken as a starting point of its history. Studying the archival documents of the censorship department allows making some assumptions about the staff of the publishing house, which although remains insufficiently studied. The list of personalities is still limited to the five most famous members of the publishing circle. The findings also help to clarify the terminus post quem of Vasyl Domanytskyi’s involvement in the work of the publishing house. The results obtained are important not only for the further study of the history of Ukrainian book printing but also for highlighting the relationship of publishers with the censorship in the Russian Empire and the work of the Kyiv “Moloda Hromada” circle. The paper explores the initial activity of Kyiv publishing house “Vik” and Vasyl Domanytsky’s participation in its work. The history of the publishing house has not been properly studied yet. The vast majority of sources used by the scholars contain many inconsistencies, and the existing research works don’t pay attention to the causes of the differences, but rather exacerbate the problem due to uncritical attitude to the sources. The author, therefore, focuses on three issues: 1) the time when the publishing house was founded; 2) its employees; 3) Domanytskyi’s participation in its work. Researchers date the origins of the publishing house differently, within a wide period of 1894–1897. Most of them rely on a limited range of printed sources that may contain some mistakes. Based on the crossed analysis of the ‘main’ (popular) sources with the involvement of those less popular among specialists, the author identified the causes of differences in the works of the scholars and made an attempt to explain the causes of such inaccuracies. The new archival materials not only confirmed the results of studying the printed sources but also helped to establish the earliest documented date directly related to the work of the publishing house. This date may be reasonably taken as a starting point of its history. Studying the archival documents of the censorship department allows making some assumptions about the staff of the publishing house, which although remains insufficiently studied. The list of personalities is still limited to the five most famous members of the publishing circle. The findings also help to clarify the terminus post quem of Vasyl Domanytskyi’s involvement in the work of the publishing house. The results obtained are important not only for the further study of the history of Ukrainian book printing but also for highlighting the relationship of publishers with the censorship in the Russian Empire and the work of the Kyiv “Moloda Hromada” circle.

Adam De La Halle, Le Jeu de la Feuillee

1980 ◽  
Vol XXXIII (suppl) ◽  
pp. 561-562
Author(s):  
K. Varty
Keyword(s):  
Adam De La Halle

THE SATYRICA AND THE GOSPELS IN THE SECOND CENTURY

2020 ◽  
Vol 70 (1) ◽  
pp. 356-367
Author(s):  
Robyn Faith Walsh
Keyword(s):  
Second Century ◽  
First Century ◽  
Circumstantial Evidence ◽  
The Novel ◽  
General Consensus ◽  
Pliny The Younger ◽  
Terminus Post Quem ◽  
The Subject ◽  
Greek Novel

The Satyrica has long been associated with a Neronian courtier named Petronius, mentioned by Tacitus in his Annals. As such, the text is usually dated to the mid first century c.e. This view is so established that certain scholars have suggested it is ‘little short of perverse not to accept the general consensus and read the Satyrica as a Neronian text of the mid-60s ad’. In recent years, however, there has been a groundswell of support for re-evaluating this long-held position. Laird, after comparing the ‘form and content’ of the text to the Greek novel, came to the ‘unattractive’ conclusion that the text may be second century. Similarly, in two recent pieces in CQ, Roth argues that the manumission scene in the Cena establishes a new terminus post quem for the text; she suggests that the freedoms granted by Trimalchio closely parallel—and parody—descriptions of awarding ciuitas found in the letters of Pliny the Younger. Indeed, the three slaves manumitted in the novel are associated with a boar (Sat. 40.3–41.4), Dionysus (Sat. 41.6–7) and a falling star (Sat. 54.1–5); likewise, the three slaves that are the subject of Pliny's letter are C. Valerius Aper (boar), C. Valerius Dionysius (god of wine) and C. Valerius Astraeus (stars). Roth's argument suggests that the author of the Satyrica was not Nero's contemporary but a member of Pliny's intellectual circle, offering strong circumstantial evidence that troubles the accepted tradition on the work's authorship and date.

PRAISOS V: A PRELIMINARY REPORT ON THE 2007 EXCAVATION SEASON

2011 ◽  
Vol 106 ◽  
pp. 3-45
Author(s):  
James Whitley
Keyword(s):  
Preliminary Report ◽  
Floor Level ◽  
Almond Tree ◽  
Terminus Post Quem ◽  
The City

This is a report on the excavations undertaken in 2007 at the site of Praisos in eastern Crete. Three trenches were opened just next to the so-called Andreion or Almond Tree House on the NW slopes of the First Acropolis, excavated by R.C. Bosanquet in 1901. The upper layers of two of these trenches (A-200 and A-300) consisted of re-deposited material of Classical and Hellenistic date, which we infer came from Bosanquet's dump. Material from these upper layers comprised tile, pottery (including numerous examples of Cretan necked cups), loomweights and terracotta plaques with a distinct masculine iconography. Excavation also reached lower Late-Classical–Hellenistic floor levels, on which a number of pithoi survived in situ. Some of these pithoi are considerably older than the floor level, a terminus post quem for which is provided by a bronze coin. The abandonment of these houses must be dated to the final phases of Praisos' occupation, before 146 bc. There is however nothing to suggest that the city itself was subject to a fire destruction. Rather, the city seems to have undergone a forced abandonment followed by deliberate demolition.

scholarly journals Choosing a Thirteenth-Century Motet Tenor: From the Magnus liber organi to Adam de la Halle

2019 ◽  
Vol 72 (2) ◽  
pp. 431-492 ◽  
Author(s):  
Catherine A. Bradley
Keyword(s):  
Thirteenth Century ◽  
Musical Ability ◽  
Careful Selection ◽  
Musical Practice ◽  
Adam De La Halle ◽  
The Relationship ◽  
Selection Of ◽  
Written Sources

This article explores trends and motivations in the selection of plainchant and vernacular song quotations as the foundations of thirteenth-century motets. I argue that particular tenor melodies that received only cursory treatment in the liturgical polyphony of the Magnus liber organi were adopted in motets on account of their brevity and simplicity, characteristics that enabled their combination with upper-voice song forms and refrain quotations. Demonstrating a preference for short and simple tenors within the earliest layers of the motet repertoire, I trace the polyphonic heritage of the tenor omnes, whose simple melody enabled its combination with another more obscure plainchant quotation, aptatur, in a unique double tenor motet. I propose that motet creators—while sensitive to the semantic connotations of tenor texts—exploited the musical ability of tenor quotations to be combined with or stand in for other musical quotations. Newly identifying a plainchant tenor source in a motet by Adam de la Halle, I show that Adam's polyphonic motet quotations of his own three-voice polyphonic rondeaux were achieved by the careful selection of motet tenors to replicate the freely conceived lowest voices of these preexisting rondeaux. The article further reveals profound modal and melodic similarities between the quotations chosen as thirteenth-century motet tenors and the newly composed lowest voices of polyphonic rondeaux and English pes motets. It offers new perspectives on the relationship between the “elite” genre of the motet and types of polyphony that are less well attested in written sources, often considered to inhabit a more “popular” realm of musical practice.

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