Ecriture et rythme dans le corpus manuscrit des troubadours

193 Pages·1996·8.34 MB·French

by  Marlyse Emilie Bach

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ÉCRITURE ET RYTHME DANS LE CORPUS MANUSCRIT
DES TROUBADOURS
by
Mariyse Bach
A Dissertation submitted to the faculty of the University of North Carolina at
Chapel Hill in partial fulfillment of the requirements for the degree of Doctor in
Philosophy in the Department of Romance Languages and Literatures.
Chapel Hill
1996
Approved by:
Co-Advisor Co-Advisor
Reader
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UMI Number: 9708102
Copyright 1996 by
Bach, Mariyse Emilie
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UMI Mlcrofonn 9708102
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©1996
Mariyse Bach
ALL RIGHTS RESERVED
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ABSTRACT
MARLYSE BACH. Écriture et rythme dans le corpus manuscrit des troubadours
(Under the co-direction of Dominique D. Fisher and Edward D. Montgomery.)
The purpose of the study is to read troubadour lyric in the illuminated
chansonniers provençaux. By exploring configurations of verbal and Visual
poetics, the notions of allegory and subjectivity are redefined in the corpus of
Guillaume de Poitiers, Jaufré Rudel, Bemart de Ventadour, Giraut de Bomeil
and Arnaut Daniel. The cansos and vidas are analyzed in a semi-critical
transcription from chansonniers A, C, I, K and M, where the implications of
punctuation, white spaces and pictorial images are examined in relation to the
mobility of poetic figures.
The Introduction and the first Chapter define problematic questions focusing
on the "codex" as "livre," the "voice" as rhythmic and Visual textuality, and
"écriture" as spatialization of figurai and figurative language. While the limits of
a Zumthorian linguistic approach to troubadour poetry are circumscribed, the
anthropological notion of rhythm defined by Henri Meschonnic is demonstrated
to be pertinent to the study of the Occitan canso in its written traditions.
The second Chapter and the third Chapter trace modes of représentation in
two manuscript groups. Chapter II begins with the premise that the codicological
structure of A, I et K transforms the canso, vida and historiated letter into a
poetic discourse that accomplishes what remains unfulfilled in the initial song,
via allégories of death, suffering, oppression, wandering and poiesis. Chapter III
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starts with the hypothesis that the absence of the vida and the historiated letter
in C and M transforms the canso, miniature and omated letter into a poetic
discourse that erases what was accomplished in the song, via allégories of
catharsis, relief, secrecy, discemment and purification.
The comparison between these two groups of chansonniers yields new
readings of the canso that erase some of the critical breaks between language,
literature and culture, and defines prolegomena for new editing practices that
would consider the manuscript in a materiality based on the relational dynamics
among codicology and orality in each troubadour corpus.
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ACKNOWLEDGMENTS
With appréciation, I wish to thank ali those who have generously contributed
their knowledge and time in the writing of this dissertation, in particular my co-
advisors, Dominique D. Fisher and Edward D. Montgomery, and my readers,
Frank A. Dominguez, Jaroslav Folda and G. Mallary Masters, for their
encouragement and resourcefulness.
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TABLE DES MATIÈRES
Chapitre Page
INTRODUCTION GÉNÉRALE..............................................................................1
I. PROBLÉMATIQUE ET MÉTHODOLOGIE:
PERSPECTIVES THÉORIQUES.....................................................................19
1.1 Problématique............................................................................................19
1.1.1 Effet de livre et codicologie...........................................................19
1.1.2 Effet de voix et oralité..................................................................25
1.1.3 Fonction poétique du manuscrit...................................................27
1.2 Méthodologie.............................................................................................38
1.2.1 Limites d'une perspective linguistique.........................................39
1.2.2 Pertinence d'une approche rythmique.........................................46
II. DE L'INACCOMPLI À L'ACCOMPLI:
LES CHANSONNIERS A, I, K ........................................................................51
2.1 Les chansonniers A, I, K: Codicologie et écriture poétique....................51
2.1.1 Le chansonnier A .........................................................................52
2.1.2 Les chansonniers I et K ...............................................................54
2.2 Les textes ................................................................................................. 56
2.2.1 Guillaume de Poitiers .....................................................................61
2.2.2 Jaufré Rudel ...................................................................................72
2.2.3 Bemart de Ventadour .....................................................................80
2.2.4 Giraut de Borneil.............................................................................85
2.2.5 Amaut Daniel..................................................................................92
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III. DE L'ACCOMPLI À L'INACCOMPLI:
LES CHANSONNIERS C ET M ....................................................................... 99
3.1 Les chansonniers C et M: Codicologie et écriture poétique....................99
3.1.1 Le chansonnier C ..........................................................................100
3.1.2 Le chansonnier M .........................................................................102
3.2 Les textes ................................................................................................104
3.2.1 Guillaume de Poitiers ....................................................................104
3.2.2 Jaufré Rudel ................................................... 108
3.2.3 Bemart de Ventadour ...................................................................113
3.2.4 Giraut de Bomeil............................................................................116
3.2.5 Amaut Daniel.................................................................................120
CONCLUSION GÉNÉRALE...............................................................................124
NOTES ..............................................................................................................137
BIBLIOGRAPHIE CHOISIE................................................................................156
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