Long a widespread and comfortable assumption in medieval studies, the notion of “courtly love” has come under considerable attack in recent years. Beginning in the 1960s, American scholars such as D. W. Robertson, Jr., E. Talbot Donaldson, and John F. Benton sharply criticized the whole concept, suggesting that it is a “myth” of rather recent origin, that it is an impediment to understanding medieval texts, and that it ought to be banned from scholarly discourse. Being rather crude and unrefined by (...) modern intellectual standards, the original theory of courtly love was very vulnerable to such criticism. By calling it into question the Robertsonians performed a useful and salutary service to scholarship, launching a much-needed reassessment which is still going on. And yet, because these revisionist scholars accepted at face value some of the most questionable assumptions underlying the theory, their critique of it often presents a view of medieval literature and society just as distorted as that which it seeks to replace. The total effect of their intervention has thus been to confuse the issue thoroughly rather than to clarify it. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Medieval Troubadour Mobilized in the French Resistance *Roy RosensteinIntroduction: The Place of Poetry under VichyRien ne semblait plus anachronique que d’interroger, inter arma, le silence des Muses médiévales....Frank 1In Chantons sous l’occupation André Halimi details how raucously the band played on in wartime Paris. 2 If Vercors in 1941 advocated the practice of silence and Sartre in 1945 maintained that Paris had been dead for the four years (...) of the Nazi occupation, Halimi and others have shown that Parisians [End Page 499] sang, danced, and laughed during the Occupation as never before. 3 Rarely had so many plays been staged, so many movies been produced. 4 While in other Nazi-occupied countries the theaters and restaurants remained closed, thus preserving a modicum of national dignity in defeat, in France the arts thrived and la vie mondaine accelerated its pace. Journalist Henri Amouroux rightly explains how cinema and theater provided more than entertainment and why they were periodically the target of curfews. In these wartime performances a seemingly insignificant phrase could take on a rich contemporary context. Thus a line like “toute la fleur du royaume se trouve en prison” in Montherlant’s La reine morte invariably provoked applause. Whether the text was classical or contemporary in origin, the audience “seized upon all the passages that could be linked to the current situation.” 5 In this broad sense, Resistance literature came to include any “poetry written and/or distributed in France during the Occupation, and which the reader sees as implicitly or explicitly conveying hostility to Nazism and Collaboration.” 6Between 1940 and 1944 French audiences escaped their national misfortunes more through literature than through film and drama combined. “Never, perhaps, had literature played such a momentous part in the daily life of French readers,” wrote the late Henri Peyre in 1945. 7 As is often noted, the intellectual Resistance “fut surtout poétique.” 8 Every page of poetry, past or present, seemed to remind wartime readers of their current circumstances. One young poète résistant is categorical: “Never before had poetry played such a decisive role in history.” 9 Pierre Brunel of the Sorbonne is just as emphatic in confirming [End Page 500] the judgment of contemporary scholars and Resistance fighters alike: “During the war years, French poetry found a singleness of purpose and an audience that it had never enjoyed before.” 10In anticipation of more comprehensive treatments of French Resistance poetry sens large, the present study proposes a necessarily modest and certainly partial approach to the role of poetry in the French Resistance. Following the general groundwork of Seghers, Gaucheron, Higgins, and others, it undertakes to track, if only schematically, the reaction to France’s fall as polarized across three territories—in American exile, in Vichy France, and in German camps—through a focus on one exemplary twelfth-century troubadour. Concurrently with the “nouvelle floraison poétique” hailed by André Rousseaux in 1941, 11 Jaufre Rudel was one earlier poet who enjoyed a resurgence of interest during the war. With respect to this troubadour, to date only Dietmar Rieger has mentioned in passing an oblique reference to Rudel’s trademark distant love in Aragon’s “Pour un chant (national)”: “Jaufre’s love from afar is set against a love for France.” 12 This particular troubadour’s legend and lyrics assumed new dimensions through their immediate relevance not only for Aragon but for all French nationals, both imprisoned at home and exiled abroad. Literary historian René Dumesnil observed as early as 1941 with respect to pre-war French classics: “Present circumstances give them new depth and extend their range.” 13 Regarding France’s medieval literature, a modern critic has noted how “the troubadours, just as much as Tristan, Roland, Lancelot, Perceval, or even Yseult..., emerge as agents of unity, even of unanimity, around whom it is still possible to muster the French people in 1940.” 14 [End Page 501]As has been observed for centuries, “Frenchmen abroad seldom wholly give up the idea of going back to France some time or other.” 15 All French patriots and expatriates, wherever they found themselves after the Armistice in June 1940, whether... (shrink)

There appear to be only four troubadour songs which have not been edited at least diplomatically at one time or another. They were unknown until first discussed in 1935 by the Catalan musicologist Higini Anglès in his monumental treatise, La música a Catalunya. He described the sources, transcribed three of the four melodies with the first stanzas of the texts, and included photographs, which unfortunately are almost illegible. Despite his promise that the texts would soon be edited by a colleague, (...) no edition ever appeared, and I propose now to publish this difficult and surprising material for the first time. I argue that all four songs are refrain songs, probably recorded directly from performance. (shrink)

In the first part of the paper, the author tackles the question of troubadour subjectivity. The subject of the poem announces the losing of oneself, abandonment of the existing state of affairs and self-surrender, but sees no tragedy in it, for a source of genuine joy. Love deserves sacrifice, it is worthy of all human desire, but it is not a conventional love, neither marital nor family love, rather, it is an ethereal and poetic love for Our Lady. For everything (...) that may be related to such love, we believe that a far more appropriate translation of gaya scienza is a joyful lesson, for it signifies far more to mark the troubadour point than the usual [Croatian/Serbian] translation cheerful doctrine. What is notably striking about the inherited solution is the complete misapprehension of the troubadour point, as the word science can only be associated with the troubadour wisdom if it is previously put in quotes. In short, the author concludes that a democratic scientist is happy and optimistic, while Nietzsche’s »joyful« scientist does not hesitate to show his anguished face publicly. The troubadour’s anguish for distant and unrealizable love is peculiarly close to Nietzsche’s suffering in a modern world that seems unable to live in a world of a distant and absent God. (shrink)

When all the people of the world finally speak the same language and commune in the same message or the same norm of reason, we will descend, idiot imbeciles, lower than rats, more stupidly than lizards. The same maniacal language and science, the same repetitions of the same in all latitudes–an earth covered with screeching parrots. The goal of instruction is the end of instruction, that is to say invention. Invention is the only true intellectual act, the only act of (...) intelligence. The rest? Copying, cheating, reproduction, laziness, convention, battle, sleep. Only discovery awakens. Only invention proves that one truly thinks what one thinks, whatever that may be. (shrink)

Not least among the many enigmas attending the origins and development of the first vernacular lyric in the European Middle Ages is the existence of at least twenty women poets who lived in southern France from about the mid-twelfth to the mid-thirteenth century and who participated in the highly conventionalized poetic system created by the troubadours, those humble poetlovers who sang to their beloved as domna, the superior lady. In periods when the tides of feminism are high these women's (...) voices have insistently claimed our attention, as we try to understand their songs and puzzle over their very existence. Their poetic inventions require us in particular to pay close attention to the subtle, even elusive, concept of voice—its relation to the identity of the poet and the poem's speaker, the elements that characterize its expression, the multiplicity of images created by different voices, and so on. If we are willing to listen and analyze carefully, the trobairitz have much to teach us about the way women poets enter into and find their place in a traditional poetic system created by male poets. Their songs demonstrate with intricate complexity the way poetic fictions play with cultural, literary, and social definitions of man and woman, masculine and feminine; their poems offer valuable warnings about the pitfalls involved in generalizing women into woman. (shrink)

Sacred Rhetoric: The Christian Grand Style in the English Renaissance; Debora K. Shuger; Princeton University Press; ISBN - 9780691067360Rhetorics of Reason and Desire: Vergil, Augustine, and the Troubadours; Sarah Spence; Cornell University Press; ISBN - 9780801421297.

Giorgio Agamben is accused of political passivity, but this article argues that he sees the potential for resistance in modes of being inactive and unproductive, in study, play and profanity, which alone can escape the binary oppositions through which modern power operates, most notably the attempt to separate useful from useless life. He finds the resources for this model in very diverse locations, including the poetry of the troubadours, medieval thought about angels and medieval monastic movements. Agamben argues that (...) such texts retain philosophical potential which is revealed precisely by modern crises of subjectivity, economy and community. Agamben’s The End of the Poem is read here as containing early elements of a mode of resistance that informs the new paradigms for human life and practice developed in his The Kingdom and the Glory and The Highest Poverty, where the revolutionary potential of past cultures emerges fully. (shrink)

B a c k g r o u n d . The article is devoted to the Minnemystik of Hadewijch of Brabant in the XIII century. It deals with the genesis of Hadewijch's concept of Minne in its relation to the monastic Cistercian mysticism of Bernard of Clairvaux, William of Saint-Thierry in the XII century and Beatrice of Nazareth in the XIII century. It also considers the conception of theologist and philosopher Richard of Saint-Victor in the XII century. Considering the (...) existing advances of researchers on Hadewijch's Minnemystik, since the XX century, this investigation especially focuses on the primary role of the secular tradition of minnesingers and trobairitz of the mid-XIII century in her texts. M e t h o d s . The main method of the article is a comparative analysis. It is used to find the common meaning of Minne in two traditions: secular and religious minnesingers. The historical-philosophical approach allows us to demonstrate the conceptual link between monastic theology in the XII–XIII centuries and Hadewijch's beguinal Minnemystik. R e s u l t s . The article sheds light on Hadewijch's concept of the Minne and stresses the primary role of the secular and religious conceptions of predecessors and contemporaries in Hadewijch's Minnemystik. C o n c l u s i o n . The author underlines that Hadewijch's concept of Minne comes from the secular tradition of minnesingers and, especially, trobairitz. It also derives from the XII-century male and female mystic theology, which follows Augustine. Thus, the concept of the Minne is deeply connected with the notion of Amor and the tradition of "courtly love", and with Caritas and the tradition of "pure love". K e y w o r d s : Hadewijch's concept of the Minne, Caritas, trobairitz, minnesingers, troubadours, Minnemystik, Unio Mystica, William of Saint-Thierry, Beatrice of Nazareth, Richard of Saint-Victor, Bernard of Clairvaux. (shrink)

La tradition manuscrite de la lyrique occitane nous a transmis quatre recueils, tous réalisés en Vénétie à la fin du xiiie siècle, qui sont décorés de miniatures évoquant chaque troubadour en tête des poèmes qui lui sont attribués. Parmi eux se sont glissées quelques femmes trobairitz. Huit d’entre elles sont ainsi représentées en train de chanter, mais dénuées de tout caractère individuel. À défaut de pouvoir révéler qui ont été ces poétesses-musiciennes dont l’identité souvent incertaine laisse planer un doute quant (...) à leur existence réelle, ces images témoignent d’abord de la célébrité dont elles bénéficiaient plusieurs décennies après leur disparition dans les milieux lettrés italiens. Images stéréotypées, rehaussées par l’éclat des fonds d’or et le chatoiement des couleurs, elles relèvent avant tout d’une fiction destinée à mettre en évidence la « noblesse », tant morale que sociale, des personnages. De telles représentations ne pouvaient mieux répondre à l’idéal même de la fin’amor, l’amour courtois : en elles se cristallise une vision idéale de la dame inaccessible et parfaite, la domna, chantée par les troubadours. (shrink)

Troubadour of truth, by R. E. Brennan.--Reflections on necessity and contingency, by Jacques Maritain.--Intellectual cognition, by Rudolf Allers.--The problem of truth, J. K. Ryan.--The ontolgical roots of Thomism, by Hilary Carpeuter.--The role of habitus in the Thomistic metaphysics of potency and act, by V. J. Bourke.--The nature of the angels, by J. O. Riedl.--The dilemma of being and unity, by A. C. Pegis.--Prudence, the incommunicable wisdom, by C. J. O'Neil.--A question about law, by M. J. Adler.--The economic philosophy of Aquinas, (...) by J. A. Ryan.--Beyond the crisis of liberalism, by Y. R. Simon.--The fate of representative government, by Walter Farrell.--The Thomistic concept of education, by R. J. Slavin.--The perennial theme of beauty, by Immanuel Chapman.--Epilogue, by H. T. Schwartz.--Bibliography (p.[363]-419). (shrink)

In The Troubadour of Knowledge, Michel Serres demonstrates, by means of an extended discussion of learning, that our capacity to adopt a position presupposes a kind of disorienting exposure to a dimension of pure possibility that both subtends and destabilizes that position. In this paper I trace out the implications of this insight for our understanding of obligation, especially as it is articulated in the moral philosophy of Immanuel Kant. Specifically, I argue that obligation is given along with a dimension (...) of moral possibility, and not, as Kant thought, as an unmediated fact of reason. (shrink)

Discusses songs by the troubadours, trouvères, and Guillaume de Machaut, performed live and on the page, in the context of antique, late antique, and medieval thought and poetic practice and in the light of later opera. Topics include cosmology, education, astronomy, breath, beasts, monsters, hybridity, imagination, life, and death.

The idea that certain troubadours may have anthologized their own songs into compilations and even books has tantalized scholars ever since Gustav Gröber published his bold monograph on the question in 1877. Gröber's hypothesis about the prevalence of such compilations and books is now often put in doubt. It remains plausible, though uncertain, that several troubadours did put together collections of their own works — among them, Peire Vidal , Ponç de la Guardia , and Cerveri de Girona (...) . There is, however, one highly convincing case of a troubadour who acted as his own anthologist, and that is Guiraut Riquier. (shrink)

In this classic work, often described as "The History of the Rise, Decline, and Fall of the Love Affair," Denis de Rougemont explores the psychology of love from the legend of Tristan and Isolde to Hollywood. At the heart of his ever-relevant inquiry is the inescapable conflict in the West between marriage and passion--the first associated with social and religious responsiblity and the second with anarchic, unappeasable love as celebrated by the troubadours of medieval Provence. These early poets, according (...) to de Rougemont, spoke the words of an Eros-centered theology, and it was through this "heresy" that a European vocabulary of mysticism flourished and that Western literature took on a new direction.Bringing together historical, religious, philosophical, and cultural dimensions, the author traces the evolution of Western romantic love from its literary beginnings as an awe-inspiring secret to its commercialization in the cinema. He seeks to restore the myth of love to its original integrity and concludes with a philosophical perspective on modern marriage. (shrink)

Self-reflection, as the hallmark of the modern age, originates more profoundly with Dante than with Descartes. This book rewrites modern intellectual history, taking Dante’s lyrical language in Paradiso as enacting a Trinitarian self-reflexivity that gives a theological spin to the birth of the modern subject already with the Troubadours. Dante’s thought and work indicate an alternative modernity along the path not taken. This alternative shows up in Nicholas of Cusa’s conjectural science and in Giambattista Vico’s new science of imagination (...) as alternatives to positive empirical science. (shrink)

Dans ce monde ultrarapide, qui honnit le silence et l'absence, l'éloge de l'attente... qu'on n'attendait plus! Un ouvrage éclairé, étayé par de magnifiques références littéraires, d'Homère à Buzatti. Une suspension vitale par l'une des grandes auteures spirituelles d'aujourd'hui. " Heureux ceux qui connaissent encore la joie d'attendre - une lettre, une rencontre, une éclaircie, voire la vie éternelle.0" Qu'y a-t-il de commun entre le peuple hébreu marchant dans le désert pendant quarante ans, la reine Pénélope dont l'époux, Ulysse, est absent (...) depuis si longtemps, la Belle au bois dormant, l'arpenteur de Kafka, la sentinelle de Buzzati? ou encore l'amour lointain chanté par les troubadours et le long désir qui brûle les mystiques? Ici et là se manifeste une manière d'attendre - dans la paix, la détermination ou le doute, dans la confiance et la ferveur, avec parfois une joie intense.0Immense et mystérieuse, l'attente tisse toute une existence et elle élève l'être humain jusqu'à l'infini. Un livre empli d'espérance. Ecrivain, Jacqueline Kelen a publié de nombreux livres qui étudient les grands mythes de l'Occident, les figures de la mystique et les richesses de la vie intérieure. Aux Editions du Cerf ont paru Le diable préfère les saints, Les compagnons de sainteté, et Histoire de celui qui dépensa tout et ne perdit rien (prix de la liberté intérieure 2020). (shrink)

Michael Kelly is the author of 68 entries altogether. The New Oxford Companion to Literature in French is far more than a simple revision of the original Oxford Companion to French Literature, published in 1959, and described by The Listener as the `standard work of reference for English-speaking enquirers into French literature'. As the change in title implies, this completely new work presents an authoritative guide not only to ten centuries of literature produced in the territory now called France, but (...) also to the rich literary output of other French-speaking countries around the world. The scope of the Companion is deliberately open and inclusive, challenging and extending the traditional canon. Literature is understood in a broad sense, ranging from strip cartoon and pamphlet to tragedy and epic, and particular attention is devoted to francophone writing from outside France. Written by an international team of specialists, entries cover individual authors and works - over 3,000 of them - from the troubadours to Césaire, and from La Princesse de Clèves to La Vie mode d'emploi. Each is discussed in detail within their historical, cultural, and intellectual context. Among the new features of the Companion are the substantial essay-entries, reflecting up-to-date scholarship and theoretical debates on topics such as: - literary movements and genres - historical subjects such as chivalry, or Occupation and Resistance in wartime France - movements of thought from Scholasticism to feminism - linguistic topics - the sciences - the arts and media, including opera, cinema, and press. (shrink)

The 'Vita coaetanea (A Contemporary Life)' is an autobiographical account of Ramon Llull's life dictated by himself to a friend in 1311 when he was seventy-nine years old. In it Llull reviews his works in the context of a life dedicated to God and motivated by the desire to disseminate the message of the Christian faith among the infidels. Llull, the self-labeled 'troubadour of books', wrote this account in part as a self-justification of his life and work, in part as (...) self-consolation for his unending toils and travails. It is very likely that he also had in mind the Council of Vienne (1311) which he was about to attend and where he submitted petitions dealing with 'the establishment of adequate places to study languages for the preaching of the Gospel to every creature and the founding of a Christian military religious order that waged permanent war against the Saracens until the Holy Land is reconquered'. Llull wanted to frame these petitions within a well thought-out justificatory account of his life and works that exudes passion, commitment and love for his fellow man. (shrink)

Modern philosophy is based on the presupposition of the certainty of the ego’s experience. Both Descartes and Kant assume this certitude as the basis for certain knowledge. Here the argument is developed that this ego has its sources not only in Scholastic philosophy, but also in the narrative of the emotional self as developed by both the troubadours and the medieval mystics. This narrative self has three moments: salvation, self-irony, and nostalgia. While salvation is rooted in the Christian tradition, (...) self-irony and nostalgia are first addressed in twelfth-century troubadour poetry in Occitania. Their integration into a narrative self was developed in late medieval mysticism, and reached its fullest articulation in St. Teresa of Avila, whom Descartes read. (shrink)

Dans son œuvre L’Amour et L’Occident, Denis de Rougemont a pris pour thème l’amour courtois tel qu’il s’exprime dans la poésie des troubadours du XIIe siècle et dans le roman courtois du XIIIe siècle. Cette définition de l’amour, nouvelle et d’influence majeure, découle selon lui d’une dissidence religieuse, le catharisme, dont elle transpose les contours au vécu de l’amoureux face à sa Dame. Rougemont fait remonter à cette création médiévale beaucoup de facettes de la « passion » telle que (...) la connaissent les temps plus récents. L’article documente à ses débuts la polémique suscitée par le livre, en utilisant des documents restés longtemps inédits (Marrou, Gilson, Massignon). Il met en place les deux niveaux du débat, portant l’un sur la méthode historique, l’autre sur la perméabilité des strates religieuse et profane dans la réalité sociale. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 80-83 [Access article in PDF] Response to Yiannis Miralis, "Manos Hadjidakis: The Story of an Anarchic Youth and a 'Magnus Eroticus'" Lenia Serghi Ionian University, Corfu Manos Hadjidakis and his work are like his song, "O Mythos," for they take you from reality to fantasy and bring you back again. For my generation Hadjidakis was a myth with substance, since he was (...) a real person and his work represented our reality.The first time I heard of Hadjidakis was in relation to his song, "The Children of Pireas," that won him an Oscar for Best Song in 1960-61 as the main theme of his music for the film, Never on Sunday. The first record, a 45-single in the early 1960s, aroused a strong emotional response in the youth of the time.My next and most important experience with Hadjidakis' music was in London during the International Theatre Festival in the Spring of 1964. The Art Theatre of Greece under the Direction of the acclaimed Karolos Koun gave its first performances outside Greece. They presented Aristophanes' comedy, The Birds, and the Aeschylean tragedy, The Persaes. After forty years these performances are still topics of discussion in theater and musical circles. The performance of The Birds took the audience by surprise. The strong, vivid rhythm with the superb [End Page 80] melodies and the chorus filling the stage with its movements and dance gave a new perspective to the production of ancient comedy and drama. The audience was exuberant and the clapping went on without end. It was the unveiling of a new world of music for the theater, a music which could create strong emotions.Perhaps one of the most important works of Hadjidakis is the cycle of songs, The Megalos Eroticos-Magnus Eroticus, composed in 1972 for two voices, choir, and twelve instruments. The song cycle consists of eleven songs based on the lyrics of Greek poets from antiquity till the present time, like Sappho, Euripides, Solomos, Sepheris, Gatsos, Elytis, and Kavafis. Included in the collection is the famous poem, "S'agapo" [I love you], by Myrtiotissa, one of the important women poets of the twentieth century, which according to Hadjidakis was his inspiration for writing Magnus Eroticus. As he says: I think I succeeded [in creating] a beautiful piece of work, and deeply, it belongs to her as a whole. If Magnus Eroticus belongs to somebody it belongs to the memory of Myrtiotissa.1In Magnus Eroticus the combination of lyrics and music is at the highest level of sensibility and the musical style of each song is superb. Music follows the verse to express its deepest meaning while maintaining its uniqueness. In 1973, Pantelis Voulgaris made Magnus Eroticus into a film of the same title.Without doubt Hadjidakis was one of the troubadours of love; in fact he considered himself as a tragoudopoios. Etymologically tragoudopoios comes from the words tragoudi (song) and the verb poio (make, create), and is the root of the word poieses (poetry). A tragoudopoios could be a follower of the rhapsodoi of Homer's time, or the troubadours of medieval times who created songs.In my view, the comparison made by some critics of Hadjidakis' songs with those of Schubert and Brahms is not so successful, especially for the songs written in the 50s, 60s, and 70s, songs that were very popular and represented the reality of Greek life of that period. Similarities to these composers may exist in his later work of the 80s, when his style of art song had become more sophisticated.As a person and composer, Hadjidakis himself could be considered a Magnus Eroticus. I am not sure, though, that he could be considered an anarchist, as Miralis suggests. As Hadjidakis used to say, "[P]erhaps I would have been an anarchist if I didn't have my mother." I would say he was more a lover of democracy in its wider sense.One could say, perhaps, that Hadjidakis was an anarchist in spirit... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 30.2 (2006) 450-470 MuseSearchJournalsThis JournalContents[Access article in PDF]Romantic Love: A Literary Universal?Jonathan Gottschall Washington and Jefferson College (JG)Marcus Nordlund * Göteborg University (MN)ITo love someone romantically is—at least according to innumerable literary works, much received wisdom, and even a gradually coalescing academic consensus—to experience a strong desire for union with someone who is deemed entirely unique. It is to idealize this person, to think constantly about (...) him or her, and to discover that one's own life priorities have changed dramatically. It is to care deeply for that person's well-being and to feel pain or emptiness when he or she is absent.But is this intense emotional experience a universal experience, something that is characteristically and quintessentially human, or is it merely a sociocultural construct that belongs to a particular time and place? On this point there is less agreement, both within and between different academic disciplines. The audacious question we want to raise in the pages that follow is whether literature—or more specifically, a large-scale, multiple-coder content analysis of thousands of folk tales drawn from different parts of the planet—can contribute something to this difficult question about love, culture, and human nature.Let us first look briefly at the theoretical problem that we aim to address. A widespread view among literary scholars and social scientists over the last decades has been that romantic love is a social construction specific to Western culture. This is part of a relentless skepticism [End Page 450] toward assumptions that important categories of human psychology and emotion—romantic and parental love, gender, sexual orientation, and so on—are "natural" rather than constructed. This position is often, if not always, linked to an ideological concern to demystify (or at least problematize) what is perceived as an essentially destructive or oppressive emotion or belief. Taking her cue from Simone de Beauvoir, Marilyn Friedman gives no less than ten reasons why it may be problematic for women to fall in love with men. 1Of course, no argument of any kind can be strictly ideological in nature since it always involves empirical assumptions—either explicit or implicit—about the nature of things. For example, the psychoanalyst E. S. Persons opines that the "best evidence that romantic love is not hard-wired into the emotional repertoire of humanity but is a cultural construct is the fact that there are so many cultures in which it is virtually absent." 2 Another frequent argument for love's constructedness has been that "there is no definition that describes love throughout the ages or across cultures." 3In some literary-critical accounts, it is even argued that romantic love is a cultural invention that can be traced back with precision to the courtly troubadour culture of twelfth-century France. 4 According to yet another school, represented by the influential literary theorist Jonathan Culler, "the notion of romantic love (and its centrality to the lives of individuals) is arguably a massive literary creation." 5While the social constructivist position on romantic love typically involves a strong commitment to cultural specificity, a weaker version is held even by some cognitive theorists who grant more to biology and panhuman traits. From the perspective of their communicative theory of emotion, Philip Johnson-Laird and Keith Oatley argue that the "components [of romantic love] exist separately in different societies, but their integration into a recognizable complex is a cultural accomplishment [by the West]." 6At the other end of the romantic love continuum we find those who argue that this emotion belongs to a universal human nature: or, more specifically, that it can be attributed to specialised neural circuits whose ultimate purpose is to enhance reproductive success. Not surprisingly, this has been a favorite position among evolutionary psychologists, and it has recently received some support from neuroscientific studies.For example, the neuroscientists Andreas Bartels and Samir Zeki claim to have uncovered a "functionally specialised system" that lights up in fMRI (magnetic resonance) scans of brains whose owners claim to... (shrink)

"Provides an extremely valuable introduction to the work of Michel Serres for an English-speaking audience, as well as offering useful critical approaches for those already familiar with its outlines." ---Robert Harrison, Stanford University [blurb from review pending permission] The work of Michel Serres---including the books Hermes, The Parasite, The Natural Contract, Genesis, The Troubadour of Knowledge, and Conversations on Science, Culture, and Time---has stimulated readers for years, as it challenges the boundaries of science, literature, culture, language, and epistemology. The essays (...) in Mapping Michel Serres, written by the leading interpreters of his work, offer perspectives from a range of disciplinary positions, including literature, language studies, and cultural theory. Contributors include Maria Assad, Hanjo Berressem, Stephen Clucas, Steven Connor, Andrew Gibson, René Girard, Paul Harris, Marcel Hé naff, William Johnsen, William Paulson, Marjorie Perloff, Philipp Schweighauser, Isabella Winkler, and Julian Yates. (shrink)

This essay derives its focus on poetry from the subtitle of Die Fröhliche Wissenschaft: “la gaya scienza.” Nietzsche appropriated this phrase from the phrase “gai saber” used by the Provençal knight-poets (or troubadours) of the eleventh through thirteenth centuries — the first lyric poets of the European languages — to designate their Ars Poetica or “art of poetry.” I will begin with an exploration of Nietzsche’s treatment of poets and poetry as a subject matter, closely analyzing his six aphorisms (...) which deal explicitly with poets and poetry. Having considered The Gay Science as a text about poetry, I will then briefly explore three further ways in which The Gay Science can be thought of as itself a kind of poetry. The result of these analyses is an understanding of Nietzsche’s own understanding of philosophy (and of the best way to live) as also a form of poetry. (shrink)

Nietzsche's discovery of the "breath" or spirit of music in the words of Greek tragedy was his testament to oral culture in antiquity and it is significant that his theoretical account of the prosody of ancient Greek endures to this day. Drawing little emaphatic resonance from his readers , Nietzsche reprised yet another tradition of poetic song composition, namely the art of the troubadours in order to rearticulate his argument in The Gay Science. I here explore the passion of (...) the 'knightly art', of poetic song and explore in addition Nietzsche's conception of Wissenschaft . The art of poetry was less an antiquarian rhetorical concept than a practical guide for those of us who seek to be "the poets of our lives".Mit der Enteckung des Geistes oder 'Artems' der Musik in den Worten der grichischen Tragödie deutete Nietzsche die orale Kultur in der Antike auf eine neue Weise. Bisher wurden diese Entdeckung und ihre Konsequenzen für Verständnis der modernen Kultur aber kaum beachtet. Die Abhandlung untersuchtd Nietzsches Auffassung der 'gaya scienza' am Beispiel des Troubadours und der mit ihm verbundenen, jedoch verlorengegangenen mündlichen Tradition von poetischer oder liedhafter Komposition. Nietzsches Deutung der Leidenschaft der ritterlichen Gesangskunst wird en einen Zusammenhang mit seiner Auffassung von Wissenschaft gebracht, und diese wird mit der provençalischen scienza sowie der englischen und französischen science verglichten. (shrink)

"Quod habet principium sed caret fine": this idea of the perpetual is expresssed in both the schools and courts of the twelfth-century renaissance. The philosophers conceive the perpetual as intermediate between time and eternity; according to masters of the school of Chartres, moreover, the world itself is perpetual. For the troubadour poets, the perpetual functions rhetorically. The moralist Marcabru treats the personified abstraction as perpetual, continuous in identity yet subject to change, thus achieving a satiric duality of vision. The love (...) poet Bernart de Ventadorn develops a "poetics of perpetuity", using the very tensions and instabilities of fin'amors to fashions ideal and endless courtly worlds. (shrink)