Degree | Type | Year | Semester |
---|---|---|---|
2501913 English and French | OT | 3 | 0 |
2501913 English and French | OT | 4 | 0 |
2502533 French Studies | OT | 3 | 0 |
2502533 French Studies | OT | 4 | 0 |
No admission requirements
This is the first non-Latin expression of the Middle Ages. There is a great deal of controversy about the origins of Medieval Romance lyric, and in this course we will address the lyrical nature (text and music) of this repertoire and its Latin tradition. At the same time, the liturgical origin of much of the lyrical repertoire of Medieval Romance lyric cannot be neglected, and throughout the course we will refer to these repertoires and their intertextual intentionality. Troubadour lyric creates a new language of poetic expression, but also of ethics. Which gives it a social dimension that makes it an international language that is an example of an aristocratic class ethic, but also, and above all, cultural. We enter a multilingual universe, with texts in medieval Occitan, Old French, Galician-Portuguese in principle, but without ruling out other medieval languages such as Latin, Catalan, Italian,…
Occitan lyric will be studied from the work of the troubadour Marcabru, and medieval French from the "trouvère" Thibaut de Champagne.
The student will during the course with translations into Catalan or Spanish. And we will often turn to the original manuscripts. We will pay special attention to music and performance and oral transmission.
1. The pre-troubadour Romanesque lyric: Origins and tradition. The kharges and Samuel Stern. Arabic kharges and Hebrew kharges. Context relation of the kharga within the muwaššaha. The kharga and the traditional song in the woman's mouth. Authorship and later tradition. Poetic femininity. New interpretations: Federico Corriente.
2. Occitan troubadour lyric: Geographical scope. Social and historical conditions. The origins and the different theories. Literary learning and musical formation: The liturgical formation. The rhetorical and schoolar tradition. The medieval poetic arts. The Occitan language: The nineteenth-century denomination "Provencal", an ideological archaism. The troubadour Marcabrú.
3. The tradition of Occitan lyric in Old French: “Les trouvères”. Thibaut de Champagne. Specificity and difference. Chrétien de Troyes and Ricard Cor de León. The Arras group. Metric renewal and connection with other European repertoires. Influence and evolution. Metrics and music.
4. Critical epistemology: The formal and content elements that predetermine the poetic typology. Intertextuality based on the theories of Jörn Gruber. Jaufre Rudel and the task of poetic creation. The literary transposition of the terminology of feudalism: problems of language and interpretation. Sociological interpretations.
5. The religious lyric. Marian lyric: The Miracles of Notre Dame by Gautier de Coinci and the Cantigas de Santa Maria by Alfonso X. Handwritten tradition and musical tradition. Themes and miracles. The political use of the genus Marian.
6. Lyric and transgression. Les Cantigas d’escarnho e mal dizer. Eschatology, pornography and the medieval world. The military world and the different social classes. Intersystemic relations with other medieval repertoires and genres. Goliardesque lyric.
Generally, the learning process will be directed through a number of techniques and activities:
- Masterclass supported by the use of ICT and students’ discussion
- Practice of written and oral production
- Individual and group exercises, both written and oral
- Out of Class assignments: reading of primary and critical sources, writing and bibliographic search.
- Feedback sessions for the correction and assessment of exercises and activities.
NB: All activities can be scheduled either in person or online, individually or in groups based on a possible hybrid teaching.
Title | Hours | ECTS | Learning Outcomes |
---|---|---|---|
Type: Directed | |||
Participatory activity in class and coordinated with other students | 20 | 0.8 | 7, 3, 1, 2, 4, 9, 10, 11, 8, 5, 12, 13, 6 |
Type: Supervised | |||
Minimum two comments of lyrical texts | 20 | 0.8 | 7, 3, 1, 2, 4, 9, 10, 11, 8, 5, 12, 13, 6 |
Type: Autonomous | |||
Papers | 20 | 0.8 | 7, 3, 1, 2, 4, 9, 10, 11, 8, 5, 12, 13, 6 |
ASSESSMENT PROCEDURE: The competences of this subject will be assessed through written tests, individual and group work, text commentaries and oral presentations.
-Paper submission module: A minimum of two papers will be required in this module. Results will value 45% of the final mark.
-Module for presentations of texts in the classroom: 25%.
-Module of written tests: 30%.
At the time of each assessment task, students will be informed through Moodle about the procedure and the date of the review of results.
In the event that tests or exams cannot be taken onsite, they will be adapted to an online format made available through the UAB’s virtual tools (original weighting will be maintained). Homework, activities and class participation will be carried out through forums, wikis and/or discussion on Teams, etc. Lecturers will ensure that students are able to access these virtual tools, or will offer them feasible alternatives.
ABSENT: Students will be considered absent if they have completed less than 30% of the work assigned during the course and 30% less of the tests. Therefore, if they have done more than 30% of each part, they will be assessed.
REMEDIATION: Students are required to have been awarded marks previously in a set of activities that score at least 2/3 of the total mark. Only students with an average mark equal or higher than 3.5 will be eligible for remediation. Activities such as oral presentations, group work, or those related to daily teaching may not be eligible for remediation.
In the event of a student committing any irregularity that may lead to a significant variation in the grade awarded to an assessment activity, the student will be given a zero for this activity, regardless of any disciplinary process that may take place. In the event of several irregularities in assessment activities of thesame subject, the student will be given a zero as the final grade for this subject. Total and partial plagiarism of any of the exercises will automatically be considered a FAIL. Plagiarism means deliberately or accidentally using someone else’s work, whether a single sentence or more, as if it were your own. This includes copying sentences or whole paragraphs from digital documents on the Internet and it can have very serious consequences, which is why it is important to follow good academic practices and to reference your work properly.
Title | Weighting | Hours | ECTS | Learning Outcomes |
---|---|---|---|---|
Activity participated in class and coordinated with other students | Assessment with instrumental and bibliographic orientation | 10 | 0.4 | 7, 3, 5, 6 |
Commentary of a lyrical text applying the knowledge of the historical and socio-cultural context. | Autonomous bibliographical approach to the subject | 20 | 0.8 | 7, 3, 5, 6 |
Continued activity throughout the academic year | Ongoing assessment | 5 | 0.2 | 7, 4, 8 |
Literary Genres and Pluricultural Reality | Assessment, comprehension and assimilation of content | 15 | 0.6 | 3, 1, 2, 9, 10, 5, 12, 13, 6 |
Minimum two comments of lyrical texts | Assessment with instrumental and bibliographic orientation | 20 | 0.8 | 7, 3, 5, 6 |
minimum two comments of lyrical texts | assessment, comprehension and assimilation of content | 20 | 0.8 | 11 |
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