This article analyses certain troubadour texts that deal with a political topic, and notes a curious thematic strategy: the authors use various literary models in the composition and construction of their satirical works. Despite the many differences between the Provençal sirventés and the Galician-Portuguese cantiga de escarnio e maldizer, the two genres share a tendency to use well-known hypotexts to express the intended message; the chansons de geste are clearly the genre which most readily adopts this form of composition. In this context, of course, we look at, on the one hand, Occitan and Galician texts in which the matrix is clear (this is the case with Afonso López de Baian e Lopo Lians for Galician-Portuguese, and Gui de Cavaillon for Occitan), and, on the other, texts which have a veiled meaning, poetry which transmit topics of great political import via genres which are not overtly satirical (for example, the pastourelles of Paulet de Marsella and Cerverí de Girona, the “false” female chansons of Peire Basc and Gonçal Eanes do Vinhal). In both types of adaptation the poet’s use of the “external” structure—whether formal, rhetorical or simply lexical—to spread his satirical message more effectively is very interesting.

O emprego de modelos literarios na sátira política: entre Iberia e Provenza

MARCENARO, Simone
2007

Abstract

This article analyses certain troubadour texts that deal with a political topic, and notes a curious thematic strategy: the authors use various literary models in the composition and construction of their satirical works. Despite the many differences between the Provençal sirventés and the Galician-Portuguese cantiga de escarnio e maldizer, the two genres share a tendency to use well-known hypotexts to express the intended message; the chansons de geste are clearly the genre which most readily adopts this form of composition. In this context, of course, we look at, on the one hand, Occitan and Galician texts in which the matrix is clear (this is the case with Afonso López de Baian e Lopo Lians for Galician-Portuguese, and Gui de Cavaillon for Occitan), and, on the other, texts which have a veiled meaning, poetry which transmit topics of great political import via genres which are not overtly satirical (for example, the pastourelles of Paulet de Marsella and Cerverí de Girona, the “false” female chansons of Peire Basc and Gonçal Eanes do Vinhal). In both types of adaptation the poet’s use of the “external” structure—whether formal, rhetorical or simply lexical—to spread his satirical message more effectively is very interesting.
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/11695/58646
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