Le Roman de Perceforest

The Roman de Perceforest – dauntingly long and richly complex – has only recently begun to attract significant scholarly attention : thanks to the editorial work of Gilles Roussineau, more than half of this once largely inaccessible text is now available in modern critical edition. The work was long regarded as a product of the mid fourteenth century, due to the narrator’s claim to be working on behalf of Count Guillaume I of Hainaut, but was also understood as having been revived and reworke..

Le Roman de Perceforest

The Roman de Perceforest – dauntingly long and richly complex – has only recently begun to attract significant scholarly attention : thanks to the editorial work of Gilles Roussineau, more than half of this once largely inaccessible text is now available in modern critical edition. The work was long regarded as a product of the mid fourteenth century, due to the narrator’s claim to be working on behalf of Count Guillaume I of Hainaut, but was also understood as having been revived and reworke..

Le Roman de Perceforest

The Roman de Perceforest – dauntingly long and richly complex – has only recently begun to attract significant scholarly attention : thanks to the editorial work of Gilles Roussineau, more than half of this once largely inaccessible text is now available in modern critical edition. The work was long regarded as a product of the mid fourteenth century, due to the narrator’s claim to be working on behalf of Count Guillaume I of Hainaut, but was also understood as having been revived and reworke..

From Song to Book: The Poetics of Writing in Old French Lyric and Lyrical Narrative Poetry

As the visual representation of an essentially oral text, Sylvia Huot points out, the medieval illuminated manuscript has a theatrical, performative quality. She perceives the tension between implied oral performance and real visual artifact as a fundamental aspect of thirteenth- and fourteenth-century poetics. In this generously illustrated volume, Huot examines manuscript texts both from the performance-oriented lyric tradition of chanson courtoise, or courtly love lyric, and from the self-consciously literary tradition of Old French narrative poetry. She demonstrates that the evolution of the lyrical romance and dit, narrative poems which incorporate thematic and rhetorical elements of the lyric, was responsible for a progressive redefinition of lyric poetry as a written medium and the emergence of an explicitly written literary tradition uniting lyric and narrative poetics. Huot first investigates the nature of the vernacular book in the thirteenth and fourteenth centuries, analyzing organization, page layout, rubrication, and illumination in a series of manuscripts. She then describes the relationship between poetics and manuscript format in specific texts, including works by widely read medieval authors such as Guillaume de Lorris, Jean de Meun, and Guillaume de Machaut, as well as by lesser-known writers including Nicole de Margival and Watriquet de Couvin. Huot focuses on the writers' characteristic modifications of lyric poetics; their use of writing and performance as theme; their treatment of the poet as singer or writer; and of the lady as implied reader or listener; and the ways in which these features of the text were elaborated by scribes and illuminators. Her readings reveal how medieval poets and book-makers conceived their common project, and how they distinguished their respective roles

From Song to Book

As the visual representation of an essentially oral text, Sylvia Huot points out, the medieval illuminated manuscript has a theatrical, performative quality. She perceives the tension between implied oral performance and real visual artifact as a fundamental aspect of thirteenth- and fourteenth-century poetics. In this generously illustrated volume, Huot examines manuscript texts both from the performance-oriented lyric tradition of chanson courtoise, or courtly love lyric, and from the self-consciously literary tradition of Old French narrative poetry. She demonstrates that the evolution of the lyrical romance and dit, narrative poems which incorporate thematic and rhetorical elements of the lyric, was responsible for a progressive redefinition of lyric poetry as a written medium and the emergence of an explicitly written literary tradition uniting lyric and narrative poetics.Huot first investigates the nature of the vernacular book in the thirteenth and fourteenth centuries, analyzing organization, page layout, rubrication, and illumination in a series of manuscripts. She then describes the relationship between poetics and manuscript format in specific texts, including works by widely read medieval authors such as Guillaume de Lorris, Jean de Meun, and Guillaume de Machaut, as well as by lesser-known writers including Nicole de Margival and Watriquet de Couvin. Huot focuses on the writers' characteristic modifications of lyric poetics; their use of writing and performance as theme; their treatment of the poet as singer or writer; and of the lady as implied reader or listener; and the ways in which these features of the text were elaborated by scribes and illuminators. Her readings reveal how medieval poets and book-makers conceived their common project, and how they distinguished their respective roles

Popular Piety and Devotional Literature. A Old French Rhyme about the Passion and its Textual History

Huot Sylvia. Popular Piety and Devotional Literature. A Old French Rhyme about the Passion and its Textual History. In: Romania, tome 115 n°459-460, 1997. pp. 451-494