The Avatars of Orable-Guibourc from French 'chanson de geste' to Italian 'romanzo cavalleresco'. A Persistent Multiple Alterity

Orable-Guibourc, a Saracen princess in the Guillaume d'Orange (or Monglane) cycle of chansons de geste epitomizes the «Saracen princess» story, in which a Muslim princess abandons her community for love of a Christian fighter. Yet Guibourc's character never becomes truly a part of her new community: linked to her previous religion and family, fears of treachery distance her from the Christians. Similarly, her having renounced her upbringing keeps her forever from her home, though her husband and family there still claim her as property. Writers from the first Old French texts where she appears through Renaissance Italians play upon this double jeopardy, interpreting and depicting her role and acts in different ways, emphasizing varying aspects of her personality, family and background, keeping her forever different, forever Other. This article outlines some of the historical contexts and forms in which authors worked to produce these avatars of Orable/Guibourc

“Qe sor les autres è de gran valor”: Ogier le Danois in the Italian Tradition

Ogier le Danois arrived in Italy with chansons de geste in the 13th century. Ogier’s life story was developed in Franco-Italian and Tuscan texts including his adventures, adding and subtracting details to accounts of his enfances and chevalerie. But one element remained constant: his sword, Curtana. That sword became a symbol of the character through all his transformations (and in any format: chanson de geste, ottava rima, prose), throughout his life cycle from the time he became a knight, when he took it from a Saracen whom he defeated. Ogier only killed when provoked or challenged, and held his hand when offered revenge. Curtana thus represented steadfast and measured character, and was claimed by rulers – such as the Gonzaga – as a symbol of their own positive attributes, and a warning about their combative abilities.Ogier le Danois est arrivé en Italie au XIIIe siècle, avec les chansons de geste. L’histoire de sa vie a été développée dans les récits franco-italiens et toscans de ses aventures, en ajoutant ou en enlevant des détails aux différentes versions de ses enfances et de sa chevalerie. Mais un élément est resté toujours le même: son épée, Courtain. Cette épée est devenue le symbole du personnage à travers toutes les transformations des textes (dans toutes les formes d’écriture: chanson de geste, ottava rima, prose), et tout au long de sa vie, depuis le moment où il est devenu chevalier, et où il l’a obtenue d’un Sarrasin qu’il avait vaincu. Courtain est ainsi restée comme symbole d’un caractère loyal et mesuré, revendiqué par des gouvernants, comme les Gonzague, en tant que signe de leurs qualités et garantie de leurs capacités guerrières

“Qe sor les autres è de gran valor”: Ogier le Danois in the Italian Tradition

Ogier le Danois arrived in Italy with chansons de geste in the 13th century. Ogier’s life story was developed in Franco-Italian and Tuscan texts including his adventures, adding and subtracting details to accounts of his enfances and chevalerie. But one element remained constant: his sword, Curtana. That sword became a symbol of the character through all his transformations (and in any format: chanson de geste, ottava rima, prose), throughout his life cycle from the time he became a knight, when he took it from a Saracen whom he defeated. Ogier only killed when provoked or challenged, and held his hand when offered revenge. Curtana thus represented steadfast and measured character, and was claimed by rulers – such as the Gonzaga – as a symbol of their own positive attributes, and a warning about their combative abilities.Ogier le Danois est arrivé en Italie au XIIIe siècle, avec les chansons de geste. L’histoire de sa vie a été développée dans les récits franco-italiens et toscans de ses aventures, en ajoutant ou en enlevant des détails aux différentes versions de ses enfances et de sa chevalerie. Mais un élément est resté toujours le même: son épée, Courtain. Cette épée est devenue le symbole du personnage à travers toutes les transformations des textes (dans toutes les formes d’écriture: chanson de geste, ottava rima, prose), et tout au long de sa vie, depuis le moment où il est devenu chevalier, et où il l’a obtenue d’un Sarrasin qu’il avait vaincu. Courtain est ainsi restée comme symbole d’un caractère loyal et mesuré, revendiqué par des gouvernants, comme les Gonzague, en tant que signe de leurs qualités et garantie de leurs capacités guerrières

Industrial SO2 pollution and agricultural losses in China: evidence from heavy air polluters

This paper aims to assess the agricultural losses caused by the 2069 state-monitored heavily air polluting enterprises located in 899 Chinese counties. We examine the correlation between per capita number of state-monitored enterprises and other socio-economic indices to show the negative impacts of sulphur dioxide (SO2) industrial air pollution on agricultural development in the regions. Despite these enterprises being the main drivers of economic development in China’s counties, surrounding agricultural land continues to be degraded because of the associated SO2 emissions. The cost of agricultural losses due to pollution is estimated at US$ 1.43 billion, representing 0.66% of the total agricultural value added of the 899 Chinese counties. The findings highlight the importance of cleaner production and have policy implications for dealing with industrial air pollution

Gigante (Claudio) & Palumbo (Giovanni), éds. La tradizione epica e cavalleresca in Italia (XII-XVI sec.), 2010

Zarker Morgan Leslie. Gigante (Claudio) & Palumbo (Giovanni), éds. La tradizione epica e cavalleresca in Italia (XII-XVI sec.), 2010. In: Revue belge de philologie et d'histoire, tome 91, fasc. 2, 2013. Histoire médiévale, moderne et contemporaine Middeleeuwse, moderne en hedendaagse geschiedenis. pp. 506-511

Le merveilleux destin de Guibourc d'Orange

Epic Studies: Acts of the Seventeenth International Congress of the Société Rencesvals for the Study of Romance Epic. Eds. Anne Berthelot et al.International audienceOne of four versions of the Franco-Italian Huon d'Auvergne offers an episode in which Guibourc is condemned to hell for an unspecified, unconfessed sin. This article examines the French tradition together with the German version and the alternate italian texts of the Guillaume d'Orange story in an attempt to locate a possible sin. While there is no specific evidence, there are hints of what might cause some readers to consider her sinful, from sorcery to religious deviance. These hints relate in part to theories of lost texts such as the Siège d'Orange and Girart de Fraite, but also to a different thematic context in the manuscript where the incident appears, combining chanson de geste, Dantean and structural elements for a unique interpretation

La machine infernale : les merveilles mécaniques dans la chanson de geste

Voix savantes 30. Ottawa: Éditions David, 2008. pp. 103-120Por s'onor croistre. Mélanges de langue et de littérature médiévales offerts à Pierre KunstmannÉd. Yvan Lepage et Christian MilatUne examination des machines (engins de guerre exclus) qui apparaissent dans les chansons de geste Le Pèlerinage de Charlemagne, Aymeri de Narbonne, Huon de Bordeaux, Huon d'Auvergne, Valentin et Orson, La Belle Hélène de Constantinople et Le Bâtard de Bouillon, avec quelques mentions dans d'autres œuvres

The Avatars of Orable-Guibourc from French chanson de geste to Italian romanzo cavalleresco. A Persistent Multiple Alterity

Orable-Guibourc, a Saracen princess in the Guillaume d'Orange (or Monglane) cycle of chansons de geste epitomizes the «Saracen princess» story, in which a Muslim princess abandons her community for love of a Christian fighter. Yet Guibourc's character never becomes truly a part of her new community: linked to her previous religion and family, fears of treachery distance her from the Christians. Similarly, her having renounced her upbringing keeps her forever from her home, though her husband and family there still claim her as property. Writers from the first Old French texts where she appears through Renaissance Italians play upon this double jeopardy, interpreting and depicting her role and acts in different ways, emphasizing varying aspects of her personality, family and background, keeping her forever different, forever Other. This article outlines some of the historical contexts and forms in which authors worked to produce these avatars of Orable/Guibourc

A PILOT STUDY INVESTIGATING VETERAN IDENTITY USING THE PHOTOVOICE TECHNIQUE IN A QUALITATIVE, COMMUNITY-BASED PARTICIPATORY ACTION RESEARCH FRAMEWORK**

Veteran identity has been defined as a veteran’s self-concept that derives from their military experience within a sociohistorical context. Reintegration into civilian life can be difficult, experiencing a “reverse culture shock” that can negatively impact many interpersonal relationships and result in experiencing negative feelings such as helplessness, isolation, and emotional disconnection. Understanding how veterans define themselves in their civilian lives can give us insight that could bridge the gaps between them and their available support systems. We utilized a qualitative, community-based participatory action research (CbPAR) model where veterans are empowered to use their voices to tell their stories and researchers serve to help communicate their stories to the community. We are using the photovoice technique where Veterans take pictures that represent the answer to the following prompt: What does being a veteran mean to you? This study is part of a larger project using photovoice and lyric analysis to help define the “sights and sounds” of veteran identity. Our Veterans will then be interviewed individually where they are asked questions to help the researchers understand the symbolism of the images relating to the prompt for them. Transcripts of the interviews are being analyzed to uncover common themes and elements that represent a definition of veteran identity. Preliminary results of these analyses will be discussed after completion of our member-checking process, which helps establish external validity within the community. Our next aim is to present the images and our results in an immersive, interactive gallery experience to allow for the veterans’ stories to be told. We argue that without more emphasis on qualitative, CbPAR methodologies, research with special and/or marginalized populations, like veterans, will continue to be more exploitative than beneficial and will further reinforce the distrust in scientists and clinicians already experienced by many in these populations