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Subjectivity in Troubadour Poetry
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  • Cited by 11
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    This book has been cited by the following publications. This list is generated based on data provided by CrossRef.

    Simó, Meritxell 2015. Traducció i reescriptura de la <em>cansó</em> occitana al <em>Roman de la Rose</em> de Jean Renart. Anuario de Estudios Medievales, Vol. 45, Issue. 1, p. 79.

    2015. Haben Gefühle eine Geschichte?.

    Samuelson, Charles 2014. Queering temporality and the gender binary in Flamenca. postmedieval: a journal of medieval cultural studies,

    Monson, Don A. 2011. Why is la Belle Dame sans Merci? Evolutionary Psychology and the Troubadours. Neophilologus, Vol. 95, Issue. 4, p. 523.

    Davis, Isabel 2009. Expressing the Middle EnglishI. Literature Compass, Vol. 6, Issue. 4, p. 842.

    Grossweiner, Karen A. 2008. Narrators and Narrating Characters: Voicing in Le Roman de Flamenca. Neophilologus, Vol. 92, Issue. 3, p. 395.

    Chance, Jane 2007. The Literary Subversions of Medieval Women.

    Ramm, Ben 2007. A Rose by Any Other Name?: Queering Desire in Jean Renart'sLe roman de la Rose, ou de Guillaume de Dole. Exemplaria, Vol. 19, Issue. 3, p. 402.

    Heale, Elizabeth 2003. Autobiography and Authorship in Renaissance Verse.

    Heale, Elizabeth 2003. Autobiography and Authorship in Renaissance Verse.

    Fay, Elizabeth 2002. Romantic Medievalism.

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    Subjectivity in Troubadour Poetry
    • Online ISBN: 9780511519550
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Book description

The songs of the troubadour poets of the south of France were a pervasive influence in the development of the European lyric (and indeed other genres) from the twelfth century to the Renaissance and beyond. Much troubadour poetry is on the topic of love, and is composed from a first-person position. This book is a full-length study of this first-person subject position in its relation to language and society. Using theoretical approaches where appropriate, Sarah Kay discusses to what extent this first person is a 'self' or 'character', and how far it is self-determining. Dr Kay draws on a wide range of troubadour texts, and provides close readings of many of them, as well as translating all medieval quotations into English in order to make the discussion accessible to the non-specialist. Her book will be of interest both to scholars of medieval literature, and to anybody investigating subjectivity in lyric poetry.

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