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Parler dulcement d’amur

Identità, desiderio, racconto nei testi antico-francesi della leggenda di Tristano (XII sec.)

Teodoro Patera

PhD Thesis Award

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In the so-called “long end” of the novel by Thomas d'Angleterre, Isolde, coming too late, looks at the lifeless body of her beloved and articulates an impossible hypothesis: if she had arrived on time, she would have saved the life of Tristan and would have spoken to him – dulcement - about their love. Even if only hypothetically, Isolde obtains with her last words the role that is traditionally attributed to the male lead: that of singer of his story, narrator of the Tristan parable. For this specimen lover the perfect picture of the love story is a combination of kisses and narrative, embraces and memory. Love is contemplated as a narrative condition. To love someone means to recount one's love, to imagine oneself as a character, to inscribe oneself in a story. Love is an act of trust, without therefore being denied as an act performed by bodies, an event that unfolds between two existences.

About the Author
Teodoro Patera is a researcher at the Georg-August University of Gottingen. He graduated in Literature at Tor Vergata University of Rome, and specialising in Medieval Studies at the University of Geneva. He also received his PhD in Linguistic, Philological and Literary Sciences at the University of Macerata.

  • Codice ISBN 978-88-6056-534-1
  • Numero pagine 294
  • Formato 14x21
  • Anno 2017
  • Editore © 2017 eum edizioni università di macerata
Studi francesi
Eum Redazione

di G. Matteo Roccati, Rassegna bibliografica, Studi francesi, 186 (LXII / III) 2018, p. 474

Lo studio propone «un’indagine sull’identità da intendersi, già modernamente, come configurazione processuale strettamente legata alla prassi diegetica e veicolante un punto di vista assiologico, un’indagine che utilizzi la tradizione tristaniana come laboratorio testuale attraverso cui problematizzare la nozione di personaggio medievale, indagando il disseminarsi di questo in un tessuto intersoggettivo e narrativo» (p. 14). Dopo un primo capitolo introduttivo (Note per una teoria del personaggio), i tre capitoli successivi sono un commento al testo delle Folies, di Béroul e di Thomas. Bibliografia, pp. 253-287, e Indice degli autori citati, pp. 289-294.

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