Ausiàs March Research Papers - Academia.edu (original) (raw)

- by Claudio Lagomarsini
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- Philology, French Literature, Romance philology, Ecdotics

Aquest treball estudia el paisatge agrari de la Séquia de Palma i la Séquia d’en March, dos sistemes hidràulics que es localitzen a la partida de l’Alfàs. Aquesta està enclavada entre els rius Serpis i Vernissa, i inserida als termes municipals d’Ador, Palma i Beniarjó, a la Safor (País Valencià). Gràcies a la combinació de l’arqueologia hidràulica i la documentació escrita, l’estudi evidencia que la Séquia de Palma fou construïda a mitjans del segle XIII per la societat cristiana -tot i que probablement reaprofitava en part una canalització prèvia d’origen andalusí- a fi d’ampliar la superfície irrigada i consolidar el poblament cristià a Palma i Ador. La Séquia d’en March fou construïda el 1457 i va ser una iniciativa d’Ausias March, senyor de Beniarjó, per augmentar la producció de sucre. Les noves terres irrigades no foren dedicades exclusivament al conreu de la canyamel, però van permetre incrementar-ne la producció tot garantint l’abastiment local de blats. Malgrat la diferència cronològica i l’extensió desigual entre ambdós sistemes, tots dos responen en darrera instància a la mateixa finalitat: l’obtenció de renda per part dels senyors.

- by Ferran Esquilache and +1
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- Medieval History, Landscape Archaeology, Medieval Archaeology, Agrarian History

Sobre la transmissió textual del poema 87 en el cançoner G d’Ausiàs March

- by Josep Lluís Martos
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- Ausiàs March, Cancionero poetry, Poesía cancioneril, Cancioneros medievales
- by cèlia nadal pascual
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- Ausiàs March, Traduzioni italiane, Emozioni, Edizione critica e commento

Focused on two sixteenth-century editions of a medieval Valencian author (Ausiàs March, 1400-59), this book examines how the material transformations of early modern poetic texts at different stages in their publication process—from the making of the printer’s copy and the translation of the text, to the typesetting and editing of the book in the printing shop—entailed thorough changes in the meaning of a lyric corpus.

- by Albert Lloret
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- Print Culture, Publishing, Translation Studies, Medieval Literature

La tabla de san Sebastián de la Colegiata de Xàtiva ha sido, y es, considerada el retrato de Ausiàs March. Esta opinión está muy arraigada a pesar de que ya hay quién se ha encargado de desmentirla. En el presente artículo se presentan los argumentos históricos que evidencian una falsedad que se ha perpetuado al menos desde el segundo cuarto del siglo XX. Se exponen los fundamentos historiográficos, se analiza la iconografía de la tabla en relación con otras obras del artista y se revisa el concepto de retrato en la baja Edad Media.

- by Francesc Granell Sales
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- Portraits, Portraiture, Medieval Crown of Aragon, Ausiàs March
- by Francesc J. Gómez and +1
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- Medieval Catalan Literature, Ausiàs March, Poesia catalana del segle XV

With almost thirty occurrences homogeneously spread throughout his poetic corpus, sea metaphors and similes (waters, sailing, tempest, shipwreck) constitute the most outstanding group of images in Ausiàs March’s repertoire and offer a broad range of expressive and conceptual possibilities due to the contribution of many traditions, as shown in this paper. Well rooted in the troubadour tradition, familiar with French and Italian fourteenth-century poetry, imbued with Aristotelian and Scholastic notions, educated in the reading of the auctores (Ovid, Virgil, Lucan, Seneca, Boethius), Ausiàs March was able to breathe new life into the symbolism of the navigatio amoris, well established by the medieval reception of Ovid and the lyric tradition, from troubadours to Petrarch, enriching it with moral and dramatic values borrowed from Christian culture, the stoic metaphore of the navigatio vitae and the Ovidian adaptations of the epic and tragic poetica tempestas.

- by Francesc J. Gómez
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- Rhetoric, Medieval Catalan Literature, Poetics, Petrarch

En este trabajo se estudia la recepción áurea de los poemas que funcionaron como prólogo en los manuscritos y las ediciones antiguas de la poesía de Ausiàs March: “Així com cell qui ’n lo somni•s delita” (I) y “Qui no és trist, de mos dictats no cur” (XXXIX). Se argumenta que el poema I, a pesar de los elementos más puramente petrarquistas que lo conforman (moralización, retrospectiva, palinodia), sirvió de modelo proemial en contadas ocasiones, a diferencia de XXXIX, cuyos resortes retóricos (apóstrofe al lector, selección de un público cómplice) resultaban menos petrarquistas que clasicistas .

- by Jaume Torró
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- Medieval Literature, Ausiàs March

A new reading and transcription of Ausiàs March’s poem 71,
including explanations to previously misunderstood passages. Poem 71 is presented in the context of the medieval literary debate for and against women, and its particularities within it are remarked. Attention to its cultural sources focuses especially in an unexpected one: William of Conches’s Dragmaticon Philosophiae, on the role of memory as sexual stimulus in women.

- by Rosanna Cantavella
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- Gender Studies, Women's Studies, Medieval Science, Medieval Catalan Literature
- by Raffaele Pinto
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- Dante Alighieri, Ausiàs March, Juan Boscán, Marques De Santillana

Cant, queixa i patiment: estudi macroestructural de 55 poemes d'Ausiàs March, Alacant, Universitat d'Alacant, 1997 (“Biblioteca de Filologia Catalana”, 4) [ressenya: Robert Archer, Bulletin of Hispanic Studies, 77:2 (April 2000), p.... more

- by Josep Lluís Martos
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- Poetry and Poetics, Ausiàs March, Cancionero poetry, Cancioneros medievales

“De sagetes i metalls sutzeus: l'al·legoria al poema LXXIX d'Ausiàs March”, en Actas del VI Congreso Internacional de la Asociación Hispánica de Literatura Medieval (Alcalá de Henares, 12-16 de septiembre de 1995), 2, ed. José Manuel... more

- by Josep Lluís Martos
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- Ausiàs March, Cancionero poetry, Cancionero, Poesía cancioneril

Aquest article estudia en profunditat l’estreta relació dels testimonis barcelonins ALM de la poesia de March des d’una perspectiva codicològica i ecdòtica. La majoria dels poemes compartits pels testimonis AL davallen d’un antecedent comú, consistent en una antologia (λ) d’unes quaranta peces conforme a l’ordre canònic. Aquesta antologia, emparentada amb el cançoner de Nova York (N), no fou l’única font dels testimonis ALM, que presenten altres indicis de relació amb el cançoner de Saragossa (H): un subarquetip κ per als poemes 92-100 del cançoner de París (A) i un altre subarquetip μ per a un petit grup de poemes restants de ALM, entre els quals es detecten vestigis de tradició extravagant. Una anàlisi d’aquesta mena porta a suggerir algunes importants correccions als stemmata codicum d’Amadeu Pagès i Robert Archer.

- by Francesc J. Gómez
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- Textual Criticism, Ecdotics, Medieval Catalan Literature, Ausiàs March

It is well known that during the Middle Ages warfare was the basis of nobility. On the battlefield members of this social group sought honour, glory and riches. However, fighting was also a social duty. In the medieval imagination of the three orders the bellatores were tasked with defending justice, the helpless and the established social order. Going beyond this imagined order, the relationship between warfare and nobility cannot be understood without considering other factors such as pacts of vassalage, feudal expansion, and the growth of income and the progressive consolidation of the state. Various historical processes modulated the significance of the military role of the nobility. While during the central period of the Middle Ages warfare generated wealth and honours, during the later medieval period it involved the search for new income and the easiest, though also the costliest, way to gain royal favour.
In this study we seek to analyze the evolution of the relationship between nobility and warfare in a specific context, that of the kingdom of Valencia, which arose from the Catalan-Aragonese expansion of the 13th Century. The progressive expansion of the presence of the state, the crisis of estate income and the resulting structural indebtedness transformed the context in which the nobility of Valencia existed, nobility ever more subjugated by the interests of royal power. The crown would eventually take control of all the levers of power and become the principle route for social ascent. These changes were particularly noticeable during the reign of Alfonso the Magnanimous, from 1416 to 1458. From the moment he was crowned he engaged in an expansionist policy which led to a series of armed conflicts with Castile, Genoa and France. The behaviour and attitude of the Valencian nobility during these wars was obviously not invariable. Our focus here will be on two members of the minor nobility: Ausias Marc and Hug de Cardona.1 The former can be thought of as a paradigmatic case of those nobles who participated in the kings wars not so much in search of booty and glory as of privileges and positions in the royal administration. The latter saw in war the opportunity to stop paying creditors and paralyze the functioning of the legal system."""

- by Frederic Aparisi Romero
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- Medieval History, Medieval Studies, Medieval Studies, Muslim Minorities

“March en Corella: asimilación, perspectiva e innovación en la Tragèdia de Caldesa”, Boletín de la Biblioteca de Menéndez Pelayo, 86 (2010), pp. 17-45.

Lo studio è una serie di sondaggi sulle fonti italiane di Ausiàs March, che dialoga in modo sistematico con gli autori più rappresentativi di quella tradizione (Cavalcanti, Dante, Petrarca e Boccaccio), rispetto ai quali mostra sia una conoscenza ampia ed accurata, sia una innovativa capacità di interpretazione. Nel grande dibattito sul De anima aristotelico, che determina la polemica fra Cavalcanti e Dante sulla natura dell'amore, March si mostra più vicino all'averroismo del primo che al tomismo del secondo. Abstract. Ausiàs March and Italians The study involves a series of surveys on Italian sources of Ausiàs March which communicate systematically with the most representative authors of that tradition (Cavalcanti, Dante, Petrarch and Boccaccio), showing both a broad and accurate knowledge as well as an innovative interpretation. In the great debate on Aristotle's De anima, which determines the controversy between Cavalcanti and Dante on the nature of love, March shows closer Averroism of the first or the second Thomism.

- by Raffaele Pinto
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- Ausiàs March

This article studies two opposing tendencies in the lexical choices of translators. While at times the selection of vocabulary unfolds the literary traditions of source texts, on other occasions translators deploy target poetic registers that are absent from the source text. The authors illustrate these strategies with attention to two medieval Catalan authors: Bernat Metge (ca. 1348-1413) and Ausiàs March (1400-1459). Metge wrote his Llibre de Fortuna i Prudència (ca. 1381) in a Romance genre of considerable Occitan ascent. Latin works, however, were the actual source of inspiration for key components of his work, including vocabulary and idiomatic expressions. The translation of March’s poetry during the early-modern period offers a complementary perspective. March’s Renaissance translators and imitators carefully selected certain words for their renditions of March’s verses in view of the significance of those terms for the poetic culture of their own time.

- by Albert Lloret and +1
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- Translation Studies, Medieval Studies, Renaissance Studies, Medieval Catalan Literature

La poesia d'Ausiàs March, després de la mort de l'autor i en especial al llarg dels segles XVI i XVII, continuà essent un model d’escriptura i una font d’inspiració tant per als autors en llengua catalana com per als poetes del Siglo de Oro castellà. Havent quedat desatesos durant un temps, els versos de March es volgueren recuperar de primer per a l’erudició, des de ben al començament de la Renaixença, i més endavant com a emblema del gloriós passat nacional i aviat com a clàssic de les lletres catalanes. Es pot reconèixer al llarg de tota la posteritat de l’autor una tradició de lectura que s’ha mantingut vigent fins al present. Alguns dels elements d’aquesta tradició remunten als manuscrits quatrecentistes més antics que han pervingut, però fou a la primera meitat del segle XVI quan de manera més clara es concebé la poesia de l'autor segons unes idees que gaudiren d’un llarg predicament. El tret primordial d’aquesta recodificació de l’obra de March fou la petrarquització del seu corpus, manifestada sobretot en l'ordenació dels poemes en les primeres edicions impreses.

Sulla base della bibliografia esistente e degli epistolari antichi, editi o in corso di stampa, l’articolo tenta di precisare quante e quali edizioni di Ausiàs March Gian Vincenzo Pinelli – umanista e bibliofilo del XVI secolo, napoletano, ma vissuto per lo più a Padova – riuscì a procurarsi. Si proverà inoltre a seguirne le sorti attraverso il processo di dispersione che interessò la ricchissima biblioteca padovana a partire dagli ultimi mesi della sua vita.

- by Cecilia Cantalupi
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- Ausiàs March, Jacopo Corbinelli
- by Paolo Di Luca
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- Ausiàs March, Filologia Catalana, Troubadour Studies, Arnaut Daniel

El estudio comparativo de un buen número de cancioneros de autor (Guiraut Riquier, Ausiàs March, Joan Berenguer de Masdovelles, Gómez Manrique, Marqués de Santillana) revela una serie de rasgos comunes que pueden ayudar a identificar como... more

- by Vicenç Beltran
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- Poetry, Poesía, Ausiàs March, Cancionero poetry

Il saggio riflette sui modi in cui il canto CX di March elabora dell'esperienza interiore sotto la spinta della follia d'amore. In particolare riflette sulla compresenza di modalità sincroniche e diacroniche di vivere e rappresentare i movimenti dell'io, alla luce di una configurazione prismatica della coscienza. Riconosce poi nel componimento il topos della conversione, ma trasportato su un piano secolarizzato, e incapace dunque di una reale trasformazione interiore; e registra quindi le differenze constitutive rispetto ai modelli di Dante e di Petrarca, pure ben presenti.

- by cèlia nadal pascual and +1
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- Literary Criticism, Medieval Catalan Literature, Psychoanalysis And Literature, Ausiàs March

Ausiàs March’s Poem CXII is a long 'meditatio mortis' that brings an existential dimension to the author’s moral poetry. Through an upward movement from fear to faith, hope and love, this poem describes the efforts of human thought to solve the problem of our mortal condition. A close reading of this work shows the main constituent ideas of March’s thinking on life and death. The poet’s meditation is based on the conceptual architecture of scholastic Aristotelianism, but his axiology rather tends to Stoicism’s ideal of virtue, within a framework of Christian beliefs.

- by Francesc J. Gómez
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- Death, Medieval Catalan Literature, Seneca, Ausiàs March

The treatment of traditional courtly ideals in Ausiàs March’s love lyric is one of the aspects where the innovative thrust of the Valencian poet comes up. March reworks and renews the courtly heritage of the Provençal troubadours in order to adjust it to his social and cultural milieu. As in the previous tradition, the poems in which the courtly legacy is more visible picture a range of images of the beloved, from virtue to abjection. This paper shows the different stages in the degradation of the lady’s image, from the first suspicions of the lover to the confirmation of her flaws. In view of the lady’s unsuitability as the object of pure love, March proposes an alternative option that ensures the continuity of the lyric discourse.

March: il dialogo con Dante Sommario Diviso in tre blocchi tematicamente coerenti, e strutturati nel loro insieme, che descrivono un percorso di tipo romanzesco e filosofico di chiara leggibilità, il canzoniere di March dialoga in modo costante e sistematico con l'opera dantesca, della quale vengono accolte le principali ipotesi di pensiero, che sono però risolte in una visione tragicamente dicotomica dell'anima umana di straordinaria originalità e potenza espressiva. Parole chiave: Dante, Vita Nuova, Beatrice, lutto, filosofia. Abstract Ausiàs March's cançoner is divided in three thematically coherent blocs which are structured as a whole that traces a clearly novelistic and philosophical arch. It establishes a constant and systematic dialogue with Dante's oeuvre, whose main hypotheses it takes up, only to solve them from a vision of the human soul which is tragically dichotomic, extremely original and highly expressive.

- by Raffaele Pinto
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- Dante Alighieri, Ausiàs March

El text proposa una reflexió sobre els criteris que configuren les marques i els llocs literaris dels autors clàssics, més enllà del seu rigor històric, a més d’examinar alguns factors determinants en la seua transposició didàctica.
Ens centrem en el poeta Ausiàs March (1400-1459), a partir dels llocs vinculats a la seua vida i d’algunes marques literàries que la seua figura ha generat. Entre els primers, abordarem dos àmbits geogràfics bàsics:
a) Els llocs vinculats a la comarca de la Safor, començant per Gandia (on tenia la casa) i Beniarjó, la població d’on fou senyor, amb el record de la casa senyorial i l’ermita, les seues obres hidràuliques (l’assut March i la séquia March) i agrícoles (molins i trapitjos) i el Monestir de Sant Jeroni de Cotalba, on són soterrats el pare (Pere March) i la seua primera dona (Isabel Martorell). Al paisatge urbà i agrícola, afegim el paisatge mariner i alguns indrets de la comarca de la Marina Alta.
b) La ciutat de València, on va residir els últims anys, en la qual es localitzen dos indrets bàsics: la casa on va morir i la seua tomba, dins la Catedral. A l’Alfufera situem el lloc on exercia el càrrec de falconer reial.
Pel que fa a les marques, ens centrarem en la imatge que li ha estat atribuïda, relacionada arbitràriament amb el retrat de Sant Sebastià pintat per Jacomart, que es conserva a la Seu de Xàtiva, que ha donat lloc a múltiples representacions. El nom del poeta ha esdevingut, també, una marca (toponímia urbana, centres escolars, premis literaris, antropònims, etc.).

- by Alexandre Bataller
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- City Branding, Cultural Branding, Ausiàs March, Didactic Transposition

A close reading of Ausiàs March's poem 61, which reveals a striking subject: the lyrical voice requested his lady's correspondence, with expectations of a spiritual love, "fin'amors". She did correspond him, but turned out to be unable to give him but her body. She cannot feel "fin'amors", only "foll'amors". He, therefore, speaks from an ambivalent position: his spirit suffers bitterly from these frustrated expectations --but his body is happy in the present situation.

A poet’s choice of rhythmic patterns is affected by three factors: a universal set of metrical constraints, common to all languages; the metrical grammar and lexical structure of the poet’s own language; and the poet’s personal style. To analyze how these three factors influence the frequency of different stress patterns in Catalan poetry, this paper focuses on the rhythmic structure of the hexasyllable verse in a corpus of Catalan ancient poetry (built on A. March’s poems) and Catalan contemporary poetry (built on V. A. Estellés’ poems). The former, con-taining 2,464 hexasyllables, is extracted from the second part of A. March decasyllables, which are structured as a line with a stress on the 4th and the 10th syllables; hence, as a se-quence of 4 plus 6 syllables. The latter, containing 2,522 hexasyllables, is extracted from the two hemistiches of V. A. Estellés alexandrines in Llibre de meravelles, which are structured as 6 plus 6 syllables, with a stress on the last syllable of each hemistich. Our first goal is to show that the attested patterns are indeed grounded on general rhythmic constraints thoroughly attested in the literature, and that in both corpora the patterns that better satisfy these re-quirements are preferred and thus are more frequent (on this issue, see, e. g., Golston 1998). A second goal is to demonstrate that, beyond minor surface variations in the distribution of stress patterns due to the authors’ particular style, there are similarities attributable to the structure of the language and to the universal grammar.

- by Jesús Jiménez
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- Catalan Studies, Phonology, Catalan Language, Poetry

This article studies the Cançoner de Saragossa, a miscellaneous collection of poetry copied between November 1461 and July 1462, and related to the entourage of Charles of Aragon, Prince of Viana. This culturalmilieu included the poet Pere Torroella, and other courtiers who had recently returned from Naples. After examining the mise-en-page of the manuscript,and the ordering of its contents, this article reconstructs the quire structure of the Cançoner de Saragossa showing that the codex started as a collection of poetry containing about 90 love pieces by Ausiàs March. Only 66 of those poems remain in the present form of the manuscript. The original collection of March's poetry began with poems 1-8 and ended with a post mortem section that followed after the rubric of poem 92 («mossèn Ausiàs March per la mort de sa muller e sa enamorada»). Later on, as more of March's poems became available to the copist, a second section of March's poetry was added.

- by Marion Coderch
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- Medieval Literature, Medieval Studies, Medieval Catalan Literature, Ausiàs March

Since the late 1400s, the Rerum vulgarium fragmenta (RVF) became a widespread model narrative for the articulation of lyric corpora. The reasons for March’s adaptation to this editorial model are unique. March had never written a sonnet or a canzone, but rather Catalan-Occitan octaves and dècimes in the tradition of the troubadours. His works are not much indebted to Petrarch’s either, nor did he supervise or could ever prepare for the printing of his poetry. As we will see, the early modern Petrarchan making or fashioning of March’s poems in Juan Navarro's 1539 edition and translation entirely transformed March’s poetic voice and self. Since the agency of this process is to be found well beyond the author’s actions, this seems a good test case to consider and subsequently offer a critique of what constitutes self-fashioning. An influential concept in the definition of the Renaissance and the modern subject at large, the cases of self-fashioning that Stephen Greenblatt identifies in his classic monograph invariably involve the author’s agency. Is that authorial involvement crucial for self-fashioning? Could March’s Petrarchan re-casting of his poetic self be regarded as self-fashioning?

- by Albert Lloret
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- Catalan Studies, Translation Studies, Medieval Literature, Renaissance Studies