By Deborah McGrady, Jennifer Bain, Jeanette Patterson
Providing the 1st finished examine of Guillaume de Machaut's huge corpus of textual content and tune, the 18 essays during this assortment discover the author's engagement with the moral, political, and aesthetic matters of his time. construction on interdisciplinary curiosity in Machaut, this assortment broadens dialogue of his paintings through exploring overlapping pursuits in his poetry and track; addressing lesser-studied writings; supplying clean views on lyric, authorial voice, and function; and fascinating extra seriously along with his reception by way of medieval bookmakers, sleek editors, and the song undefined. the result's a promising map for destiny study within the box that may be of curiosity to scholars and experts alike.
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Extra info for A companion to Guillaume de Machaut
Colloque-table ronde organisé par l’Université de Reims (Reims, 19–22 avril 1978), eds. by Jacques Chailley et al. (Paris, 1982), pp. 241–52 and including Kevin Brownlee, Poetic Identity in Guillaume de Machaut (Madison, 1984); Jacqueline Cerquiglini, “Un engin si soutil”: Guillaume de Machaut et l’écriture au XIV e siècle (Geneva, 1985); Didier Lechat, “Dire par fiction”: métamorphoses du Je chez Guillaume de Machaut, Jean Froissart et Christine de Pizan (Paris, 2005); Laurence De Looze, PseudoAutobiography in the Fourteenth Century: Juan Riz, Guillaume de Machaut, Jean Froissart, and Geoffrey Chaucer (Gainesville, 1998); Sarah Kay, Place of Thought: The Complexity of One in Late Medieval French Didactic Poetry (Philadelphia, 2007); Deborah McGrady, Controlling Readers: Guillaume de Machaut and his Late Medieval Audience (Toronto, 2006); R.
33 Brownlee, Poetic Identity, p. 169; De Looze, Pseudo-Autobiography, p. 72. 34 Brownlee, Poetic Identity, pp. 158–70. the poetic i 27 utterances. This technique, derived from the Roman de la rose, opens up distinctions between experiencing and retrospective narrating instances, as well as between authorial and narratorial identities. The first portion of the Rose, by Guillaume de Lorris, presents a multi-layered I through the retrospective narration of a younger self ’s dream, thereby multiplying and interweaving the instances represented by je through manipulation of verb tense and differentiation between sleeping and wakeful states: the voice experiencing the dream and that which recounts it afterwards.
100 and 287. the poetic i 29 In conclusion, I should like to argue for the key role played by the poetic I in connecting Machaut’s reflections on truth with his understanding of the limits of artistic representation of truth. ” It would exceed, more specifically, his capacities as poetic I: representative of the colourful complexities of poetic art, as in the multi-layering of narratorial perspectives, but also of the limitations of that art to capture truth in language. Towards the end of several dits, there is a tendency for an undertone of desperation to set in as events start to overtake the persona’s ability to control them, and he makes a final attempt to impose his authority in shaping the conclusion.
A companion to Guillaume de Machaut by Deborah McGrady, Jennifer Bain, Jeanette Patterson