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Joi jako źródło niepokoju we wspólnotach emocjonalnych trubadurów i trobairitz

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Sawczuk-Szadkowski M.

Acta Universitatis Lodziensis. Folia Litteraria Romanica

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2022

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vol. 17

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issue 2

23-35

EN

This paper aims to analyse the courtly love of the troubadours with a particular focus on the relationship between joi and fear or disquiet. With the background of previous concepts, the model of fin’amor as an emotional community with its basic characteristics is presented. On the example of selected texts from the courtly literature, a “map of emotions” of the troubadour world, in which joi plays a central role, is constructed. Joi is defined as “joy acting” or “a state of harmony, ecstasy and inner perfection”. As the etymology of this concept, it is taken as a combination of the words gaudium (joy) and joculum (play). The analysis indicates that the pursuit of joi is both the reason for building the emotional community of fin’amor and the goal of its actors involved. The achievement of joi is based on an elaborate system of literary games. In the emotional community, joi triggers other emotions, including fear and disquiet. Thus, joi is not a state of inner harmony but an ambivalent entity, affecting both the well-being of the individual fin’amor actors and the lack thereof.

FR

Cet article vise à analyser l’amour courtois des troubadours en mettant l’accent sur la relation entre le joi et la peur ou l’intranquillité. Sur la base des concepts précédents, le modèle de la fin’amor en tant que communauté émotionnelle avec ses caractéristiques de base est présenté. Sur l’exemple de textes choisis de la littérature courtoise, une « carte des émotions » du monde des troubadours, dans laquelle le joi joue un rôle central, est construite. Joi est défini comme « la joie agissante » ou « un état d’harmonie, d’extase et de perfection intérieure ». L’étymologie de ce concept est considérée comme une combinaison des mots gaudium (joie) et joculum (jeu). L’analyse indique que la poursuite du joi est à la fois la raison de la construction de la communauté émotionnelle de la fin’amor et l’objectif des acteurs impliquées. L’obtention du joi repose sur un système élaboré de jeux littéraires. Dans la communauté émotionnelle, le joi déclenche d’autres émotions, notamment la peur et l’intranquillité. En ce sens, le joi n’est pas un état d’harmonie intérieure mais une entité ambivalente, qui affecte aussi bien le bien-être des acteurs de la fin’amor que son absence.

2

Chronologia, kalendarz i datowanie Roman de Flamenca – próba bilansu

100%

Sawczuk-Szadkowski M.

Terminus

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2023

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vol. 25

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issue 3 (68)

323-348

EN

This article aims to review and summarise previous research on the chronology of the medieval occitan narrative text Le Roman de Flamenca in two aspects: dating the text and dating the time of the action. The state of research makes it possible to identify the main ways of interpreting the chronology of the text: in terms of the time of its composition, as a work from the first or second half of the 13th century; while in terms of determining the time of the plot of Flamenca, it is dated by various authors to the first half of the 12th century, the turn of the 12th and 13th centuries, or the first half of the 13th century. Among the main arguments used to support these hypotheses are the organisation of the text’s chronology around the liturgical calendar and the absence of the feast of Corpus Christi in that calendar, the description of the coat of arms of the Bourbons, attempts to identify the characters of the text as historical figures, and references to political events of the period. On the basis of an analysis of the data collected, the rejection of implausible and poorly argued concepts, and additional arguments related to the participation of the novel’s protagonist Guillaume in the war in Flanders, the author establishes the most probable dating range of Le Roman de Flamenca as 1287–1293, and the time of action as 1217–1224. In conclusion, an interpretative problem is presented that is closely related to the chronological issue of the text: the different perspectives on the novel as a current novel of manners or a novel of historical character. The analysis carried out here supports the conclusion that Le Roman de Flamenca is a text describing the golden age of the trobar from the perspective of its period of decline and decadence.

3

Flamenca i Radość Gry w świecie trubadurów

100%

Sawczuk-Szadkowski M.

Terminus

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2022

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vol. 24

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issue 3 (64)

259-286

EN

This article attempts to interpret a thirteenth-century Occitan chivalric romance, Le roman de Flamenca, in the context of game and play. Play is an important element of the troubadours’ sociopoetic culture, both in its social (fin’amor) and literary (trobar) aspects. Since the author considers Flamenca to be a work that summarises the history of Occitan courtly poetry, on this basis he puts forward the hypothesis that the plot of the text in question was also constructed by games. This hypothesis is proven by analysing the romance through the prism of Johan Huizinga’s and Roger Caillois’ concept of play. An additional argument testifying to the importance of games in the troubadour world is the key term for fin’amor, joi (translated as Joy), whose components are two other terms: joia (joy) and joc (game). For this reason, the author treats this phenomenon as the Joy of Play, a feeling of pleasure resulting from engagement in poetic games. Based on Caillois’ classification, the author distinguishes two types of games in the text. The first of these is agon, or the competition between Flamenca and her lover Guillaume, and her jealous husband Archambaut. The analysis of the work provides answers to questions about the model player, the set of rules of the game (referred to as lo gay saber, ‘the gay science’) and its course. Of particular note are the passages in which competition is thematised through ludic vocabulary and references to joi. This leads to the conclusion that agon is a structural principle of Le roman de Flamenca. The next section aims to interpret the plot of the novel in the context of mimicry, games based on imitation. The theatrical motifs of the work are subjected to critical reflection, particularly in connection with the joi. In this sense, illusion and imitation constitute the content of the work. In the last section, the author proposes to raise the question about other forms of games in the troubadour world. In particular, the treatment of joi as illinx, a game based on vertigo, is taken into consideration. The collected material and the research lead to the conclusion that Flamenca is a piece built around different types of games: agon is its structure, mimicry serves to guide the action, while illinx may be its possible goal.

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1 Acta Universitatis Lodziensis. Folia Litteraria Romanica

3 Sawczuk-Szadkowski M.

1 2023

2 2022

Joi jako źródło niepokoju we wspólnotach emocjonalnych trubadurów i trobairitz

Chronologia, kalendarz i datowanie Roman de Flamenca – próba bilansu

Flamenca i Radość Gry w świecie trubadurów