Continuations of the Conte du Graal

This paper is dedicated to traces of the double-faced Sovereignty figure known by some medieval Irish texts in such romances as Le Conte du Graal of Chrétien de Troyes, Perlesvaus and the Continuation (Suite) of Merlin. Not only dual but also triple personages are explored, distinguished by their appearances and ages as well as by their moral positivity or negativity.

e lavora da molti anni sui manoscritti degli antichi testi della letteratura francese, con speciale attenzione all'approfondimento del contesto della produzione letteraria nel Medioevo 1 . La definizione di quello che bisogna intendere per contesto è problematica e richiede un previo chiarimento. Alla sua determinazione partecipa infatti una serie di elementi che è necessario aver presenti per capire di come si tratti di uno spazio complesso e multidimensionale. Questi vengono in particolare descritti ed analizzati, sulla base di una ricca documentazione frutto di lunghe ricerche in biblioteche ed archivi di tutta Europa, nel suo ultimo monumentale studio, pubblicato in due volumi nel 2002. Con rara acribia, Busby si è in esso applicato allo studio dei 1 Di seguito diamo un succinto elenco delle sue numerose pubblicazioni, le quali comprendono edizioni critiche, saggi monografici ed articoli, curatele e traduzioni:

Between the twelfth and thirteenth centuries, an innovative storytelling system known as 'entrelacement' or interlace technique emerged within the context of Arthurian romances originating in Northern France. This new narrative method, destined to wield a significant influence on the European literary tradition from the likes of Thomas Malory and Ludovico Ariosto to the present day, remains a pivotal turning point in literary history. This paper investigates into the origins, motives, and cultural context of entrelacement. Following an examination of key critical contributions to the subject, the author proposes a connection between the ‘invention’ of entrelacement and a paradigm shift within historiographic thought. Specifically, the paper highlights connections with the Latin ‘diagrammatic chronicles’, which were widespread during the twelfth and thirteenth centuries as integral components of the curricular readings for clerics and theology students.

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Entre le XIIe et le XIIIe siècle, dans le contexte des romans arthuriens composés dans le Nord de la France, se codifie un nouveau système de narration, connu sous le nom d’entrelacement ou « interlace technique ». Ce système innovatif a exercé une influence considérable sur la tradition littéraire européenne, de Thomas Malory et Ludovico Ariosto jusqu’à nos jours. Cela dit, les origines, les motivations et le contexte culturel de ce tournant attendent d’être explorés en détail. Après une discussion des principales contributions critiques sur la question, l’article propose de lier l’« invention » de l’entrelacement à un changement de perspective qui se serait produit dans l’orbite de la pensée historiographique. En particulier, on met en évidence des liens significatifs avec les « chroniques diagrammatiques » latines, qui ont connu une diffusion considérable entre le XIIe et le XIIIe siècle, s’imposant comme des lectures curriculaires pour les clercs et les étudiants en théologie.

The Escavalon episode of Le Conte du Graal is compared to the central situation of La Prise d'Orange that on the one hand permits to consider some epic themes in Gauvain's part of Le Conte, on the other hand renders plausible a juxtaposition of Gauvain's loss of his steed Gringalet, his humiliation, his anonymity in Château des Reines and corresponding events in the 13th century romances L'Atre Périlleux, Li Chevaliers as Deus Espees and Fergus. The attempt is made to put the loss of Gringalet into a context of such mythological themes as three sins of the warrior, or the impious warrior's death and to connect it with premonitions and indications of a temporary symbolic, or social death of the hero.

veuve, Perceval le Gallois, part de la Gaste Forest en abandonnant sa mère pour devenir le chevalier à la cour du roi Arthur. Apparemment, le romancier se contente de décrire, sur le ton de la plaisanterie, l'aventure comique de Perceval jusqu'à son arrivée au Château du Graal. Arrivé à Cardoeil où le roi Arthur tient sa cour, le jeune Gallois tue atrocement le Chevalier Vermeil, ennemi le plus redoutable du roi Arthur, par un jet de son javelot, une courte lance. Avec l'aide d'Yvonet, écuyer courtois de Gauvain, Perceval lui enlève l'armure vermeille et la revêt pour avoir l'apparence du beau chevalier. Mais, cela n'entraîne que la transformation de son allure et non celle de son aspect intérieur. Pourtant, dans cet épisode, la pucelle qui ne rit jamais et le sot, deux prophètes à la cour du roi Arthur, prédisent que Perceval deviendra un jour le meilleur chevalier du monde entier (vv.1039-44, 1059-62). Le romancier donnerait là sans doute un indice important quant au dénouement, absent, du roman inachevé. Etant donné que le sénéchal Keu sous-estime beaucoup Perceval le naïf, ces prédictions le mettent en rage. Alors que Keu donne une claque sur la joue de la pucelle, le sot prédit précisément comment Perceval se vengera de cet affront : Keu est destiné à être blessé gravement, dans les quinze jours, par celui qu'il a insulté par ses propos venimeux (vv.1256-74). Juste après cet épisode, Perceval le Gallois rencontre un « preudom » (v.1353), Gornemant de Gorhaut, grâce auquel il apprend les arts et la chevalerie. D'une part, ses qualités innées lui permettent de se distinguer immédiatement dans le maniement des armes (lance, écu, épée et destrier). D'autre part, concernant le savoir-vivre envers les nobles personnages, le héros se retrouve pris dans une contradiction entre l'enseignement de sa mère et celui de Gornemant. Citant un proverbe médiéval, son maître le conseille : « Car li sages dit et retrait : / 'Qui trop parole, il se mesfait.' / Por che, biax amis, vos chastoi / De trop parler » (vv.1653-6). Toutefois, cette leçon prend le contre-pied de celle de la mère de Perceval. Lors du départ de son fils, elle lui dit : « Biax fix, encor vos veil dire el, / Que en chemin ne en hostel / N'aiez longuement compaignon / Que vos ne demandez son non ; / Et ce sachiez a la parsome, / Par le sornon connoist on l'ome. » (vv.557-62). C'est cette confusion du jeune naïf qui entraînera, dans un proche avenir, son silence fatal devant le cortège du Graal au château du roi Pêcheur. Dans l'épisode de Blanchefleur, Perceval accomplit beaucoup de prouesses extraordinaires pour sauver la ville de l'héroïne contre l'assiégeant, le

Chrétien de Troyes is supposed here to have developed two parts of his last romance on the basis of the same traditional tale. The main attention is given to the means by which the poet modified Perceval's story in Gauvain's part of the text, once general thematic correspondence of two parts is tentatively established. It is demonstrated that the modification is accomplished by inversion and by making recourse to antecedent verse narratives

To the themes of Gauvain's symbolic death and of 'seignorie' in the Arthurian romances. The paper contains the analysis of connections between Le Conte du Graal of Chrétien de Troyes, it's 1st Continuation and the Arthurian romances of XIII century, Chevaliers as deus espees and L'Atre Perilleux.

This article was originally delivered at the GCMS Postgraduate Conference 2015: 'On the Edge' held at the University of Reading and has been peer-reviewed by members of the University of Reading's Graduate Centre for Medieval Studies.

The knight, his steed and chivalric romance The idea that a knight in the Middle Ages somehow blended with his mount, creating nothing less than a composite, an assemblage, has recently gained considerable currency in academic circles. 10 Naturally, the rise of chivalry is not contemporaneous with the rise of the mounted warrior: in the early medieval period, mounted warriors were not knights, as they came to be known to us through the so-called "code of chivalry." In fact, Latin texts of the period distinguish between "milites" and "pedites," and the milites in question are not knights: they are simply mounted soldiers; another term used in early sources is equites or equestres, which was interchangeable with milites. 11 A horse, thus, is only one of characteristics making a knight: the 10 Jeffrey J. Cohen argues that, although "noble households ordinarily possessed numerous types of horses: hunters, chargers, palfreys, and a variety of workhorses," none of them "gained the numinous aura of the aristocratic warhorse (destrier, magnus equus, grant chival), the knight's beloved companion and the sine qua non of chivalric identity" (Jeffrey J. Cohen, Medieval Identity Machines (Minneapolis: University of Minnesota Press, 2003), 84). Cohen's notion of posthumanism is used, for instance, by Karen Brown Campbell in her discussion of the relations between the rider and the horse in chivalric culture (

This text was automatically generated on 6 octobre 2016. Les contenus du Bulletin du centre d'études médiévales d'Auxerre (BUCEMA) sont mis à disposition selon les termes de la Licence Creative Commons Attribution-Pas d'Utilisation Commerciale-Partage dans les Mêmes Conditions 4.0 International. Female Authority during the Knights' Quest ? Recluses in the Queste del Saint...

is Perceval le Gallois? If we rephrase this question thus: "How Welsh is the character Perceval according to Chrétien de Troyes?" the answer is, quite simply, not very. But our question can be larger in application: "How Welsh is Chrétien's romance altogether?" What is the relationship between Chrétien's Conte du Graal and the Welsh literary tradition? This is, of course, the old Mabinogionfrage; to ask it, we must ponder Peredur. But before moving on to the Welsh romance and the larger question, I would like to dwell on the answer I gave to the simpler one. Despite the "Gallois" in Perceval's name, William Newell maintained as early as 1897 that Chrétien's Perceval is no Welshman. His claim is firmly based in Chrétien's text.

HAL is a multidisciplinary open access archive for the deposit and dissemination of scientific research documents, whether they are published or not. The documents may come from teaching and research institutions in France or abroad, or from public or private research centers. L'archive ouverte pluridisciplinaire HAL, est destinée au dépôt et à la diffusion de documents scientifiques de niveau recherche, publiés ou non, émanant des établissements d'enseignement et de recherche français ou étrangers, des laboratoires publics ou privés. "Les nains dans la "Geste Francor" de Venise. Un exemple d'influence du roman arthurien sur l'épopée"

Qui part à l'aventure se met en aventure de mort. Cela demande donc force et bravoure. Si, dans les oeuvres arthuriennes, tant de chevaliers s'y risquent, c'est qu'au terme des épreuves ils espèrent toujours une riche récompense : venger leur honte, conquérir la gloire, être admis à la prestigieuse Table Ronde, et, surtout, épouser la femme de leurs rêves. Mais que faire quand on n'est pas de taille à affronter les périls inhérents à toute aventure ? Faut-il courber l'échine ? Renoncer à l'honneur et à l'amour ? L'aventure d'un nain de Meraugis de Portlesguez (ca 1200-1220) prouve le contraire 2. Bien que ce roman connaisse un regain d'intérêt, des médiévistes ayant mis en évidence la vaste culture de l'auteur (qui semble connaître Chrétien de Troyes par coeur), et, plus récemment, le caractère enjoué, volontiers parodique, de son écriture, le gnome en question les a si peu intéressés que beaucoup ne le mentionnent même pas 3 (notamment dans leurs résumés de l'oeuvre 4). Alors qu'il ne s'agit pas d'un mince personnage. Il est nécessaire à la narration, nécessaire au héros, auquel il permet enfin de se révéler, et qu'il utilise pour mener à bien sa propre aventure (en quoi il annonce le célèbre nain « Tronc » d'Ysaÿe le Triste 5). Sans aucunement léser Méraugis, bien au contraire ! Son histoire est en effet porteuse d'une leçon que le protagoniste comprend tout à la fin du roman, et qu'il met en pratique, quand il se retrouve dans une situation comparable (en pire) à la sienne. Quant au lecteur, Raoul lui laisse le soin de la dégager lui-même et de la méditer.

Qui part à l'aventure se met en aventure de mort. Cela demande donc force et bravoure. Si, dans les oeuvres arthuriennes, tant de chevaliers s'y risquent, c'est qu'au terme des épreuves ils espèrent toujours une riche récompense : venger leur honte, conquérir la gloire, être admis à la prestigieuse Table Ronde, et, surtout, épouser la femme de leurs rêves. Mais que faire quand on n'est pas de taille à affronter les périls inhérents à toute aventure ? Faut-il courber l'échine ? Renoncer à l'honneur et à l'amour ? L'aventure d'un nain de Meraugis de Portlesguez (ca 1200-1220) prouve le contraire 2. Bien que ce roman connaisse un regain d'intérêt, des médiévistes ayant mis en évidence la vaste culture de l'auteur (qui semble connaître Chrétien de Troyes par coeur), et, plus récemment, le caractère enjoué, volontiers parodique, de son écriture, le gnome en question les a si peu intéressés que beaucoup ne le mentionnent même pas 3 (notamment dans leurs résumés de l'oeuvre 4). Alors qu'il ne s'agit pas d'un mince personnage. Il est nécessaire à la narration, nécessaire au héros, auquel il permet enfin de se révéler, et qu'il utilise pour mener à bien sa propre aventure (en quoi il annonce le célèbre nain « Tronc » d'Ysaÿe le Triste 5). Sans aucunement léser Méraugis, bien au contraire ! Son histoire est en effet porteuse d'une leçon que le protagoniste comprend tout à la fin du roman, et qu'il met en pratique, quand il se retrouve dans une situation comparable (en pire) à la sienne. Quant au lecteur, Raoul lui laisse le soin de la dégager lui-même et de la méditer.

Alors que le roi Arthur a ordonné la chasse au cerf blanc, Gauvain, son neveu, s'oppose à cette costume (« coutume »). Au courant de cette chasse, le chevalier Érec fait la rencontre d'une jeune suivante, Énide.
Érec aura bien des écueils à éviter avant de devenir le guerrier courtois tant convoité par Énide : des géants, un seigneur ténébreux et la « Joie de la Cour » mettront les âmes soeurs à l'épreuve.
Premier roman de Chrétien de Troyes qui nous soit parvenu, Érec et Énide laisse percevoir la structure duelle et archaïque de la légende d'origine celtique. La quête, en fond, du chevalier errant mène déjà à des interrogations modernes sur le couple, le sacrifice et la mort.
Cette nouvelle traduction en vers épouse l'oralité des poèmes courtois du XIIe siècle et prend pour base l'édition de Wendelin Foerster (éd. 1934).

En 1982, dans un article au titre en forme de paradoxe, Aron Kibédi Varga affi rmait que « le roman est un anti-roman »-autrement dit, que le roman (ou, plus exactement, le roman « moderne ») trouvait son origine, non dans les « romans » du Moyen Âge et de l'Ancien Régime, mais dans les textes qui ont pris position contre le romanesque « traditionnel ». Pour l'essentiel, malgré son caractère apparemment iconoclaste, l'analyse de Kibédi Varga francisait la distinction défendue par la critique anglo-saxonne entre romance et novel, le dernier (sérieux, réaliste) se substituant au premier (conventionnel, idéalisé) à partir de la fi n du xvii e siècle, avec la triple offensive de Fielding, Richardson et Defoe. Cette perspective procède d'une lecture historique par trop téléologique. Le roman évoluerait ainsi d'une enfance balbutiante, où l'on croyait aux fées, vers un esprit critique dont les premières lueurs apparaîtraient chez les romanciers humanistes, avant de rayonner pleinement au siècle des Lumières, préfiguration d'une maturité enfin atteinte avec le roman réaliste du xix e siècle. Dégagé aussi bien de la croyance aux enchantements surnaturels que de la foi en l'illusion naturaliste, le roman hypercritique du xx e siècle constituerait en quelque sorte l'aboutissement de cette évolution. Le genre manifesterait son plein potentiel de liberté dans un mouvement à la fois destructeur et régénérateur, faisant table rase du passé romanesque pour mieux refonder un roman toujours renouvelé. Insistant sur l'idée d'un roman insoumis, subversif, les théoriciens du genre tendent à faire coïncider la naissance du roman moderne avec ugo dionne et francis gingras présentation

cità di fattori esterni: dalla disponibilità e qualità delle fonti alle forme e modalità della produzione libraria. La nozione di raccordo possiede inoltre un senso più ampio. Nella tradizione arturiana non pochi testi considerati oggi come letterariamente autonomi sono in realtà concepiti o presentati dai loro autori come narrazioni intermedie. Storie che congiungono altre storie. Goffredo di Monmouth sostiene che la sua Historia regum Britanniae altro non è che la traduzione dall'anglo-sassone al latino di un resoconto storico dell'epoca che va da Bruto, primo re dei Britanni, fino a Cadvaladro figlio di Cadvallone, e che essa ha precisamente la funzione di connettere le storie dell'antichità troiana alle cronache di Beda e Gildas. 2 I romanzi in versi di Chrétien de Troyes sono idealmente ambientati nell'epoca di pace compresa tra la sottomissione dei vassalli ribelli da parte di Artù e le guerre contro Roma che aprono la crisi del regno bretone determinandone la distruzione. 3 Nel grande disegno del Lancelot-Graal, tanto nelle sue redazioni vulgate che post-vulgate, le Suites Merlin raccontano la fase antecedente a quella stessa epoca, raccordando le storie del Graal e la nascita e giovinezza di Merlino e Artù con la fanciullezza di Lancillotto. 4 Questi tre organismi testuali sono molto diversi tra loro. Essi tuttavia condividono uno stesso «modo» della progettazione narrativa, che potremmo chiamare «funzione-raccordo». 5 Raccordare significa anche riempire un vuoto, inserirsi in uno iato temporale, un segmento di storia rimasto disponibile o a proposito del quale l'informazione narrati-INTRODUZIONE 4

pp., is an attractive introduction to medieval french literature by a scholar better known for his work on later centuries. The selection of texts is based on the concept of 'cultural reference', i.e. on texts which function as artistic milestones, such as the Chanson de Roland, Tristan et Iseut, the Roman de Renart, or the Roman de la Rose. These titles, among others, are all covered in the first three chapters dealing with texts up to 1300 (pp. 1-112); the rest of the book is devoted to late medieval and Renaissance texts. Short excerpts, quoted in modern french, are commented upon, and the overall approach is sociological, offering information on genre and basic political, economic, intellectual, and religious events and facts, presented in a simple but not simplistic way. Medievalism: Key Critical Terms, ed. Elizabeth Emery and Richard Utz, cambridge, brewer, xii + 286 pp., consists of a series of 30 short alphabetically arranged chapters, written by specialists, defining key terms from Archive to Troubadour. Although the focus is mainly Anglo-Saxon and the material drawn from English rather than Romance studies, the volume is also of interest to scholars dealing with romance and the french Middle Ages. History of the Discipline. Once again, this branch of our discipline has proved particularly productive, generating several edited volumes focusing on groundbreaking publi cations, established Romance-studies scholars, or on review chapters treating the present state of the discipline in a given country. Most studies take a biographical approach. This point is specifically addressed by Michel Zink, 'Un médiéviste dans la forêt du roman', pp. 15-24 of Le Savant dans les lettres, ed. Valérie cangemi, Alain corbellari, and Ursula bähler, Rennes U.P., 286 pp., who draws a slightly ironic self-portrait and uses facts from his own biography to claim that scholars have always been attracted to fiction, letters, and imagination, so that many of them end up both producing and researching on literature. This tendency even gave rise to a genre in its own right in 19th-c. Germany: the Professorenroman, or a novel with a professor as protagonist. Alain corbellari, 'Pourquoi mettre la philologie en biographies?', pp. 129-38 of Érudition et fiction. Troisième rencontre internationale Paul-Zumthor, Montréal, 13-15 octobre 2011, ed. Éric Méchoulan, Garnier, 327 pp., pursues the same line as Zink and others who take advantage of their own experience both as scholars and novelists to interrogate the relationship between fiction and science. Drawing on autobiographical backgrounds blended with many quotations from famous literary theorists, c. demonstrates that both poles inevitably join in the field of philology, and how therefore a biographical approach can be profitable when applied to the field of the history of the discipline. Claude Fauriel et l'Allemagne. Idées pour une philologie des cultures, ed. Geneviève Espagne and Udo Schöning, champion, 504 pp., is a study of claude fauriel (1772-1844), who in 1830, long before the first chair of french literature was established in france, was appointed professor of foreign Literatures at the Sorbonne. He was responsible for a wide range of subjects, from Modern Greek to Old Norse, from Italian to German and Occitan. Although most of his findings and opinions were severely criticised by the ensuing generation of scholars, his influence was considerable in his time. Several contributions stress the importance of his work in a European context, and discuss his methods and their limits in several fields, both literary and linguistic. Of particular interest for french studies are Luc fraisse, 'fauriel et l'émergence des méthodes de l'histoire littéraire' (27-76), on methods of literary history, which did not then exist in french universities; Agnès Graceffa, 'fauriel médiéviste: une approche culturelle du Moyen Âge' (77-92), on the approach to medieval studies, seen not only as a philological, but a cultural feature; Richard Trachsler, 'fauriel et l'Histoire littéraire de la france' (137-50), on fauriel's contributions to the Histoire littéraire de la France, in particular his attempt to link Arthurian literature to the South of france; and Dorothea Kullmann, 'claude fauriel et l'épopée' (191-242), on fauriel's theories on epic literature, which he compared to Greek poetry. An appendix (461-75) provides a list of manuscripts regarding epic literature generated by fauriel. Patrick Moran, 'La poétique et les études médiévales: accords et désaccords', PerM (online), 35, presents an extensive overview of the use and impact of literary theory in medieval studies, especially french. Starting from the 19th c., when scholars studied literary texts as historical documents rather than works of art, the author comments on Vinaver, Zumthor, and then the different post-structuralist movements up to contemporary studies of manuscripts. He concludes that theory raises crucial questions concerning genre, the nature of the text, etc., which are still valid in the context of contemporary research. In 1946, the belgian scholar Robert Guiette published two articles that changed the way medievalists look at the lyric poetry of the Middle Ages. Jeff Rider, 'Introduction to Robert Guiette: formal Poetry in france in the Middle Ages' and 'The Adventure of formal Poetry', Revue électronique de littérature française (online), 8.1, a special issue entitled 'Speaking of the Medieval Today: french and francophone Medievalisms', ed. Alicia Montoya and Vincent ferré, gives a short presentation of the life and work of Robert Guiette and introduces his two famous essays, 'L'aventure de la poésie formelle', and 'La poésie formelle en france au Moyen Âge', together with English translations (78-91 and 92-100). Mihaela Voicu and catalina Girbea, 'Les "voies aventureuses" des études de littérature française médiévale en Roumanie', PerM (online), 35, offer a survey of medieval french Studies in Romania from its beginnings to the present day. The first holder of a chair of french literature was a pupil of Lanson, charles Drouhet, who covered the entire field from the Middle Ages to the 20th century. The first real medievalist was Sorina bercescu, who struggled with the communist regime and had to find ways of avoiding Marxist approaches when teaching. by the 1980s, a School of Medieval french Studies had emerged in bucharest and, less prominently, also at the University of cluj, even if no original books could be published for political reasons. Manuscripts, Textual Philology, and Methodology of Text Editing. The study of autographs pits textual editors against a number of paleographic and codicological issues, since scribe and author converge, bestowing a specific authoritative status on one particular copy amongst others. Two monographs explore the field of medieval autographs, presenting

espanolEl objetivo del presente estudio es mostrar la importancia de la creacion del relato turistico a partir de la historia de una region o localidad. Es indudable que el conocimiento del pasado puede proporcionar al turista curioso una nueva dimension en la vivencia del destino. La metodologia seguida para alcanzar este objetivo parte de la base de la tradicion literaria de la busqueda del Santo Grial, tan extendida por toda la Europa medieval y retomada a finales del siglo XIX en la Bretana francesa e inglesa, unida a una busqueda de las fuentes historicas que inspiraron la leyenda fundamentada en hechos acaecidos en la Corona de Aragon y sus territorios entre los siglos XI y XIV. La busqueda de la divinidad interior es una realidad a la que no podemos renunciar como seres humanos. Y en todos los territorios existe una leyenda, un camino iniciatico que lleva a conectarnos con lo mas sagrado de nosotros mismos y con la propia Naturaleza. Sirva el ejemplo que proponemos en tierras...

The Last Supper by Leonardo da Vinci is one of the most recognizable paintings in the world. It is also one of the most proceeded cultural texts by Internet users - there are a variety of online variants. These Internet Memes draw from the wealth of mass culture but can also be a kind of advertising or art manifests. The author attempts to analyse this phenomenon by proposing the classification of collected works of art and asking what kind of elements cause extraordinary popularity of The Last Supper

Renart falconiere' e 'Renart e Tardif': i riti di predazione nel Roman de Renart Mariateresa Prota 23 Florete. Quando la principessa uccide il drago FranCesCo toniolo 41 Cacciatrici, amanti, antropofaghe: le figure femminili in Carlton Mellick III Note e discussioni niCColò Monti 59 Il personaggio in guisa d'umano. Un concetto in transizione tra strutturalismo e antropologia Recensioni MassiMo BonaFin 81 A proposito di: Dominique Boutet, Poétiques médiévales de l'entre-deux, ou le désir d'ambiguïté Diego terzano 93 A proposito di: Alberto Comparini, Un genere letterario in diacronia. Forme e metamorfosi del dialogo nel Novecento riCCarDo Castellana 101 A proposito di: Françoise Lavocat, Fatto e finzione. Per una frontiera

Qui part à l'aventure se met en aventure de mort. Cela demande donc force et bravoure. Si, dans les oeuvres arthuriennes, tant de chevaliers s'y risquent, c'est qu'au terme des épreuves ils espèrent toujours une riche récompense : venger leur honte, conquérir la gloire, être admis à la prestigieuse Table Ronde, et, surtout, épouser la femme de leurs rêves. Mais que faire quand on n'est pas de taille à affronter les périls inhérents à toute aventure ? Faut-il courber l'échine ? Renoncer à l'honneur et à l'amour ? L'aventure d'un nain de Meraugis de Portlesguez (ca 1200-1220) prouve le contraire 2. Bien que ce roman connaisse un regain d'intérêt, des médiévistes ayant mis en évidence la vaste culture de l'auteur (qui semble connaître Chrétien de Troyes par coeur), et, plus récemment, le caractère enjoué, volontiers parodique, de son écriture, le gnome en question les a si peu intéressés que beaucoup ne le mentionnent même pas 3 (notamment dans leurs résumés de l'oeuvre 4). Alors qu'il ne s'agit pas d'un mince personnage. Il est nécessaire à la narration, nécessaire au héros, auquel il permet enfin de se révéler, et qu'il utilise pour mener à bien sa propre aventure (en quoi il annonce le célèbre nain « Tronc » d'Ysaÿe le Triste 5). Sans aucunement léser Méraugis, bien au contraire ! Son histoire est en effet porteuse d'une leçon que le protagoniste comprend tout à la fin du roman, et qu'il met en pratique, quand il se retrouve dans une situation comparable (en pire) à la sienne. Quant au lecteur, Raoul lui laisse le soin de la dégager lui-même et de la méditer.

The early thirteenth century saw an explosion in the production of Arthurian romance in French. The motif of the Grail, which first appeared in Chrétien de Troyes's unfinished Conte del Graal (¿•.1180-95), proved a particularly fertile source of inspiration. The best-known development of the motif is in the Vtilgate (or Lancelot-Grail) Cycle of prose romances, which traces the story of the Grail from its involvement with the Crucifixion through its appearance in the Arthurian world, to its final disappearance from the world along with the perfect Christian knight Galaad, leaving Arthur's realm devoid of grace and doomed to destruction. The association of the Grail with the Crucifixion seems to have been the idea of the authors of another cycle, often referred to as the 'Little Grail Cycle', which is attributed within the text to Robert de Boron. Its three constituent texts (Joseph, Merlin, and the Yiiàot-Perceval) survive in prose; a verse counterpart of the first part, and of a fragment of the second, also exist.' A further ramification to spring from Chretien's text, and perhaps the least well known, is the corpus of four continuations and two prologues with which it is usually found in surviving codices, which extend the narrative from its initial 9,000 verses to a total (in the longest manuscript) of around 60,000 lines. I have argued elsewhere that the resultant narrative may fruitfully be studied as another Grail cycle, which I refer to as the Conte del Craal Cycle.T he continuations have not benefited from the same level of interest as Chretien's originary romance. Perceived as lacking in unit}' and unfaithful to the spirit of Chretien's text, they also discourage investigation by their very length.' Within this already under-studied corpus, the Elucidation prologue appears doubly marginal: its 484 lines are dwarfed by the rest of the narrative, and it is included in only one of the extant Conte del Craal Cycle manuscripts. Little surprise, then, if it has received less scholarly attention than almost any other Arthurian narrative in French.'' Its own editor describes it as 'pedestrian in style, confused in motivation, and ... garbled in transmission'.' Yet, I wül argue in this article, the idiosyncrasies of this apparently slight text shed a surprising amount of light on the aesthetics of medieval narrative in general, and of French Arthurian romance in particular.

Il concetto – e il relativo campo semantico – che sta al centro di questo fascicolo è sicuramente uno dei più complessi, sfaccettati e ambigui nella storia delle idee e delle mentalità, ma anche nella storia degli esiti culturali e più strettamente letterari di queste idee e mentalità. Complesso, sfaccettato e ambiguo non da oggi, bensì in tutto l’arco di sviluppo della civiltà occidentale. Basti, a dimostrarlo, un rapido excursus diacronico, condotto su basi essenzialmente lessicografiche.

Le mantel mautaillié: appunti sulla tradizione e sul testo
Il saggio affronta la dibattuta questione filologica del Mantel mautaillié antico-francese, illustrando i rapporti tra i manoscritti e le diverse redazioni. Esso inoltre discute dei problemi relativi alla datazione, al titolo, alla forma narrativa e alle relazioni dell’opera con la letteratura coeva.
The paper discusses issues relating to the Old French Mantel mautaillié: the text and its transmission, the date, title, literary genre and its relationship with contemporary literature.

Tempo, spazio, memoria nel/del testo: la rappresentazione del cronotopo
L’articolo studia il rapporto tra il testo e la sua raffigurazione visiva attraverso lo studio di alcune miniature dei manoscritti T e V contenenti il Conte du Graal e le sue Continuazioni. Il punto di osservazione prescelto predilige due aspetti: a) le tecniche di resa in termini visivi della temporalità del testo; b) il rapporto che si instaura, sulla pagina del manoscritto, tra la miniatura (e, eventualmente, gli elementi paratestuali che l’accompagnano) e la successione delle sequenze narrative, con particolare attenzione alla segmentazione tramite le lettrines.

The paper studies the relationships between text and its visual representations, focusing on some miniatures from manuscripts T and V of Chretien’s Conte du Graal and its Continuations. The miniatures are studied mainly under two points of view: a) the techniques used by miniaturists to represent textual temporality; b) the interplay between miniature (along with other paratextual elements) and textual sequences on the page of the manuscripts. In this respect, particular attention is given to the division of the text by means of lettrines.

[...] la filosofia si pone ad esaminare la filologia (o sia la dottrina di tutte le cose le quali dipendono dall’umano arbitrio, come sono tutte le storie delle lingue, de’ costumi e de’ fatti così della pace come della guerra de’ popoli), la quale, per la di lei deplorata oscurezza delle cagioni e quasi infinita varietà degli effetti, ha ella avuto quasi un orrore di ragionarne; e la riduce in forma di scienza, col discovrirvi il disegno di una storia ideal eterna, sopra la quale corrono in tempo le storie di tutte le nazioni: talché, per quest’altro principale suo aspetto, viene questa Scienza ad essere una filosofia dell’autorità.

pp., is an attractive introduction to medieval french literature by a scholar better known for his work on later centuries. The selection of texts is based on the concept of 'cultural reference', i.e. on texts which function as artistic milestones, such as the Chanson de Roland, Tristan et Iseut, the Roman de Renart, or the Roman de la Rose. These titles, among others, are all covered in the first three chapters dealing with texts up to 1300 (pp. 1-112); the rest of the book is devoted to late medieval and Renaissance texts. Short excerpts, quoted in modern french, are commented upon, and the overall approach is sociological, offering information on genre and basic political, economic, intellectual, and religious events and facts, presented in a simple but not simplistic way. Medievalism: Key Critical Terms, ed. Elizabeth Emery and Richard Utz, cambridge, brewer, xii + 286 pp., consists of a series of 30 short alphabetically arranged chapters, written by specialists, defining key terms from Archive to Troubadour. Although the focus is mainly Anglo-Saxon and the material drawn from English rather than Romance studies, the volume is also of interest to scholars dealing with romance and the french Middle Ages. History of the Discipline. Once again, this branch of our discipline has proved particularly productive, generating several edited volumes focusing on groundbreaking publi cations, established Romance-studies scholars, or on review chapters treating the present state of the discipline in a given country. Most studies take a biographical approach. This point is specifically addressed by Michel Zink, 'Un médiéviste dans la forêt du roman', pp. 15-24 of Le Savant dans les lettres, ed. Valérie cangemi, Alain corbellari, and Ursula bähler, Rennes U.P., 286 pp., who draws a slightly ironic self-portrait and uses facts from his own biography to claim that scholars have always been attracted to fiction, letters, and imagination, so that many of them end up both producing and researching on literature. This tendency even gave rise to a genre in its own right in 19th-c. Germany: the Professorenroman, or a novel with a professor as protagonist. Alain corbellari, 'Pourquoi mettre la philologie en biographies?', pp. 129-38 of Érudition et fiction. Troisième rencontre internationale Paul-Zumthor, Montréal, 13-15 octobre 2011, ed. Éric Méchoulan, Garnier, 327 pp., pursues the same line as Zink and others who take advantage of their own experience both as scholars and novelists to interrogate the relationship between fiction and science. Drawing on autobiographical backgrounds blended with many quotations from famous literary theorists, c. demonstrates that both poles inevitably join in the field of philology, and how therefore a biographical approach can be profitable when applied to the field of the history of the discipline. Claude Fauriel et l'Allemagne. Idées pour une philologie des cultures, ed. Geneviève Espagne and Udo Schöning, champion, 504 pp., is a study of claude fauriel (1772-1844), who in 1830, long before the first chair of french literature was established in france, was appointed professor of foreign Literatures at the Sorbonne. He was responsible for a wide range of subjects, from Modern Greek to Old Norse, from Italian to German and Occitan. Although most of his findings and opinions were severely criticised by the ensuing generation of scholars, his influence was considerable in his time. Several contributions stress the importance of his work in a European context, and discuss his methods and their limits in several fields, both literary and linguistic. Of particular interest for french studies are Luc fraisse, 'fauriel et l'émergence des méthodes de l'histoire littéraire' (27-76), on methods of literary history, which did not then exist in french universities; Agnès Graceffa, 'fauriel médiéviste: une approche culturelle du Moyen Âge' (77-92), on the approach to medieval studies, seen not only as a philological, but a cultural feature; Richard Trachsler, 'fauriel et l'Histoire littéraire de la france' (137-50), on fauriel's contributions to the Histoire littéraire de la France, in particular his attempt to link Arthurian literature to the South of france; and Dorothea Kullmann, 'claude fauriel et l'épopée' (191-242), on fauriel's theories on epic literature, which he compared to Greek poetry. An appendix (461-75) provides a list of manuscripts regarding epic literature generated by fauriel. Patrick Moran, 'La poétique et les études médiévales: accords et désaccords', PerM (online), 35, presents an extensive overview of the use and impact of literary theory in medieval studies, especially french. Starting from the 19th c., when scholars studied literary texts as historical documents rather than works of art, the author comments on Vinaver, Zumthor, and then the different post-structuralist movements up to contemporary studies of manuscripts. He concludes that theory raises crucial questions concerning genre, the nature of the text, etc., which are still valid in the context of contemporary research. In 1946, the belgian scholar Robert Guiette published two articles that changed the way medievalists look at the lyric poetry of the Middle Ages. Jeff Rider, 'Introduction to Robert Guiette: formal Poetry in france in the Middle Ages' and 'The Adventure of formal Poetry', Revue électronique de littérature française (online), 8.1, a special issue entitled 'Speaking of the Medieval Today: french and francophone Medievalisms', ed. Alicia Montoya and Vincent ferré, gives a short presentation of the life and work of Robert Guiette and introduces his two famous essays, 'L'aventure de la poésie formelle', and 'La poésie formelle en france au Moyen Âge', together with English translations (78-91 and 92-100). Mihaela Voicu and catalina Girbea, 'Les "voies aventureuses" des études de littérature française médiévale en Roumanie', PerM (online), 35, offer a survey of medieval french Studies in Romania from its beginnings to the present day. The first holder of a chair of french literature was a pupil of Lanson, charles Drouhet, who covered the entire field from the Middle Ages to the 20th century. The first real medievalist was Sorina bercescu, who struggled with the communist regime and had to find ways of avoiding Marxist approaches when teaching. by the 1980s, a School of Medieval french Studies had emerged in bucharest and, less prominently, also at the University of cluj, even if no original books could be published for political reasons. Manuscripts, Textual Philology, and Methodology of Text Editing. The study of autographs pits textual editors against a number of paleographic and codicological issues, since scribe and author converge, bestowing a specific authoritative status on one particular copy amongst others. Two monographs explore the field of medieval autographs, presenting

The article investigates two mysterious feminine figures appearing in the 13th century Old French prose romance Le Haut Livre du Graal (Perlesvaus). Their ontological status, which remains uncertain until the end, gives them, along with the sexual violence and castration phantasms they incarnate, a highly troubling and uncanny aspect. The analysis highlights also the textual strategies used by the author in order to create such an effect

We are all born with bodies, but although they are thus native to us, and we innate to them, they are not thereby 'natural', distanced as they are from 'nature' by a multiplicity of psychic, sexual, social and political codes" (Kay, Rubin 1994: 1). The statement was never more true than in the Middle Ages, when the body was framed by various discourses and perceptions until it was turned into a metaphorical construct, standing for "any bounded system" (Camille 1994: 62). It was a model for direction in the cosmos, a metaphor for the state and its political order (the body politic), but also for the Church. Most significantly of all, it could become a representation of the system of knowledge or disciplina. It was the female body that was seen in this role in medieval literature-the body that was particularly tantalizing to medieval physicians. As Miri Rubin states: "The female body was a place of hollows, caverns, mysterious spaces, above all that private space, the womb, which Le Propriétaire de choses described as a chamber in a house" (1994: 110). Seen as such, the female body was prone to penetration and violation. A stone sculpture at Musée des Augustins in Toulouse, for instance, depicts the body of luxuria with the phallic serpent emerging from, or entering, her genitals. This image of a woman as "a mere receptacle for male semen" (Camille 1994: 83), however, is reversed in the "body as knowledge" metaphor, where it is the man that becomes the receptacle of women's knowledge and instruction. Women as purveyors of knowledge figure prominently in medieval literature, which-being largely didactic in scope-often employs various manifestations of the Teacher and Student archetype. As enumerated by Gunn: Mother Church and "christen children," catechizing priest and youthful catechumen, preacher and congregation, university master and university scholar, divine Philosophia and the clouded human intellect, god and mortal, Muse and poet, veteran knight and bachelor-inarms, sovereign lady and neophyte in love, master craftsman and industrious apprentice: all the learned diligent to teach and all the young and "lewed" laity eager to learn.

du Graal de Chrétien de Troyes (XIIe s.) par le réalisateur Éric Rohmer (Perceval le Gallois, 1978) se singularise par une représentation distancée exhibant aussi bien la facticité des décors que le caractère archaïque d'un texte cité quasi littéralement. Le cinéaste inscrit en outre son film dans la tradition théâtrale des Mystères (comme en témoigne la séquence finale de la Passion, au moyen de laquelle Rohmer résout l'inachèvement du roman), ce qui le conduit à proposer une organisation énonciative originale, caractérisée notamment par la prise en charge de la voix narrative par des instances diégétiques. En nous basant sur un examen des archives de production du film conservées à l'IMEC (Caen), en particulier sur les textes scénaristiques, nous nous proposons de rendre compte des modalités d'un transfert atypique du texte à l'écran.

In narratives, French plus-que-parfait (past perfect) is regularly used to indicate that the situation referred to is located prior to another past situation. When these flashbacks stretch for a long time, and gain some autonomy, they may form a real 'narrative in a narrative' (analepsis). It may happen, then, that the passé simple (past simple) takes over from the plus-que-parfait inside the analepsis. This article examines the environments and the conditions of this tense switching inside the analepsis.

Lorsque Perceval visite pour la première fois le Château du Graal, il reçoit une épée très mystérieuse. D'après les mots du roi Pêcheur, cette épée lui est destinée : «Biax frere, ceste espee / Vos fu voëe et destinee» (éd. William Roach, vv.3167−8) 2. Suite à cet épisode, le jeune chevalier recevra une information tout à fait paradoxale. La cousine germaine de Perceval lui apprend que cette arme le trahira un jour : «Qu'ele vos traïra sanz faille / Quant vos venrez en grant bataille, / K'ele vos volera en pieces» (vv.3661−3). Perceval continue sa route en ceignant cette épée 3 pour deviner l'énigme du Graal et de la Lance−qui−saigne. La mission du chevalier errant est semblable à celle des médiévistes qui se consacrent à l'étude du Conte du Graal , dernier roman inachevé de Chrétien de Troyes. En effet, comme le symbolise l'épée de Perceval, dont le destin est de se briser «en grant bataille» (v.3662), le romancier champenois a divisé Le Conte du Graal en quelques parties pour une raison qui ne nous est pas explicitement révélée. C'est ce que nous tenterons d'expliquer dans le présent travail. De nos jours, la plupart des médiévistes modernes ne s'interrogent plus sur La vengeance du roi d'Escavalon et le sermon de l'ermite: carrefour de deux itinéraires dans Le Conte du Graal de Chrétien de Troyes 1 Yoshio KONUMA

Michel STANESCO. Malheureusement, ce dernier est décédé fin octobre 2008. Je tiens à lui témoigner ici toute ma reconnaissance pour sa présence attentive, ainsi que pour ses précieux conseils et ses encouragements tout au long de mon séjour à Strasbourg. Je manifeste aussi ma gratitude la plus profonde à Madame le professeur Christine FERLAMPIN-ACHER qui a eu l'amabilité de reprendre la direction de ma thèse et d'être toujours disponible lors de la suite de mes recherches. Enfin, ma reconnaissance s'adresse également tout particulièrement aux trois médiévistes japonais, Messieurs les professeurs Taijiro AMAZAWA, Yorio OTAKA et Noboru HARANO, dont les travaux sur la littérature française du Moyen Age ont servi de base à mes études sur Chrétien de Troyes. Qu'ele vos traïra sanz faille Quant vos venrez en grant bataille, K'ele vos volera en pieces." [vv.3654-63] D'après la cousine de Perceval, pour réparer les deux pièces de cette épée, il faut aller chez Triboët, fabricant de l'épée qui habite à Cothoatre (transcription du moyen anglais « Scottewahre », désignant le Firth of Forth entre l'Ecosse et l'Angleterre) 2 . Elle lui conseille : Car cil le fist et refera, Ou jamais faite ne sera Por home qui s'en entremete. Gardez que autres main n'i mete, Qu'il n'en saroit venir a chief. [vv.3681-5] Perceval continue sa route, pour comprendre l'énigme du Graal et de la Lance-qui-saigne, en ceignant cette épée. La mission du chevalier errant serait semblable à celle des médiévistes qui se consacrent à l'étude du Conte du Graal, dernier roman inachevé de Chrétien de Troyes et le plus étudié de tous les romans arthuriens du Moyen Age. En effet, comme si son récit symbolisait l'épée de Perceval dont le destin est de se 2 Sur l'étymologie de Cothoatre et la figure mythique de Triboët dont l'origine est incertaine, voir

L’écriture du Chevalier aux deux épées (ca. 1240), roman anonyme conservé dans un manuscrit unique, relève à la fois du pastiche de genre et du pastiche de style à partir du modèle romanesque en vers instauré par Chrétien de Troyes. Les emprunts lexicaux et onomastiques témoignent tout d’abord de ce travail d’imitation qui reprend des traits récurrents du modèle pour mieux les détourner ou les gaber par amplification ou inversion. Situé dans le manuscrit BnF fr. 12603 avant Le chevalier au Lion, Le chevalier aux deux épées réécrit également deux grandes scènes de genre propres à ce roman : la joie de Calogrenant et la scène de lecture dans le verger de Pesme Aventure. Mais ici encore le pastiche est à l’oeuvre et transforme la réception et le sens initiaux de ces épisodes. Malgré l’intention affichée de renouer avec la tradition générique et formelle des romans en vers, le texte subit aussi l’influence des cycles et romans en prose dans le traitement des personnages, des motifs et d...

pp., is an attractive introduction to medieval french literature by a scholar better known for his work on later centuries. The selection of texts is based on the concept of 'cultural reference', i.e. on texts which function as artistic milestones, such as the Chanson de Roland, Tristan et Iseut, the Roman de Renart, or the Roman de la Rose. These titles, among others, are all covered in the first three chapters dealing with texts up to 1300 (pp. 1-112); the rest of the book is devoted to late medieval and Renaissance texts. Short excerpts, quoted in modern french, are commented upon, and the overall approach is sociological, offering information on genre and basic political, economic, intellectual, and religious events and facts, presented in a simple but not simplistic way. Medievalism: Key Critical Terms, ed. Elizabeth Emery and Richard Utz, cambridge, brewer, xii + 286 pp., consists of a series of 30 short alphabetically arranged chapters, written by specialists, defining key terms from Archive to Troubadour. Although the focus is mainly Anglo-Saxon and the material drawn from English rather than Romance studies, the volume is also of interest to scholars dealing with romance and the french Middle Ages. History of the Discipline. Once again, this branch of our discipline has proved particularly productive, generating several edited volumes focusing on groundbreaking publi cations, established Romance-studies scholars, or on review chapters treating the present state of the discipline in a given country. Most studies take a biographical approach. This point is specifically addressed by Michel Zink, 'Un médiéviste dans la forêt du roman', pp. 15-24 of Le Savant dans les lettres, ed. Valérie cangemi, Alain corbellari, and Ursula bähler, Rennes U.P., 286 pp., who draws a slightly ironic self-portrait and uses facts from his own biography to claim that scholars have always been attracted to fiction, letters, and imagination, so that many of them end up both producing and researching on literature. This tendency even gave rise to a genre in its own right in 19th-c. Germany: the Professorenroman, or a novel with a professor as protagonist. Alain corbellari, 'Pourquoi mettre la philologie en biographies?', pp. 129-38 of Érudition et fiction. Troisième rencontre internationale Paul-Zumthor, Montréal, 13-15 octobre 2011, ed. Éric Méchoulan, Garnier, 327 pp., pursues the same line as Zink and others who take advantage of their own experience both as scholars and novelists to interrogate the relationship between fiction and science. Drawing on autobiographical backgrounds blended with many quotations from famous literary theorists, c. demonstrates that both poles inevitably join in the field of philology, and how therefore a biographical approach can be profitable when applied to the field of the history of the discipline. Claude Fauriel et l'Allemagne. Idées pour une philologie des cultures, ed. Geneviève Espagne and Udo Schöning, champion, 504 pp., is a study of claude fauriel (1772-1844), who in 1830, long before the first chair of french literature was established in france, was appointed professor of foreign Literatures at the Sorbonne. He was responsible for a wide range of subjects, from Modern Greek to Old Norse, from Italian to German and Occitan. Although most of his findings and opinions were severely criticised by the ensuing generation of scholars, his influence was considerable in his time. Several contributions stress the importance of his work in a European context, and discuss his methods and their limits in several fields, both literary and linguistic. Of particular interest for french studies are Luc fraisse, 'fauriel et l'émergence des méthodes de l'histoire littéraire' (27-76), on methods of literary history, which did not then exist in french universities; Agnès Graceffa, 'fauriel médiéviste: une approche culturelle du Moyen Âge' (77-92), on the approach to medieval studies, seen not only as a philological, but a cultural feature; Richard Trachsler, 'fauriel et l'Histoire littéraire de la france' (137-50), on fauriel's contributions to the Histoire littéraire de la France, in particular his attempt to link Arthurian literature to the South of france; and Dorothea Kullmann, 'claude fauriel et l'épopée' (191-242), on fauriel's theories on epic literature, which he compared to Greek poetry. An appendix (461-75) provides a list of manuscripts regarding epic literature generated by fauriel. Patrick Moran, 'La poétique et les études médiévales: accords et désaccords', PerM (online), 35, presents an extensive overview of the use and impact of literary theory in medieval studies, especially french. Starting from the 19th c., when scholars studied literary texts as historical documents rather than works of art, the author comments on Vinaver, Zumthor, and then the different post-structuralist movements up to contemporary studies of manuscripts. He concludes that theory raises crucial questions concerning genre, the nature of the text, etc., which are still valid in the context of contemporary research. In 1946, the belgian scholar Robert Guiette published two articles that changed the way medievalists look at the lyric poetry of the Middle Ages. Jeff Rider, 'Introduction to Robert Guiette: formal Poetry in france in the Middle Ages' and 'The Adventure of formal Poetry', Revue électronique de littérature française (online), 8.1, a special issue entitled 'Speaking of the Medieval Today: french and francophone Medievalisms', ed. Alicia Montoya and Vincent ferré, gives a short presentation of the life and work of Robert Guiette and introduces his two famous essays, 'L'aventure de la poésie formelle', and 'La poésie formelle en france au Moyen Âge', together with English translations (78-91 and 92-100). Mihaela Voicu and catalina Girbea, 'Les "voies aventureuses" des études de littérature française médiévale en Roumanie', PerM (online), 35, offer a survey of medieval french Studies in Romania from its beginnings to the present day. The first holder of a chair of french literature was a pupil of Lanson, charles Drouhet, who covered the entire field from the Middle Ages to the 20th century. The first real medievalist was Sorina bercescu, who struggled with the communist regime and had to find ways of avoiding Marxist approaches when teaching. by the 1980s, a School of Medieval french Studies had emerged in bucharest and, less prominently, also at the University of cluj, even if no original books could be published for political reasons. Manuscripts, Textual Philology, and Methodology of Text Editing. The study of autographs pits textual editors against a number of paleographic and codicological issues, since scribe and author converge, bestowing a specific authoritative status on one particular copy amongst others. Two monographs explore the field of medieval autographs, presenting