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Projects

Title Name Project type Course Abstract
Roman Influences on the Troubadours Shivani Baisiwala critical analysis The Other France: Troubadours and the Politics of Cultural Heritage

Wandering around Narbonne revealed tons of Roman history that I hadn't expected to see that far in the South of France. With my project, I looked into those Roman vestiges further, and searched for where bits and pieces of Roman ideas and phrases showed through in troubadour works. I specifically looked at Ovid and at Roman Religious Texts found in St.

Bertran de Born and Paratge in "B'em platz lo gais temps de pascor" Radhika Bora critical analysis Songs of Love and War: Gender, Crusade, Politics (Winter 2014)

Statement of intent: I hope to explore the material grounding of lineage and honor in Betran de Born's canos "B'em platz lo gais temps de pascor" in this project.Thicker than Water:Bertran de Born’s Quest for Rebirth in “Be’m platz lo gais temps de pascor”To reach the castle at Quéribus, tourists climb a craggy, sandy path that weaves steeply up the mountainside. From outside, the castle looms darkly down at the viewer; from inside, it corners the inhabitant with its angled walls.

Bird symbolism in troubadour poetry (podcast) Stephanie Wing ... critical analysis, creative work The Other France: Troubadours and the Politics of Cultural Heritage

Statement of intent: This second podcast explores the symbolism of the bird in ancient and modern poems and music.

Horse symbolism in troubadour poetry (podcast) Stephanie Wing ... creative work The Other France: Troubadours and the Politics of Cultural Heritage

Statement of intent: This podcast explores the symbolism of the horse in troubadour poems, ancient sculptures, and modern art forms.

Bird symbolism in troubadour poetry (podcast) Stephanie Wing ... critical analysis, creative work The Other France: Troubadours and the Politics of Cultural Heritage

Statement of intent: This second podcast explores the symbolism of the bird in ancient and modern poems and music.

Roses, the Crusades, and Mongol Expansion Patrick Timothy... critical analysis Songs of Love and War: Gender, Crusade, Politics (Winter 2014)

Statement of intent: This project looks at material references of roses in troubadour lyric to explore potential channels for the medieval introduction of roses.

Roses in Hispano Arabic Poetry Patrick Timothy... critical analysis Songs of Love and War: Gender, Crusade, Politics (Winter 2014)

Statement of intent: This project looks at material references of roses in troubadour lyric to explore potential channels for the medieval introduction of roses.

Roses in the Lyric of Cerverí de Girona Patrick Timothy... critical analysis Songs of Love and War: Gender, Crusade, Politics (Winter 2014)

Statement of intent: This project looks at material references of roses in troubadour lyric to explore potential channels for the medieval introduction of roses.

Roses in the Civic Statutes of Marseille Patrick Timothy... critical analysis Songs of Love and War: Gender, Crusade, Politics (Winter 2014)

Stanford has a copy of the legal Statuta Civitatis Massilie that dates to 1265-1319 as additions to the document were made to include information such as lists understood to reflect vibrant economic activity. The lists include an entry for “Rozas sequas” or dried roses. Linda Paterson’s The World of the Troubadours contains an extensive survey of medieval Occitan society, including the economy, and she has found no evidence of rose cultivation or trade in the region, despite the occasional name of an object like a ship or barrel.

Roses and the Sack of Constantinople Patrick Timothy... critical analysis Songs of Love and War: Gender, Crusade, Politics (Winter 2014)

Statement of purpose: This project looks at material references of roses in troubadour lyric to explore potential channels for the medieval introduction of roses.

Learning to Scribe: Lessons from Troubadours and Other Performers Kim Grace McCabe creative work Songs of Love and War: Gender, Crusade, Politics (Winter 2014)

Statement of intent: Documentary on my process of trying to transcribe a modern-day version of Marcabru's "Pax in Nomine Domini" with many twists.

The Cathars: dogma and way of life Bianca-Stela Ro... critical analysis Songs of Love and War: Gender, Crusade, Politics (Winter 2014)

 In my final paper, I bring to light some connections that critics drew between the troubadours and the Cathars. In order to do so, in the first part of my paper I present some elements of the Cathar doctrine. The gallery of pictures illustrates some of their dogmatic characteristics.   Catharism was a dogma that essentially expressed the dualism between good and evil, light and dark powers. In Languedoc, two different versions of the dogma developed in time.

The Ultimate Alba Playlist Cecile Marie Am... modern comparison Songs of Love and War: Gender, Crusade, Politics (Winter 2014)

Statement of intent:  I tried to transcribe with contemporary songs the tension contained in the genre of the alba: the longing, the timeless parenthesis and the parting; the strong delimitation between the night world and the day world, the triangular structure between the lovers and the gaita, the illegitimacy of the lover's true love and their opposition to society.

Translating the past with Ezra Pound Laura Catherine... digital humanities Songs of Love and War: Gender, Crusade, Politics (Winter 2014)

Link to tumblr project page : http://translatingtroubadours.tumblr.com/ In my project, my goal was to create an online environment that immerses the viewer in the process of translating France’s medieval past into the modernist era of Ezra Pound during the late 19th and early 20th century. I chose to make a tumblr page that allowed me to post images, videos (click on the magnifying glass in the corner to play videos and to read some of the image captions), and text that could move horizontally.

Revealing the revelations: Mary the intercessor Cecile Marie Am... critical analysis Songs of Love and War: Gender, Crusade, Politics (Winter 2014)

In the Cantigas de Santa Maria, the Holy Virgin is presented as an intercessor, an intermediary between men and God. It is fascinating to see how she is presented as adapting herself to the secular and human world (through her corporality, her beauty, her voice, her clothes) in order to reveal to men the spiritual power of God.  In Song 1, it is clearly stated that: « She is our Advocate ». This figure of the advocate is strongly underlined again in Song 3: « Through her intercession, God pardoned Adam ».

Conversion in Alfonso's Cantigas de Santa Maria Radhika Bora critical analysis Songs of Love and War: Gender, Crusade, Politics (Winter 2014)

In his fourth Cantiga de Santa Maria, Alfonso narrates the conversion of a Jewish mother and son to Christianity after the father attempts to burn the son alive for receiving communion from the Virgin Mary. Mary acts as a guide towards the vera vía of Christianity by giving the Jewish boy communion; although she still acts as a powerful domna, she is much less sexualized and physically idealized than the domnas of previous troubadours. She presents an image that Alfonso describes as "resplendent" as she cradles her son in her arms.

"Use your imagination": Performance from troubadour lyric to the Arctic Monkeys Radhika Bora modern comparison Songs of Love and War: Gender, Crusade, Politics (Winter 2014)

In "The Pastness of the Present and the Presence of the Past," Taruskin argues that the twentieth-century impulse towards "authenticity" arose from a modernist trend towards impersonal abstraction whereas what he terms "vitality" was largely left by the wayside.

The Presence of the Past: bringing back to life Bosch's butt song Cecile Marie Am... arrangement Songs of Love and War: Gender, Crusade, Politics (Winter 2014)

Amelia, a music major at Oklahoma Christian University recently discovered, while looking at The Garden of Earthly Delights, the triptych by Hieronymus Bosch, a partition written on the butt of one of the infernal characters. Amelia decided to transcribe the song based on her knowledge of Gregorian chants. She mentionned that she assumed the second line of the staff was C, since it is common for Gregorian chants for this era.

The Alba Genre in Shakespeare's Romeo and Juliet Vanessa Severin... critical analysis Songs of Love and War: Gender, Crusade, Politics (Winter 2014)

In Romeo and Juliet, Shakespeare dramatizes many of the themes present in Giraut de Bornelh’s “Reis Glorios.” The watchman’s insistencies that the lover must rise in Bornelh’s poem are transformed into a dialogue between Romeo and Juliet in Shakespeare. In Bornelh’s poem, the signs of the approaching day, the sunlight, the birds’ singing and the threat of a “jealous one,” are described by the watchman in stanzas I to VI and they are discarded in stanza VII by the lover (“I care nothing for my foolish rival or the dawn!”).

a la fontina del vergier and Giselle's mad scene Laura Catherine... critical analysis Songs of Love and War: Gender, Crusade, Politics (Winter 2014)

Macabru’s A la Fontana del vergier depicts a noble woman’s reaction to the news that her lover is leaving to join King Louis VII’s crusade. The Scène dramatique from the ballet Giselle depicts La folie de Giselle after she learns that her lover is actually a prince engaged to a noble lady. Here, Giselle goes through a series of emotions that mimic some of those expressed in Macabru’s song after the lady’s “preoccupations suddenly changed”, leading to her “undoing”.

When Harry Met Sally and Troubadour Dialogue Songs Vanessa Severin... modern comparison Songs of Love and War: Gender, Crusade, Politics (Winter 2014)

As in the dialogue songs, all the action of this scene of When Harry met Sally is conveyed through words. 

Atticus' Final D. Atticus Anderson modern comparison Songs of Love and War: Gender, Crusade, Politics (Winter 2014)

In my creative project, I set out to show that the troubadours of today were not all that different than the troubadours of the Occitan. While the troubadours of the Occitan varied greatly in their styles, rhetoric, and topics I found that, for the most part, they adhere to three main guidelines.

Evolution of the Trobairitz: La Comtessa de Dia v. Joni Mitchell Vivian Wong modern comparison Songs of Love and War: Gender, Crusade, Politics (Winter 2014)

While the vida of la Comtessa de Dia does not say much, we know from her forthright cansos that she was a strong woman who believed in the female right to declare her love. She often sung of romantic longing and sensuous desire, "reclaiming and reconverting the role of love's marytr" (Bruckner et. al. xxx). La Comtessa de Dia is, in fact, the most famous and influential trobairitz of her time. A feminist and revolutionary, she assumes the typical male role in the song; she demands the power in the relationship.

Trobar and Rap: Guilhem de Peiteus (William IX) & Shawn Carter (Jay-Z) Patrick Kozey modern comparison Songs of Love and War: Gender, Crusade, Politics (Winter 2014)

<a href="http://stanford.edu/group/troubadours/projects/pkozey/">Off-site project here</a>
What could be further apart than Poitiers in 1071 and Brooklyn in 1969? A lot, it turns out. The distance—in language, time, and place—is vast, sure, but both moments gave birth to figures with much more in common than might be expected... 

“Tant m’abelis” (So Much I Love) Teresa Vu performance Songs of Love and War: Gender, Crusade, Politics (Winter 2014)

A song can be broken down into two main components: music/sound and lyrics. The lyrics are often dissected and analyzed piece by piece for literal and hidden meanings. On the other hand, the interpretation of the sound varies depending on the audience since it is strongly affected by personal schema. Thus, in “T’ant m’abelis” by Berenguier de Palou, the meaning that is gathered through the music and sound can be vastly different during the height of the Troubadours compared to the contemporary era.

Interactive Pastorela Madeline Paymer digital humanities Songs of Love and War: Gender, Crusade, Politics (Winter 2014)

I made this website as a final project for FrenGen 204: Songs and Love of War, taught by Professor Marisa Galvez. The goal of the site is to bridge the gap between chansonnier and performance by taking a manuscript - a static object - and making it interactive. I chose Marcabru's pastorela, L'autrier jost'una sebissa as the song for this project for several reasons:

(1) I am personally interested by the song, especially in its possible expression of feminism, and in comparison to the tensos which include trobairitz,

A Miniature of Marcabru's Pastorella Jordan Kozal critical analysis Songs of Love and War: Gender, Crusade, Politics (Winter 2014)

The Troubadour King, Alfonso X (King of Castille and Lord of the Holy Roman Empire), composed songs for the Virgin Mary. “And that which I seek is to praise the Virgin, Mother of our Lord, Holy Mary, the most wondrous of His creations. Therefore I wish, from this day forth to be Her troubadour, and I pray that She will have me for Her troubadour and accept my songs, for through them I seek to reveal the miracles She performed.

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