The Troubadours Through the Eyes of Nietzsche. (1st January 2013)

• Record Type: Journal Article
• Authors: L'Hermitte, Nicolas
• Is Part Of: Exemplaria. Volume 25:Number 2(2013)
• Page Start: 110
• Page End: 129
• Publication Date: 2013-01-01
• Subjects: European literature -- Renaissance, 1450-1600 -- History and criticism -- Periodicals; Literature, Medieval -- History and criticism -- Periodicals; Middle Ages -- Periodicals; 809.0205
• DOI: 10.1179/1041257313Z.00000000028
• Languages: English
• ISSNs: 1041-2573

Abstract

<abstract> <title> <x xml:space="preserve">Abstract</x> </title> <p>Classical works on troubadour texts focus on Platonic and Aristotelian influences. In contrast, this article considers the relationship between troubadour texts and Nietzsche's philosophy, suggesting that Nietzsche's understanding of troubadour art underlines both the radical specificity of troubadour songs and their innovative epistemology. Engaging with three songs, 'Be·m cuidei de chantar sofrir' by Bernart de Ventadorn, 'Era·m platz' by Guiraut de Borneil, and Guilhem IX's 'Farai un vers de dreit nien, ' the author reads the display of binary figures to define the main characteristics of a new epistemology far from Platonism and Aristotelianism. Nietzsche's account of the concept of 'gay science' helps us to understand the figure of contradiction fostered by troubadours. Methodologically, this critical reading complements a philological approach. Instead of looking for a feature of the text that might be related to an existing philosophy, thus going from medieval texts toward an earlier philosophy, this methodology proceeds from Nietzsche's philosophy toward medieval texts, making the troubadour songs a <italic>terminus ad quo</italic> (rather than a <italic>terminus ad quem</italic>) so as to outline the specificity of their own art — the gay science.</p> </abstract>