Ramon de Cornet: l'autor, l'obra i la circulació manuscrita

Un apèndix musical en CD acompanyant la tesi en paper, reprodueix cinc peces de Ramon de Cornet musicades per a l’ocasió a partir de la melodia conservada dels seus models i musicals. Fitxers d'àudio també disponibles. Podeu posar-vos en contacte amb l'autora de la tesi doctoral marina.navas@gmail.com - A CD appendix accompanying the dissertation on paper, reproduces five pieces by Ramon de Cornet, touted for the occasion from the conserved tune of his models and musicals. Audio files also available. You can contact the author of the doctoral thesis marina.navas@gmail.com - Un apéndice musical en CD acompañando la tesis en papel, reproduce cinco piezas de Ramon de Cornet musicadas para la ocasión a partir de la melodía conservada de sus modelos y musicales. Archivos de audio disponibles. Puede ponerse en contacto con la autora de la tesis doctoral marina.navas@gmail.com This study intends to offer a comprehensive analysis of Ramon de Cornet’s poetic and historical profile, his works and his manuscript tradition. He is the most important 14th-century Occitan poet, the author of a vast extant corpus with a larger manuscript tradition than his contemporaries: all of this shows him to be a key figure for the definition and reassessment of the poetics of this period, half way between troubadour lyrics and pre-Marchian poetry, often silenced or branded as decadent. This thesis is divided into four parts. The first aims at distinguishing the author from his literary character in order to reconstruct the historical evidence about him and review some readings of his works in excessively biographic terms. The second outlines the network that supports the circulation of his works, revealing a map of Occitan courts and other centres that have been traditionally forgotten. The dedicatees of his poems attest to the reception of a poetry well-rooted in the troubadour tradition beyond the Toulouse Consistory. The third section offers an overall analysis of his works, which are defined by their variety and eclecticism an represent the best example of late troubadour lyrics and its subsequent evolution. The aspects discussed are illustrated by excerpts from Cornet’s work, taken from my on-going edition, which I partially included in my École national des chartes dissertation. The fourth part presents the recensio and description of all extant manuscript witnesses, which had a considerable circulation in Catalonia, and analyses the whole of the tradition beyond Cornet’s tran