A queda do -e depois de l, n, r, s e c afecta a evolução de várias formas verbais portuguesas. No entanto, a par das formas apocopadas, existiram formas em que o -e não caiu ou foi devolvido por analogia, como mostra o estudo do português antigo e das variantes dialectais. Estas evoluções assimétricas resultam de processos de extensão analógica ou de nivelamento, mas devem também ser considerados critérios de iconicidade e as diferentes categorias morfológicas dos segmentos envolvidos.

The fall of -e after l, n, r, s and c affects the evolution of various Portuguese verb forms. Alongside the apocopated forms, however, there have existed forms in which e did not fall or was returned by analogy, as the study of Old Portuguese and dialect variants shows. These asymmetrical evolutions are the result of analogical extension or leveling processes, but criteria of iconicity and the different morphological categories of the segments involved must also be considered.

El discurso satírico construido según los principios de la estética carnavalizadora en el sentido de Bajtin está más desarrollado en la lírica gallegoportuguesa que el la trovadoresca occitana. La sátira gallegoportuguesa abandona la dimensión moral tan importante en la lírica de oc y adopta procedimientos de inversión paródica de modelos corteses. Este proceso se inscribe en el juego de tensiones entre la rigidez de un código canónico y la necesidad de romper este discurso con continuas innovaciones estilísticas.

The satirical discourse constructed according to the principles of carnivalesque aesthetics in Bakhtin’s sense is more developed in Galician-Portuguese lyric than in Occitan troubadour lyric. Galician-Portuguese satire abandons the moral dimension so important in Occitan lyric and adopts procedures of parodic inversion of courtly models. This process is inscribed in the play of tensions between the rigidity of a canonical code and the need to break this discourse with continuous stylistic innovations.

Nella tradizione manoscritta del IV libro delle Chroniques di Froissart è stato possibile individuare, in base alla collazione del quinto dei suoi ottantadue capitoli, due famiglie: α, composta da codici piuttosto poveri e spesso cartacei, e λ, composta da codici di lusso, destinati a sovrani o membri dell’alta nobiltà. La modalità di copia dei codici della seconda famiglia è più “attiva” di quelli della prima. Il testo base di una nuova edizione critica – di cui si offre un breve saggio – è quello del ms. KBR, IV 467, appartenente alla famiglia λ ma scarsamente decorato, opera di un copista accurato e poco innovatore.

In the manuscript tradition of the IV book of Froissart’s Chroniques, it is possible to identify, based on the collation of the fifth of its eighty-two chapters, two families: α, composed of rather poor and often paper codices, and λ, composed of luxury codices, destined for sovereigns or members of the high nobility. The copying mode of codices of the second family is more “active” than those of the first. The text of a new critical edition – of which a brief essay is offered – is based on the ms. KBR, IV 467, belonging to the λ-family but poorly decorated, the work of an accurate and not very innovative copyist.

Il Renart le Nouvel di Jacquemart Gielée svolge un ruolo rilevante nella composizione del Roman de Fauvel del ms. BnF, fr. 146, fungendo da agente di accelerazione di un processo creativo già autonomamente avviato da Chaillou de Pestain e dai suoi collaboratori. Jacquemart è un autore colto e sperimentale che, grazie al contatto con le Arts Poétiques e la produzione lirica del XIII secolo, supera i confini dell’epica animale; la sua opera offre agli autori del Roman de Fauvel una lezione di stile di cui sapranno fare tesoro.

Jacquemart Gielée’s Renart le Nouvel plays a relevant role in the composition of Roman de Fauvel of ms. BnF, fr. 146, acting as an accelerating agent of a creative process already independently initiated by Chaillou de Pestain and his collaborators. Jacquemart is a learned and experimental author who, thanks to his contact with the Arts Poétiques and the lyric production of the 13th century, transcends the boundaries of the animal epic; his work offers the authors of the Roman de Fauvel a lesson in style of which they will greatly take advantage.

The character of the captive woman is found in four of Mary of France’s twelve lais: Guigemar, Laüstic, Milun, and Yonec. The theme of the battered wife, belonging to the world of courtesy as well as that of popular poetry, acquires here new tones, combining with mythical materials. The protagonists, for whom the writer feels sympathy, turn out to be witnesses or reflections of contemporary courtly society.

La figura de la mujer prisionera se encuentra en cuatro de los doce lais de Marie de France: Guigemar, Laüstic, Milun y Yonec. El tema de la malcasada, perteneciente tanto al mundo de la cortesía como al del lirismo popular, adquiere aquí nuevos matices, combinándose con material mítico. Las protagonistas, por las que la escritora muestra simpatía, son testigos o reflejos de la sociedad cortés contemporánea.

Chrétien de Troyes, qui fut dans sa jeunesse traducteur de textes ovidiens, puise dans l’œuvre du grand poète un certain nombre de motifs qui apparaissent, remaniés ou augmentés, dans Erec et Enide, Yvain, Cligés et Lancelot. En contractant, comme d’autres poètes médiévaux, une dette envers ses prédécesseurs latins, Chrétien crée un amalgame inimitable de l’antiquité classique, du conte populaire et du mythe arthurien.

Chrétien de Troyes, who in his youth was a translator of Ovidian texts, draws from the work of the great Latin poet a number of motifs, which appear in reworked or augmented form in Erec et Enide, Yvain, Cligés, and Lancelot. Contracting, like other medieval poets, a debt to his Latin predecessors, Chrétien creates an inimitable amalgam of classical antiquity, folk tale and Arthurian myth.

Il nome Marcabrun / Marcabrun è un composto di germ. marka ‘confine’ + brunno ‘fonte’, influenzato foneticamente da brun ‘bruno’; la trasparenza semantica del composto indica una formazione precoce. Marcabruna, nome della madre del poeta, è una retroformazione a partire dal maschile Marcabru / Marcabrun.

The name Marcabru / Marcabrun is a combination of germ. marka ‘border’ + brunno ‘source’, influenced phonetically by brun ‘brown’; the transparency of the meaning implies that the name was compounded early. Marcabruna, name of the poet’s mother, is a backformation from the masculine Marcabru / Marcabrun.