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For a time, if one wanted to capture the emotional landscape of late medieval literature, psychoanalysis appeared to be the most acute and persuasive analytic tool. From the subjectivity of courtly love to the identification with a suffering God to the defenses against the pleasures of others and neighbors, psychoanalysis offered illuminating frameworks in startling sympathy with medieval texts. With the ascendance of affect theory and its associated (if varied) attention to the non-discursive, the biological or natural, and the conscious or self-understood, the role of psychoanalysis has become less clear. My essay explores the productive intersections between psychoanalysis and affect theory, and especially Lauren Berlant’s suggestion that we think again about sex and sexual desire as possible sites of individual and cultural transformation. The phenomenon of repetition is a focus shared by psychoanalysis and affect theory, and I propose the reiterative conventions of courtly love as a place where the tensions between the two approaches may provide a window into medieval meditations on sex, love, and cultural change.

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This study aims to reinvestigate the scenarios of the Abandoned within the dialectic of power relations and submission, losses and gains. To circulate these notions, it will rely on those of situated knowledge and standpoint (Donna Haraway, Sandra Harding). Embracing an androcentric viewpoint, it will attempt to illuminate the masculine presuppositions and the contribution of texts to the construction of a heroine figure, paradoxically become exemplary. To these masculine constructions, it will oppose their reappropriations as plural feminine experiences through which, between submission and suicide, the abandoned women experience more subtle modes of agency and repair. If medieval fictions are also not lacking in abandoned lovers, do they not also draw, between self-destruction or that of the other, the paths of a return to oneself, and why not, models of resilience for today's men in the face of the ordeal of abandonment?

The purpose of the paper is to study the images of the platonic and courtly in the protagonist’s personal relations with God in J. Donne’s “Holy Sonnets” in the context of the connection with the Petrarchan tradition. In order to accomplish this, a complex approach including elements of biographical, genealogical, typological, hermeneutic, comparative, and structural-semiotic methods of literary analysis has been used. The views of literary critics on the sources of the “Holy Sonnets” (Christian meditative practices, Bible books, traditions of English religious lyrics) have been reviewed, their connection with the Petrarchan poetic tradition has been pointed out and, in this context, one of the possible interpretations of J. Donne’s sonnet sequence has been proposed. It has been shown that three poems of the sequence – XIV, XVII and XIX – are especially important and conceptual for understanding the evolution of the protagonist’s relations with God in the “Holy Sonnets”. In the first of them, feeling his own weakness and impossibility to overcome the devil, J. Donne’s persona begs the Lord to win back his heart from the enemy, using a broad palette of military metaphors typical to the Petrarchan lyrics. However, the Lord, who in sonnets I – XIII is depicted in a Petrarchan manner as distant and completely deaf to the protagonist’s pleas, remains indifferent. In sonnet XVII, which looks similar to the lyrical texts of the “Canzoniere” dedicated to Laura’s death, a notable change in the relationship between the characters takes place. As in the Italian humanist’s poems, the life path of J. Donne’s persona finally turns to heaven after the death of his beloved, and he begins to feel that the loss of earthly love is compensated by the gaining of the Divine one. However, his further relations with God, once again, seem to be built according to the Petrarchan model, most fully described in the last text of the sequence. The sonnet XIX demonstrates all the complexity of the relationship between a human being and the Lord. J. Donne’s persona is constantly dominated by conflicting feelings and emotions, which generally correlates with Petrarchan understanding of the ambivalence of love, best shown by F. Petrarch in the sonnets CXXXII and CXXXIV. Moreover, the poetic vocabulary used by J. Donne in this poem indicates the specific character of his persona’s relations with God, which are supposed to have signs of courtly love, courtly bowing-service. It has been summed up that the protagonist’s relations with the Lord in the “Holy Sonnets” might be interpreted as generally built on the same principles that are immanent in the concept of love in the poetry of Petrarchism. The persona of the English poet, as well as the traditional hero of Petrarchan texts, also suffers from unrequited feelings, longs for reciprocity with all his heart, and, in addition, speaks in the specific metaphorical language. Even if the linguistic practice utilized by the author cannot be considered exclusively Petrarchan, since a similar rhetorical code, in which the experience of spiritual communication with the Lord was described with the help of erotic images, was widely used by the Christian mystics, the sonnet poetic structure is canonical for Petrarchan lyrical discourse and require following the established rules not only in terms of form, but also in terms of content.

When medieval poets began to reflect on love, it was, from the beginning, a highly complex and problematic phenomenon, mostly determined by frustration, contradictions, and a lack of fulfilment. Highlighting particularly two major texts, one in Latin, the other in Middle High German, this paper brings to light the critically important element of discourse as part of the public performance of theoretical and practical reflections of love in the Middle Ages. Since courtly love thus has to be defined as a literary medium for courtly debates about its own identity, it makes perfect sense that we hardly ever hear about actual individual satisfaction and the realisation of erotic dreams. Instead, the overarching intention by medieval poets was to problematise the issue of love and to present its paradoxes, difficulties, and conflicts through the literary performance, not to present a maudlin, sentimental story with a simple happy end. As we realise here, the debate about proper attitudes towards the other gender, the analysis of values and virtues all contribute to the realisation of the discourse itself. [ABSTRACT FROM AUTHOR]

Copyright of eHumanista is the property of Professor Antonio Cortijo-Ocana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The purpose of the paper is to study the images of the platonic and courtly in the protagonist’s personal relations with God in J. Donne’s “Holy Sonnets” in the context of the connection with the Petrarchan tradition. In order to accomplish this, a complex approach including elements of biographical, genealogical, typological, hermeneutic, comparative, and structural-semiotic methods of literary analysis has been used. The views of literary critics on the sources of the “Holy Sonnets” (Christian meditative practices, Bible books, traditions of English religious lyrics) have been reviewed, their connection with the Petrarchan poetic tradition has been pointed out and, in this context, one of the possible interpretations of J. Donne’s sonnet sequence has been proposed. It has been shown that three poems of the sequence – XIV, XVII and XIX – are especially important and conceptual for understanding the evolution of the protagonist’s relations with God in the “Holy Sonnets”. In the first of them, feeling his own weakness and impossibility to overcome the devil, J. Donne’s persona begs the Lord to win back his heart from the enemy, using a broad palette of military metaphors typical to the Petrarchan lyrics. However, the Lord, who in sonnets I – XIII is depicted in a Petrarchan manner as distant and completely deaf to the protagonist’s pleas, remains indifferent. In sonnet XVII, which looks similar to the lyrical texts of the “Canzoniere” dedicated to Laura’s death, a notable change in the relationship between the characters takes place. As in the Italian humanist’s poems, the life path of J. Donne’s persona finally turns to heaven after the death of his beloved, and he begins to feel that the loss of earthly love is compensated by the gaining of the Divine one. However, his further relations with God, once again, seem to be built according to the Petrarchan model, most fully described in the last text of the sequence. The sonnet XIX demonstrates all the complexity of the relationship between a human being and the Lord. J. Donne’s persona is constantly dominated by conflicting feelings and emotions, which generally correlates with Petrarchan understanding of the ambivalence of love, best shown by F. Petrarch in the sonnets CXXXII and CXXXIV. Moreover, the poetic vocabulary used by J. Donne in this poem indicates the specific character of his persona’s relations with God, which are supposed to have signs of courtly love, courtly bowing-service. It has been summed up that the protagonist’s relations with the Lord in the “Holy Sonnets” might be interpreted as generally built on the same principles that are immanent in the concept of love in the poetry of Petrarchism. The persona of the English poet, as well as the traditional hero of Petrarchan texts, also suffers from unrequited feelings, longs for reciprocity with all his heart, and, in addition, speaks in the specific metaphorical language. Even if the linguistic practice utilized by the author cannot be considered exclusively Petrarchan, since a similar rhetorical code, in which the experience of spiritual communication with the Lord was described with the help of erotic images, was widely used by the Christian mystics, the sonnet poetic structure is canonical for Petrarchan lyrical discourse and require following the established rules not only in terms of form, but also in terms of content. [ABSTRACT FROM AUTHOR]

The Rose-Cassamus is an adaptation of the Old French Vœux du paon in the seemingly love themed Rose-codex. Because love in medieval courtly literature is not a consistent dogma, an examination of the work's love conception can shed light on both the development of the ideology of love in courtly Middle Dutch literature and the text's relation to the larger Rose-codex. The traditional relationship between prowess and love seems central, but is socio-politically framed. Love enhances the knights' prowess, but their main motivations are provided by social obligations. As such, love seems to function as an ideal for the individual to aspire to with the aim to contribute as best as possible to the preservation of the (courtly) society. In light of this, love is portrayed as more unambiguously positive by rejecting its traditional link with suffering. The text's disinterest in the personal and sensuous aspects of love further reinforces its conception of love as a more abstract ideal. Even traditionally less positive characters, such as the old lover, seem sympathetically portrayed as exemplars of the positive social influence of love. [ABSTRACT FROM AUTHOR]

This article focuses on the effects of extensive melodic repetition in twelve Old French monophonic songs preserved in chansonniers (song books) from the thirteenth century. All these songs share a specific formal pattern: at least three initial poetic verses (or pairs of verses) set to the same melody. While the methodological point of departure for this study revolves around musical form and melodic construction, five songs within this group of twelve involve women speakers within their poetic texts--a relative rarity in medieval song. In addition to reviewing the cultural, cognitive, emotional, and performative implications of repetition, the article considers how repetitive melodic patterns intersect with and complement the feminine emphases of the text, arguing that this combination is not coincidental. As demonstrated by a close reading of these five songs, repetition has the potential to depict deliberately distinct female figures, ranging from a woman who longs for the touch of her absent crusading lover to the Virgin Mary herself. Repetition thereby serves in these songs to destabilize both the widespread trope of courtly love and the gendered implications of the chanson as a poetic and musical genre. [ABSTRACT FROM AUTHOR]

Masochism has often been categorised among the endless list of perversions developed by psychiatry since the late nineteenth century. Similarly, an almost fixed link between masochism, perversion and femininity persists within psychoanalysis. By asserting that female masochism is a male fantasy, Lacan opens a radically different perspective. This article unfolds this idea by drawing on philosophy, and courtly and masochistic literature. I argue that masochism is a male fantasy and try to open a way for a rigorous separation from perversion. [ABSTRACT FROM AUTHOR]

The fifteenth century witnessed a hectic atmosphere among the Castilian court poets, there were games and poetic disputes. In the Cancionero General of 1511 a quarrel was registered between Guevara and Juan Barba, about Guevara’s “Sepoltura de Amor”. In the beginning, the discussion focused on the characteristics of courtly love, but later, on the dit “Bien publican vuestras coplas”, Guevara took the discussion to the ridicule of the Barbara’ s age, and, as I shall show, he used the amplificatio’ tools-apostrophe, interpretatio and oppositio-in order to ridicule Barba and, as a result, overrule his voice. [ABSTRACT FROM AUTHOR]

It ought to be an ongoing effort by all scholars/researchers to question the validity, legitimacy, and purposes of their own discipline because we live in an ever-changing world and must regularly reflect upon our academic self-justification. This also applies to the field of Medieval Studies that faces considerable difficulties and challenges today with declining numbers of students enrolling in respective classes and lacking support by university administrators. This study begins with a general consideration on where we are today in terms of justifying the humanities at large, that is, of the study of literature particularly, and hence of medieval literature. Then this paper focuses on two universal themes, tolerance and then love. While love has always been associated with the courtly world since the twelfth century, toleration and even tolerance do not seem to fit within the medieval context. However, the discussion of both phenomena can be utilized as a particularly effective catalyst for further investigations of medieval culture and literature within the framework of modern and postmodern responses to the Middle Ages. The exploration of this theme as it emerged already at that time offers intriguing opportunities to make the study of medieval literature relevant and important for us today, as does the examination of the love discourse through a historical lens. [ABSTRACT FROM AUTHOR]

At the beginning of vernacular literatures in medieval Europe, courtly love in gallo-roman traditions appears as fixed within a discursive system in which the expression of joy is one of the main vectors. In the Oc and Oïl traditions, however, it appears in forms that can only be assimilated in the collective projection of the gaudium, while the manifestation of an intimate “happiness” acquires completely divergent meanings and adopts completely different contexts.

This paper aims to analyse the courtly love of the troubadours with a particular focus on the relationship between joi and fear or disquiet. With the background of previous concepts, the model of fin’amor as an emotional community with its basic characteristics is presented. On the example of selected texts from the courtly literature, a “map of emotions” of the troubadour world, in which joi plays a central role, is constructed. Joi is defined as “joy acting” or “a state of harmony, ecstasy and inner perfection”. As the etymology of this concept, it is taken as a combination of the words gaudium (joy) and joculum (play). The analysis indicates that the pursuit of joi is both the reason for building the emotional community of fin’amor and the goal of its actors involved. The achievement of joi is based on an elaborate system of literary games. In the emotional community, joi triggers other emotions, including fear and disquiet. Thus, joi is not a state of inner harmony but an ambivalent entity, affecting both the well-being of the individual fin’amor actors and the lack thereof.

Using modern terms of morality to evaluate the sexual attitude of Humbert towards Lolita, which constitutes the central subject matter of Vladimir Nabokov’s Lolita (2005), most readers view the novel as erotica, a piece of literature that glamorizes amoral sexuality and rebels against humans' morality. This view feasibly condemns the sexual relationship between a forty-year-old male and a twelve-year-old girl-child nymphet; nevertheless, it overlooks the insistence of the novel's fictitious narrator and editor that the narrative is ethical and heavily loaded with pro morality messages. To resolve this perspectival dichotomy, this article revisits Humbert's love of Lolita contending that the relationship between Humbert and Lolita constitutes a form of courtly love, not rape or pedophilia. Relying on the medieval definition of courtly love, the article argues that Humbert is better viewed as a medieval lover whose love-based sexuality towards Lolita is ennobling and transcendent. By so doing, the article discharges Humbert’s love of Lolita from any modern connotations of animalistic carnality, thus maintaining the narrative’s obsessive involvement in the medieval culture. [ABSTRACT FROM AUTHOR]

This research counters Slavoj Zizek’s psychoanalytical analysis of “courtly love” through a reading of Charlotte Lennox’s The Female Quixote (1752), drawing on Kristeva’s theory of subjectivity. Žižek’s analysis concludes that the courtly image of the Knight’s subservience to his Lady actually masks the reality of male domination. However, his own analysis seems complicit in the same problematic. In assuming the male partner as the subject from whose vantage the relationship is theorized, he strips the woman of any subjectivity or agency by rendering her an absolute object, a radical Otherness, a monster, and an automaton. While Žižek painstakingly represents the male-subject as the victim-agent in being the director of the masochistic performance, the female is rendered a perpetrator-object who, despite enacting the terms of the same contract, is termed an inhuman partner and hence a sadist. This lack of complex theorization of the Lady that renders her absolute evil reinforces conventional representation of femininity as evil. Whereas Žižek’s analysis writes the Lady off as a vacuum, Charlotte Lennox’s The Female Quixote (1752) provides an interesting alternative for theorizing courtly love from the position of the Lady via the protagonist, Arabella. A suitable framework for understanding Arabella’s investment in the conventions of courtly love may be found in Julia Kristeva’s psychoanalytical model that allows for reconceiving the Lady in courtly love as a subject. This essay argues that, given her preoedipal maternal severance, Arabella’s delusional immersion in romances signifies her proximity to the “semiotic chora.” Her preference for the “feminine” form of romance, reflective of the subversive force of the semiotic, represents Arabella’s defiance of the rational, masculine, novelistic discourse of the eighteenth-century symbolic. [ABSTRACT FROM AUTHOR]

Copyright of Church in the World / Crkva u Svijetu is the property of University of Split, Catholic Faculty of Theology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the inter-war period, Ortega y Gasset set out to construct a new modernity in which love disappeared. He established a close link between modernity and the regulation of amorous emotion, and between the latter and gender relations. The centrality of love in Ortega’s project of rectifying modernity explains the abundance of his writings on the subject, many of these addressed, somewhat veiled, to Victoria Ocampo. There are hardly any studies on Ortega’s writings on love and none at all from a gender perspective. This article is also in keeping with the growing interest in the topic of love in the field of gender studies.

In the Lai d'Ignaure twelve ladies who share the same lover are tricked by their husbands into eating his heart and genitals, cooked as meat in a stew. When the jealous husbands declare that they have fulfilled the ladies' desire for flesh, the ladies counter with the claim that they were already replete with Ignaure's love, and they swear to die since they could never again have a meal of such worth. I argue that in Ignaure, as in other eaten heart stories, consuming the lover's flesh underscores a core carnality of courtly love, but here it also opens up an alternative model of love, focusing on consummated pleasure rather than desire, and celebrating the dissolution of bodily boundaries against a heteronormative distribution of gender positions. By claiming sexual satisfaction and forming a female homosocial collective based on their unapologetic sharing of a lover's flesh, the ladies invite a reconsideration of courtly love that values female pleasure over male desire, satiety over lack, and community over exclusivity. I demonstrate that circulations of flesh in Ignaure subvert the political, social, and gendered structures that define the court, for the lay calls on provocative ways of understanding—and enjoying—flesh. [ABSTRACT FROM AUTHOR]

The article undertakes an analysis of the only romantic plot for a female character in Baldur's Gate II: Shadows of Amn, namely the romance with Anomen, one of the player character's potential companions. The analysis focuses primarily on how this romance adapts themes of courtly love to the poetics of the digital game medium. Courtly love is treated here not as a realistically depicted medieval tradition but rather as an established pop-cultural reference to the literature of the period, and as an element of contemporary depictions of the Middle Ages, often serving as a way to present contemporary themes and beliefs. The analysis therefore aims to explore how the theme can be employed to reproduce contemporary patterns of romantic relationships within a game, and in the case of Anomen, how it reproduces patterns of unequal emotional labor in heterosexual relationships. The article thus seeks to show how digital games can function as tools of cultural discourse of love by implementing certain patterns of romantic love through their specific means of expression. [ABSTRACT FROM AUTHOR]

Andreas Capellanus' treatise on love, De amore has been interpreted in many different ways. Scholars agree on only one thing: this work presents a scholastic understanding of love in a rigorous and structured way. We are not sure of the identity of the author from the surviving documents, but he wrote in Latin in a French context sometime in the 12th century. In my study, I will explore who Andreas Capellanus might have been, as well as the supposed date of the work. [ABSTRACT FROM AUTHOR]

The Tristan legend is the quintessential love story of the Middle Ages. From the formative period of its courtly branch, the only extant complete version is Tristrams saga ok Ísöndar (1226). King Hákon of Norway commissioned this and other romances to convince his aristocratic warriors to give up the kinship society ethos of heroic love that directed them to rape their enemies' women. Courtly love sacralized female consent, yet critics have struggled to make sense of which purposes courtliness served. This evolutionary reading of Tristrams saga reveals how courtly love not only functioned as an ideological bridge between mating regimes, but also embodied proto-WEIRD psychology, the impersonal prosociality of the new mobile, educated, and transculturally inclusive European individual--as described by Henrich (2020). This ethos would evolve to become the morality of modernity. How it was disseminated exemplifies how fiction can help communities find provisional solutions to problems that cannot be solved definitely. [ABSTRACT FROM AUTHOR]

A number of authors claim that Western European modern romantic love has been 'gamified' by digital apps and platforms, resulting in a ludic market logic that is increasingly compulsive and even addictive. This paper will suggest that modern romantic love was, in fact, predicated on games, particularly games of chance and competition. These games are seen to provide a number of functions, including homosocial bonding, the vindication of personal responsibility, and bringing about the probability of the improbable. The paper examines changing attitudes to chance at several key historical moments in Western Europe, changes which we can discern in romantic codification, as well as in the modern economy. We trace these tendencies to digital corporations, where gathered behavioural data accelerates the capacity to economize and determine futures. [ABSTRACT FROM AUTHOR]

This paper analyses the key areas reached by the Swiss author Denis de Rougemont in his famous work Love in the Western World. We critically read de Rougemont's thought that love-passion, as the basic guiding thread of the myth of Tristan and Isolde, still sovereignly rules the unconscious being of modern man, giving him a one-sided vision of the play about love. Following his argumentation, we examine the connections between courtly and chivalrous love, Cathar heresy and troubadour love poetry. Denis de Rougemont contrasts eros, which ignites passion that descends into the darkness of death, with agape, i.e. the Christian love for one's neighbour. We question whether de Rougemont's solution to the problem of love by establishing merciful love as a necessary moral choice can be a satisfactory answer for modern man.

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Memory and memoria are closely related to each other, but the latter constitutes the physical, mostly public manifestation of the self through art works, writing, musical compositions, buildings, and the like. After a reflection on the current research pertaining to both aspects, this article deals with the famous Ambraser Heldenbuch compiled by Hans Ried for Emperor Maximilian I (1504-1516) as a collection of major medieval German narratives. In particular, the focus rests on the most unique verse novella, Mauritius von Craûn (ca. 1220) where knighthood and courtly love seem to reach their apogee but then abruptly fail. In an odd way, even this rather deconstructive piece of literature, preserved only in this very late manuscript, obviously contributed to Maximilian's great effort to secure his gedechtnus, the memory by posterity of his glory and accomplishments. However, there is also a great sense of the precarious nature of this goal, hence of memoria. To understand late medieval aristocratic culture, we can rely profoundly on the efforts by that social class to establish memory as a form of self-identity. [ABSTRACT FROM AUTHOR]

"Saint Bernard and Courtly Love": The author discusses the problem of whether there is any interrelation between Cistercian mysticism, in St. Bernard of Clairveaux’s time, and courtly love. He concludes that cortly love and the Cistercian conception of mystical love are two independent products of the civilization of the twelfth century. They express the different surroundings in which they were respectively born; the one codifying life as led in a princely court, and the other expressing what men make of it in a Cistercian monastery. Undoubtedly the vocabulary of the one might be helped out with terms borrowed from the other, but since it is necessary to renounce the one of these loves before embracing the other it is not to be wondered at that no definite concept exists that is common to both. When Cistercian love would enter into profane literature it could do so only by driving out courtly love and taking its place. St. Bernard, in turn, may have largely contributed to the decadence of the courtly ideal, but never in him could it have found its inspiration.

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This paper aims to analyze the pictorial and literary versions of the medieval vergier and its main figure, the lady from courtly love, a locus frequently used by Maurice Denis, a postimpressionist painter, in his paintings and texts. The image of the lady from courtly literature dominates his work, without being a simple and anachronical transposition of a medieval ideal at the end of the XIXth century. On the contrary, Maurice Denis gives new meanings to this locus and its main feminine figure, adapting them to the symbolist sensibility of his time. The paper traces three versions of the vergier and hortus conclusus; two of them have a dominantly religious dimension – the hermitage orchard and the virginal orchard – whilst the third one is mainly profane, infused by courtly love.

Story in verses of Picardy origin, preserved in two manuscripts from the 14th century, Le Roman du Castelain de Couci et de la Dame de Fayel is part of a larger corpus of texts centered around an adulterous relationship that a jealous husband cruelly chastises by a cardiophage meal. However, if the Franco-Provençal corpus consists of several brief narratives dating from the 13th century, prior to the novel (The Lai of Ignaure, the vidas and the razós of the troubadour Guillem de Cabestany), only the novel, which also proposes the courteous version of this story, presents the love tokens exchange between the lovers. Our analysis will focus initially on these gifts and their symbolical functions: the letters exchanged by the lovers, literary objects valued in courteous literature in the 12th-13th centuries, as well as a sleeve and braids that the lady offers to the knight before his departure in crusade; finally, a coffer sent by the latter to his lady, which contains a letter and the lover’s heart, extracted just after his death by the valet. In the second part of our study, we have emphasized the influence of this literary motif on medieval sensitivities, given the success that it enjoyed in medieval iconography until the 15th century. Indeed, in the area of diffusion of this novel - namely the North and East of the Kingdom of France, Flanders, as well as the Parisian region and the Rhine Valley - the gift of the heart was represented in particular on objects such as mirrors in ivory or the caskets, objects clearly connected to the feminine universe, but also on the tapestry. [ABSTRACT FROM AUTHOR]

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Copyright of Comparative Literature / Primerjalna Književnost is the property of Slovenian Comparative Literature Association and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Latin American boleros use poetic figures that can be traced in medieval courtly love. The topics such as «love service», «love sickness» and «dying oflove», present in the Cancionero general by Hernando de Castillo (1511) occur in boleros from the XXth century. In the present work Ishallestablish some links between the Cancionero generaleroticism and the seductive nature of songs. Eventually, Ishall define the «hybrid bolero» concept. RESUMEN: En los boleros hispanoamericanos existen supervivencias del amor cortés medieval. Los tópicos del servicio de amor, el «mal de amores» y «morir de amor» presentes en el Cancionero general de Hernando de Castillo (1511) también se encuentran en boleros del siglo XX. Se harán, así, conexiones entre el erotismo del Cancionero general dirigido a las cortes y los nobles con el bolero y su apuesta por la seducción. Todo ello hasta llegar a lo que se propone como boleros llamados «híbridos».

The birth of courtly emotions in early India was intimately linked to the proliferation of royal households across the subcontinent between the fourth and seventh centuries CE. Though earlier political formations saw the consolidation of monarchy, the rise of imperial ideology, and the evolution of royal functionaries, sources neither shed light upon, nor stress, the affective world of individuals around the king and his court until the first centuries of the Common Era. A convergence of sources from the end of the third century—including inscriptional encomia, manuals on polity, and didactic poetry—all point to the steady emergence of a constellation of openly articulated emotions that were deemed to constitute the relations between men of birth and standing who attended the lordly households of the era. These emotions, often obliquely perceived through the modern lens of a 'classical' literary culture' are here situated in the political context of the fourth to seventh centuries and through an analysis across genres, with the hope of moving beyond current assumptions about the relations between aesthetically defined emotions (bhāva and rasa) and the social world that produced them. In particular, the essay explores different types of bonds of love and affection and their various inflections that were thought to arise between courtly actors. It further argues that knowledge about these emotions contributed to a kind of 'science of emotional interpretation' that helped men and women express and interpret emotions at court and negotiate the complex relationships that were cast in their idiom. [ABSTRACT FROM AUTHOR]