Project MUSE®: Tenso - Latest Articles
https://muse.jhu.edu/journal/444
Project MUSE®: Latest articles in Tenso.daily12026-05-11T00:00:00-05:00text/htmlen-USVol. 1 (1985) through current issueLatest Articles: TensoTWOProject MUSE®Tenso1944-01460890-3352Latest articles in Tenso. Feed provided by Project MUSE®Editor’s Note
https://muse.jhu.edu/article/989013
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This issue of Tenso returns to the journal’s long-standing practice of publishing issues on special topics; on this occasion, we celebrate Raimbaut d’Aurenga, who was the subject of a Round Table organized for the Fifty-ninth International Medieval Congress at Western Michigan University in 2024, an event known simply by the name of the venue: Kalamazoo. This editor was a participant in that Round Table, which explains why, exceptionally, an essay by Pfeffer appears in this volume of Tenso.One of the editor’s tasks is to “fill the issue,” i.e. seek out potential contributors who can add to our knowledge of Occitan Studies, with a particular eye towards the North American audience. Not that long ago, I was
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/444/image/coversmallEditor’s Note2026-04-27text/htmlen-USEditor’s Note2026-04-272026TWOProject MUSE®48862026-05-11T00:00:00-05:002026-04-27Equitable, Diverse, and Inclusive Readings of Raimbaut D’Aurenga’s Verse and Vida: Introduction to A Special Issue
https://muse.jhu.edu/article/989014
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Sarah Spence, Wendy Pfeffer, and William Burgwinkle study the works of the troubadour Raimbaut d’Aurenga, a troubadour whose songs and their subsequent scholarly analyses foreground humanity. I bring — the Société Guilhem IX has brought — these scholars into conversation on the printed and digital page so that their work is accessible to more than those who were in the room at Western Michigan University in Kalamazoo, Michigan at the 59th Annual International Congress on Medieval Studies. I see this collection of Tenso 41 as a cohesive unit of scholarship that seeks to recognize and further build understanding of humans who might not have been able to use their voice as directly as others to assert their experience
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/444/image/coversmallEquitable, Diverse, and Inclusive Readings of Raimbaut D’Aurenga’s Verse and Vida: Introduction to A Special Issue2026-04-27text/htmlen-USEquitable, Diverse, and Inclusive Readings of Raimbaut D’Aurenga’s Verse and Vida: Introduction to A Special Issue2026-04-272026TWOProject MUSE®293462026-05-11T00:00:00-05:002026-04-27Lists, Rhymes, and Cross-Cultural Practices in the Lyrics of Raimbaut D’Aurenga
https://muse.jhu.edu/article/989015
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As this special issue of Tenso attests, the poems of Raimbaut d’Aurenga are finally receiving the attention they deserve.1 A master of form and enigmatic verse, Raimbaut occupies a unique spot in the troubadour canon and is a poet of subtlety and nuance that is yet to be fully understood. My goal here is to add to this understanding through a study of one aspect of Raimbaut’s poems, his interest in lists, which I analyze through comparison with the use of listing in modern English verse paired with a possible connection to medieval Arabic incantations.My earlier work on Raimbaut focused on the precision of his vocabulary together with his tendency to evoke the physicality of his world through a direct appeal to the
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/444/image/coversmallLists, Rhymes, and Cross-Cultural Practices in the Lyrics of Raimbaut D’Aurenga2026-04-27text/htmlen-USLists, Rhymes, and Cross-Cultural Practices in the Lyrics of Raimbaut D’Aurenga2026-04-272026TWOProject MUSE®612502026-05-11T00:00:00-05:002026-04-27The Culinary World of Raimbaut D’Aurenga
https://muse.jhu.edu/article/989016
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Raimbaut d’Aurenga (PC 389; 1140–1173) is celebrated for his creation of trobar ric, for his use of rare rhymes and intricate forms. This article focuses on somewhat simpler matters: the evocations of food and drink in his lyrics. I have organized this study using six headers: Fattening Up, Fishing and Hunting, Foods and Springtime, Bees and Honey, Spices and Herbs, and Eating, Drinking, Hunger, and Thirst.Raimbaut uses food terms or food-related imagery in a remarkable number of his songs, sixteen or seventeen, by my count, in a corpus of some forty-two.1 I propose something of a case-by-case investigation to see what Raimbaut’s food vocabulary can tell us about him as a poet, land-owner, and medieval nobleman.
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/444/image/coversmallThe Culinary World of Raimbaut D’Aurenga2026-04-27text/htmlen-USThe Culinary World of Raimbaut D’Aurenga2026-04-272026TWOProject MUSE®462302026-05-11T00:00:00-05:002026-04-27Queer Play in Raimbaut D’Aurenga
https://muse.jhu.edu/article/989017
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It was in 1983, while perusing Walter T. Pattison’s 1952 edition of Raimbaut’s songs, that I came upon a note to song 28 (BEdT 389,31): “Lonc temps ai estat cubertz,” that has stayed with me ever since. Pattison, in litotic mode, intones that “we can scarcely build up a romantic relationship between the poet and the countess of Rodez on the basis of this work, essentially unamourous in tone” (Pattison 1952: 166). As in so many other troubadour songs, there is, in BEdT 389,31, a disconnect between the artfulness and sophistication of the poetic text and what seems an affective void at its center. Raimbaut is clearly a past master at double messaging, and we can probably never understand all that he is saying, but I
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/444/image/coversmallQueer Play in Raimbaut D’Aurenga2026-04-27text/htmlen-USQueer Play in Raimbaut D’Aurenga2026-04-272026TWOProject MUSE®1227422026-05-11T00:00:00-05:002026-04-27Canso to Sonnet: Ring Composition and (Inverse) Retrogradatio Cruciata in Arnaut Daniel’s “Lo Ferm Voler” (Bdt 29,14) and the Sonnets of Giacomo Da Lentini and William Shakespeare
https://muse.jhu.edu/article/989018
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Giacomo da Lentini, a notary at the court of the Hohenstaufen Emperor Frederick II (r. 1220–1250), is considered the probable inventor of the sonnet (Mönch 1954: 55; Kleinhenz 1986: 23), a short verse form, originally of fourteen lines, “with something intrinsic … that made it captivating to succeeding generations” (Dronke 1968: 153). Giacomo, “this thin shade” (Spiller 1992: 13) — for the little we know of his life and work — flourished between 1220–1240 (Kennedy 2011: 84), with twenty-two of the thirty-nine sonnets written during Frederick’s reign attributed to him with certainty (Facini 2017: 12). His poems are available in a recent bilingual edition with critical apparatus (Lansing 2018) and are preserved in
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/444/image/coversmallCanso to Sonnet: Ring Composition and (Inverse) Retrogradatio Cruciata in Arnaut Daniel’s “Lo Ferm Voler” (Bdt 29,14) and the Sonnets of Giacomo Da Lentini and William Shakespeare2026-04-27text/htmlen-USCanso to Sonnet: Ring Composition and (Inverse) Retrogradatio Cruciata in Arnaut Daniel’s “Lo Ferm Voler” (Bdt 29,14) and the Sonnets of Giacomo Da Lentini and William Shakespeare2026-04-272026TWOProject MUSE®715192026-05-11T00:00:00-05:002026-04-27Decolonization and Tenso
https://muse.jhu.edu/article/989019
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The forty-first volume of Tenso contains a special collection of essays about new approaches to the poetic life and works of the troubadour Raimbaut d’Aurenga, a troubadour who says much in many forms yet remains silent in ways that set him apart from other troubadours. This silence called to mind that Tenso has been silent on the effects of settler-colonialism on the Indigenous peoples of what we now call the United States of America, the place where Tenso is edited and published. Tenso is by no means alone, but this moment of encountering the unique omissions in Raimbaut d’Aurenga’s verse gives us the opportunity to think about what human stories we scholars elevate and what we may have ignored unintentionally.I
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/444/image/coversmallDecolonization and Tenso2026-04-27text/htmlen-USDecolonization and Tenso2026-04-272026TWOProject MUSE®136322026-05-11T00:00:00-05:002026-04-27A Troubadour Reader by William D. Paden (review)
https://muse.jhu.edu/article/989020
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William Paden’s Reader functions as a supplement to An Introduction to Old Occitan (1998) and comes as an extremely useful complement to this most accessible, erudite and practical grammar. The self-contained Introduction contains thirty-two texts for analysis that cover representative authors (Peire Vidal, Gaucelm Faidit, the Comtessa de Dia, Guilhem IX, Marcabru, Jaufre Rudel, Bernart de Ventadorn, Guiraut de Bornelh, Bertran de Born, Na Castelloza, Peire Cardenal, Guiraut Riquier and modern poet Claudi Martí), vidas (Jaufre Rudel, Guilhem de Cabestanh, Bernart de Ventadorn, Raimon de Cornet), and other genres (these include extracts from the Boeci, the Chanson de la croisade albigeoise, and Flamenca).The Reader
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/444/image/coversmallA Troubadour Reader by William D. Paden (review)2026-04-27text/htmlen-USA Troubadour Reader by William D. Paden (review)2026-04-272026TWOProject MUSE®83002026-05-11T00:00:00-05:002026-04-27Troubadour Texts and Contexts: Essays in Honor of Wendy Pfeffer ed. by Courtney Joseph Wells, Lisa S. Bevevino and Sarah-Grace Heller (review)
https://muse.jhu.edu/article/989021
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The fourteen essays assembled here honor Wendy Pfeffer’s forty-three years of contributions to Occitan studies. Pfeffer created and edited Tenso and published three monographs including Le festin du troubadour (2022), two editions, three edited volumes, and seventy-seven articles, ranging from “Mourir comme le rossignol” about a secular motif in a pious context (1981) to “L’anneau en question” on women’s voice (2023). Courtney Joseph Wells (“Introduction,” 1–16) sums up the state of the field (1–10) and provides introductions.William Paden (“Reflections on Origins: How Troubadour Poetry Began,” 19–39) reviews the theories of origins of the troubadours and analyzes the visual representations of couples, part of his
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/444/image/coversmallTroubadour Texts and Contexts: Essays in Honor of Wendy Pfeffer ed. by Courtney Joseph Wells, Lisa S. Bevevino and Sarah-Grace Heller (review)2026-04-27text/htmlen-USTroubadour Texts and Contexts: Essays in Honor of Wendy Pfeffer ed. by Courtney Joseph Wells, Lisa S. Bevevino and Sarah-Grace Heller (review)2026-04-272026TWOProject MUSE®255042026-05-11T00:00:00-05:002026-04-27Bibliography of Occitan Literature for 2024: Middle Ages to 1500
https://muse.jhu.edu/article/989022
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[AELOC] Association pour l’Enseignement de la Langue d’Oc, Montpellier[Al-Masāq] Al-Masāq: Journal of the Medieval Mediterrannean, LondonAnnali di Scienze Religiose, TurnhoutAnuario de estudios medievales, MadridArchimag, Paris[BEdT] = Pillet and Carstens, Bibliographie der Troubadours (1933). BEdT is equivalent to PCCabás, Revista internacional sobre patrimonio históricoeducativo, Cantabria, Spain[CCM] Cahiers de Civilisation Médiévale, PoitiersCahiers de Fanjeaux, FanjeauxCanadian Journal of History, Torontoch. chapter[CR] Carte Romanze: Rivista di filologia e linguistica romanze dalle origini al Rinascimento, MilanCognitive Philology, Rome[CdT] Critica del Testo, RomeCrusades, LondonCTHS Comité des travaux
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/444/image/coversmallBibliography of Occitan Literature for 2024: Middle Ages to 15002026-04-27text/htmlen-USBibliography of Occitan Literature for 2024: Middle Ages to 15002026-04-272026TWOProject MUSE®819682026-05-11T00:00:00-05:002026-04-27Bibliography of Occitan Literature for 2024: Post–1500
https://muse.jhu.edu/article/989023
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[AA.VV.] Autori vari = Various Authors[AB] Alberta[AEL Oc] Association pour l’enseignement de la langue d’oc[ALCEM] Association pour les langues et cultures européennes menacéesAlternative francophone, Edmonton, AB, Canada[AMV] Annie Molin Vasseur, Montreal, QC, CanadaAteM, Innsbruck <www.atem-journal.com/ATeM>[BnF] Bibliothèque nationale de France <bnf .fr/>[CAMOM] Comité artistique musical Occitanie Méditerranée[CCOA] Centre cultural occitan de l’Albigeois[CD] Compact disk[CEP d’Òc] Centre d’Études de la parole d’Oc, Aix-en-Provence[CIRDOC] Centre interrégional du développement de l’occitan, BéziersConvise, lo, Aurillac[CREDD’O] Centre de rencontres, d’études, de documentation et de diffusion d’Oc, (13690)
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/444/image/coversmallBibliography of Occitan Literature for 2024: Post–15002026-04-27text/htmlen-USBibliography of Occitan Literature for 2024: Post–15002026-04-272026TWOProject MUSE®1055892026-05-11T00:00:00-05:002026-04-27Bibliography of Occitan Linguistics for 2023–2024
https://muse.jhu.edu/article/989024
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À l’épreuve: Revue de sciences humaines et sociales. Montpellier <https://alepreuve.numerev.com/numeros>[AAVV] Various Authors[AELOC] Association pour l’Enseignement de la Langue d’Oc[AIEO] Association internationale d’études occitanesAlazet Alazet, revista de filología. Huesca, Spain. <https://revistas.iea.es/index.php/ALZ>Alternative francophone. Pour une francophonie en mineur. University of Alberta, Edmonton, CanadaAnuari Verdaguer. Vic, SpainArchives en Limousin. Archives départementales de la Corrèze, TulleArchivio di Etnografia (Journal of Dipartimento per l’Innovazione Umanistica, Scientifica e Sociale [DIUSS] dell’Università degli Studi della Basilicata), Bari, ItalyATeM Archiv für Textmusikforschung.
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/444/image/coversmallBibliography of Occitan Linguistics for 2023–20242026-04-27text/htmlen-USBibliography of Occitan Linguistics for 2023–20242026-04-272026TWOProject MUSE®1087592026-05-11T00:00:00-05:002026-04-27Discography of Occitan Recordings Released in 2024
https://muse.jhu.edu/article/989025
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This is my first discography for Tenso, and I am delighted to be taking over the task of compiling all sonic releases of Occitan music and spoken word for any given year. My expertise lies in the songs of the troubadours, but it has been a joy to discover the rich worlds of Occitan popular, folk, and new music. Within each of these generic distinctions lie myriad subgenera, the boundaries of which seem to shift constantly.For my first discography, I enlisted the help of two of my students, Marlees Skala and Jack Sneddon, at the University of Queensland, hoping they might find things and follow pathways online that I never would have thought of. Their efforts are to thank for a number of entries on this discography
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/444/image/coversmallDiscography of Occitan Recordings Released in 20242026-04-27text/htmlen-USDiscography of Occitan Recordings Released in 20242026-04-272026TWOProject MUSE®927472026-05-11T00:00:00-05:002026-04-27Necrology-In Memoriam Gérard Gouiran (November 3, 1945–May 14, 2025)
https://muse.jhu.edu/article/989026
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It is with sorrow that I write this necrology for Gérard Gouiran, who was not only a valued colleague, but a friend. His colleagues Gilda Caïti-Russo and Philippe Martel (2025) have written a short biography of Gérard, and I send readers online for their review of his life and career. What follows are a different set of recollections.I probably first crossed paths with Gérard in 1981, at the organizing congress of the AIEO, officially the VIIIe Congrès international de langue et littérature d’oc in Liège, Belgium, again in 1984, at the first Association internationale d’études occitanes (AIEO) congress in Southampton, England. We were both at the fifth AIEO congress in 1996 in Toulouse, the ninth congress in Aachen
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/444/image/coversmallNecrology-In Memoriam Gérard Gouiran (November 3, 1945–May 14, 2025)2026-04-27text/htmlen-USNecrology-In Memoriam Gérard Gouiran (November 3, 1945–May 14, 2025)2026-04-272026TWOProject MUSE®1157152026-05-11T00:00:00-05:002026-04-27Necrology-Financial Report 2024
https://muse.jhu.edu/article/989027
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Year ended: December 31, 2024 Cash Receipts &
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/444/image/coversmallNecrology-Financial Report 20242026-04-27text/htmlen-USNecrology-Financial Report 20242026-04-272026TWOProject MUSE®33192026-05-11T00:00:00-05:002026-04-27