It is known that Joanot Martorell modeled the character of Tirant lo Blanc inspired by various historical and literary heroes. Among these, the case of Roger de Flor, leader of the Catalan Company, whose deeds were recorded in the Chronicle of Ramon Muntaner, stands out. The article revisits the observable parallels in the life trajectories of both characters, paying special attention to their meteoric rise within the hierarchy of the Byzantine Empire. Particularly, the descriptions that both the Chronicle and Tirant give about the clothing, insignia, and privileges associated with imperial titles such as megaduke or caesar are analyzed in light of the information provided in the Pseudo-Codinos, a treatise on the protocol of the Constantinopolitan court written in the mid-14th century. The consultation of this treatise allows us to confirm the accuracy of Muntaner's observations regarding Byzantine imperial etiquette.
The name of the trobairitz Caudairenga appears in the account of the 18 women troubadours with no extant works who are mentioned in medieval Occitan texts. Caudairenga's figure is featured in both lyric and narrative troubadour texts alongside that of her husband, the troubadour Raimon de Miraval (active between 1180 and 1213). In these instances, she is always associated with her artistic activity and described in the most flattering terms. However, she is also rejected by her husband, who, despite the different situations described in lyric and narrative texts, always seems to take issue with the fact that she is a successful poet in her own right. This paper looks at the texts where Caudairenga's character is featured with a double aim: firstly, to elucidate which is the role of her presence in the different narratives where she appears; secondly, to identify and describe the confluence of attitudes and judgements (both positive and negative) around her figure and her identity as a trobairitz. The conclusions of this study will contribute to current knowledge about the way women troubadours were viewed by their contemporaries.
In a codex today held by the University Library of Budapest (MS lat. 102), which contains schemes and materials useful for preaching, Bernardino da Siena transcribes a passage from Ugo da San Vittore's Dialogus de mundi vanitate that depicts the sudden dramatic end of happiness in various activities and states of life (navigation, trade, wealth, marriage, learning in school). The essay compares this Latin text with a Florentine sermon from 1424, which is preserved in two different versions (see Appendix I). Bernardino transformed the dialogue between two interlocutors with evocative names - Dindimo, king of the Brahmins, and Indalesio, bishop of Urci (Almeria) - into an exchange between the preacher and an imaginary character with the allusive name, Gioioso (Joyful). The result is a profound and original change of style in the vernacular texts, which confirm Bernardino's theatrical inclination and his talents as an inventive manipulator of language. The Appendix illustrates his skill in inventing "nomi parlanti" (speaking names).
Mysticism is an essential part of Ramon Llull's thought, which must be analyzed in the context of Western Christian mysticism of the thirteenth century while also considering the unique characteristics that define Llullian mysticism. Among these particularities, the systematization of love that Llull endeavors to achieve is particularly remarkable, as is the combined operation of faith and reason and the importance of prayer in the contemplative process. These dualities weave the fabric of Llullian philosophy of love: a science of loving that, to be effective, requires the mystic-one who eternally seeks the encounter with the ineffable-to activate both the will and the intellect to love and understand God, to know how to transform their experience into action, and to practice prayer, one of the fundamental means in the contemplative science.
This article aims to contribute to the knowledge of Hispanic traditional ballads through the contrastive analysis of the Romance de don Gaiferos by means of Castilian and Catalan versions. To this end, a panoramic theoretical framework will be offered on the interrelationships between the fields of ballads and phraseology, while a descriptive sketch of the textual history of this poetic composition, which has a remarkable historicity, will be presented. The contrastive analysis will be articulated by means of a description of the phraseological units registered in the selected versions: on the one hand, the study of some routine formulas such as Dios te salve / D & eacute;u vos guard, as well as the verbal combinations sacar la espada / tirar de l'espasa and no tener cuento ni par / no ser per dir ni contar. The results obtained allowed us to confirm that these forms of phraseological expression can be considered historical antecedents of the phraseological units that are codified today in the current lexicography of the languages involved in the broad framework of a process of normative institutionalization that is largely common to both languages.
