midterm review - final copy

The first known troubadour was an aristocrat gulihem

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- the first known troubadour was an aristocrat, Gulihem de Poitou, whose songs were written to amuse the jaded noblemen he wrote about love in a way that was destined to give women a new place in the imagination attitude of homage to the lady they called it “fin amors” (literally “fine love” Guilhem’s conceits evolved into the complex code of love that later generations have called chivalry - for the most part the poems became increasingly conventional and formulistic as the century wore one; certainly in their lesser voices they were full of hackneyed writing and clichés - the elevation of the lady was symbolic of the need for a corrective feminization of society - came from Arab theory; Arab poets had been worshipping their ladies for at least 200 years - the troubadours had to please three different groups: the lord himself, upon whose grace they most directly counted, and his peers; his wife and her female attendants; and all the petty noblemen and court appendages - the lady’s love enhanced the value of her love - given the social pressures against, it seems likely that courtly love, at least in theory, legitimated no adultery but the fantasy of adultery - the lady was a passive figure in this operation - only married women had irrevocable rank; the unwed woman belonged to her father’s class, the married woman to her husband’s (divorce did not exist) - the lady was the mediator in a symbolic transference of status between two men of different social classes - in 1209 Pope Innocent III proclaimed a new Crusade, the target was Occitania (the Albigensian) thousands of people were burned at the stake, killed in combat, stoned, and raped women lost rights that Occitanian law had guaranteed them primogeniture was rigidly enforced annihilation of its culture
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Week 4 Search for Tomorrow: On Feminism and the Reconstruction of Teen Romance by Sharon Thompson - almost every girl over 15 could tell, in virtually three or four-hour breath, a story of her own that was imbued with the discoveries, anguish, and elation of intimate relations - in too many cases, teenage girls gamble away their chances for economic and intellectual autonomy - double standard; most teenage girls’ lives are “ruined by love” - feminism failed to cross the generation gap in the 1920s, and it is in danger of failing again now - romance and sex are snarled in teenage girls’ discourse, inextricably - sex makes it adult, real; romance is the quest for sexual destiny, the search for a partner custom-made by the stars romance is suspense, the tale; sex is detail, the proof - separation is a major issue in adolescence - the assumption is that teenage girls and adult feminists have the same interests- whether for protection or liberation- and the same history - increasing similarity between adolescent and adult sexual lifestyles we tend to think of sexually active adolescents as adults and of sexually active unmarried adults as adolescents
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