Originally presented as the author's thesis, Freie Universität, Berlin. / Summary in English. Bibliography: p. 5-25.

Originally presented as the author's thesis, Freie Universität, Berlin. / Summary in English. Bibliography: p. 5-25.

Thesis (M.A.)--Kutztown University of Pennsylvania, 2000. / Source: Masters Abstracts International, Volume: 45-06, page: 2824. Typescript. Abstract precedes thesis title page as [2] preliminary leaves. Copy 2 in Main Collection. Includes bibliographical references (leaves 93-96).

An exponent of the much maligned form cancionero poetry, Nicolás Núńez was one of the few poets writing in this genre who received some recognition. Some years ago Keith Whinnom produced and edition of Continuación of Cárcel de Amor, Nicolás Núńez's poetic works however remain almost entirely unstudied. The aim of this thesis is to produce a critical study and edition of the poetry of Nicolás Núńez, who epitomises a generation of writers devoted to the game of poetry or the game of love. Exploring this definition of love as a 'courtly pastime', I have sifted the formulaic critical appraisal of courtly love, with the aim of clarifying and revising this critical stand point. In the light of the Herculean effort of Keith Whinnom to bring a breath of fresh air to this rather state field of criticism, the first part of my work, based in 15(^th)C Spain, will seek to define the theme of love in the cancioneros in relation to the theory of love as a play phenomenon, and will proceed to the close examination of a seminal text which reveals the ludic characteristics of this genre. Here I elucidate features essential to an understanding of cancionero poetry, which represents a confluence of three strands: the courtly, the religious and sexual. Unfortunately I have been unable to discover any new details relatives to the identity of Nicolás Núńez. My edition upon his poetic opus which proposes new additions to the canon suggested by Alan Deyermond, precedes my critical study of a poet who represents the final work in a chain of learning originating with the Cancionero de Baena, and who is a magnificent exponent of this highly individual 15(^th)C poetic form. In addition, I have considered issues such as the dating and authorship of LBl. Fundamental to my thesis is the first of the four appendices which make up part three. The remaining appendices are a compilation of previously published texts and critical studies, which provide information germane to the understanding of certain chapters.

Habilitationsschrift-Freiburg, i. B. / Bibliography: p. 255-267.

Habilitationsschrift-Freiburg, i. B. / Bibliography: p. 255-267.

Thesis (Ph. D.)--Ohio State University, 1971. / Includes bibliographical references (leaves 141-151). Available online via OhioLINK's ETD Center.

Thesis (Ph. D.)--University of Washington, 1999. / Vita. Includes bibliographical references (leaves 218-231).

No description available.

Thesis: Courtly Love was a comprehensive cultural phenomenon brought about by changes in the social environment and influences from the Arab world. The crisis of the aristocracy in fifteenth-century Spain was a major determining factor in the revival of poetic themes and forms inspired by this literary and sentimental ideology. Oblectives: 1. To study the various trends in scholarship from the sixteenth century to the present day so that the term 'Courtly Love' can be redefined as a valid instrument for critical analysis; II. To investigate the socioeconomic background to the revival of troubadour poetry and chivalric idealism in late medieval Spain. The study inquires into: - I. The Origin and Meaning of Courtly Love. The theories are examined chronologically and analytically. For purposes of analysis they are divided into those concerned with the origins of amour courtois and those concerned with the meaning and validity of the concept. 1. Chronological survey: this survey shows the extent to which opinions on the medieval love lyric reflect contemporary literary fashions and political ideas. 2., Theories of origin: include Chivalric-Matriarchal., Crypto-Catharg Neoplatonic, Bernardine-Marianistg Spring Folk Ritual, Feudal-Sociological and the Hispano-Arabic. The Hispano-Arabio theory stresses the impact of Arab medical doctrines and Slid mysticism on European literature; the Sociological theory attributes the emergence of the troubadour movement to social and economic factors. 3. Theories of meaning: include the interpretation of Courtly Love as a collective fantasy fulfilling a psychological function; as an example of the play element in culture; as a figment of the imagination projected on the Middle Ages by nineteenth-century writers and scholars. II. Background to the Troubadour Revival. Courtly Love was from the start an aristocratic phenomenon. A considerable number of the nine hundred poets who flourished in the courts of Spain and Naples during the fifteenth century were related by ties of kinship and dependence to a rebel aristocracy, whose moral authority had been diminished by changes in the art of war and in the structure of society. Many were court officials Jewish conversos and the lesser landless sons of noble families. The rise of the Castilian love lyric is linked with the prevalence of baronial anarchy and with the rapid inflation of the titular nobility. It was a conservative reaction to social crisis by the dominant minority. 1. The aristocratic theory of society: examines the theory of the three estateat different forms of patronage, and the court as a centre of culture. 2* Historical background to the troubadour revival: outlines events during the reign of the Trastamaran dynasty, and attempts to assess the influence of personalities on cultural attitudes. 3. Documents: include decrees issued by Joan I of Aragon and his successor Harti" extollling the benefits of the Gay Science.