{"id":475,"date":"2023-06-28T20:30:39","date_gmt":"2023-06-28T18:30:39","guid":{"rendered":"https:\/\/cdlpv.org\/tirant\/?p=475"},"modified":"2023-07-05T13:07:53","modified_gmt":"2023-07-05T11:07:53","slug":"capitol-117","status":"publish","type":"post","link":"https:\/\/cdlpv.org\/tirant\/2023\/06\/28\/capitol-117\/","title":{"rendered":"Cap\u00edtol 117"},"content":{"rendered":"<h3>Rafael Alemany (2002), \u00abLa diversitat polifonica del discurs amor\u00f3s en el <em>Tirant lo Blanc<\/em>\u00bb: <a href=\"https:\/\/raco.cat\/index.php\/EstudiGral\/article\/download\/43807\/56240\/\" target=\"_blank\" rel=\"noopener\"><i class=\"fas fa-file-pdf\" aria-label=\"Article d\\'Alemany\"><\/i><\/a><\/h3>\n<blockquote><p>Els t\u00f2pics cortesans sobre l&#8217;amor troben en la figura de Tirant un fidel seguidor que travessa, empe\u0140lit per un desig vehement d&#8217;aconseguir la seua amada, els quatre estadis pels quals tot enamorat cort\u00e9s havia de transitar: <em>fenhedor, pregador, entenedor<\/em> i <em>drutz<\/em>.<\/p>\n<p>L&#8217;etapa de <em>fenhedor<\/em> comenqa per a Tirant quan, en el <a href=\"https:\/\/cdlpv.org\/tirant\/#cap-117\" target=\"_blank\" rel=\"noopener\">cap\u00edtol 117<\/a>, el nostre heroi resta corpr\u00e9s per la bellesa inestimable de la filla de l&#8217;emperador de Constantinoble. [&#8230;] Martorell recrea ac\u00ed un topic tan recurrent en la literatura cortesana com el de l&#8217;amor <em>ad visum,<\/em> l&#8217;origen del qual es pot rastrejar en la teoria de les <em>quinque lineae amoris<\/em> \u2014a saber, <em>visus, alloqui, tactus, osculi<\/em> i <em>coitus<\/em>\u2014 procedent de la tradici\u00f3 classica (Renedo 1992, p. 99). <a href=\"https:\/\/raco.cat\/index.php\/Caplletra\/article\/download\/299543\/420815\/\" target=\"_blank\" rel=\"noopener\"><i class=\"fas fa-file-pdf\" title=\"\u00abQuin mal \u00e9s lo besar?\u00bb\" aria-label=\"Article de Renedo\"><\/i><\/a><\/p><\/blockquote>\n<p>Segons Alemany, la refer\u00e8ncia als pits de Carmesina s&#8217;ha d&#8217;enlla\u00e7ar amb l&#8217;antecedent assenyalat per Joan M. Perujo (1997): <a href=\"https:\/\/raco.cat\/index.php\/Caplletra\/article\/download\/298295\/387329\/\" target=\"_blank\" rel=\"noopener\"><i class=\"fas fa-file-pdf\" title=\"\u00abDe Trial a Constantinoble: Aqui\u0140les i Tirant en l\\'amor i en la guerra\u00bb\" aria-label=\"Article de Perujo\"><\/i><\/a><\/p>\n<blockquote><p>La comparaci\u00f3 que Paris fa dels pits d&#8217;Helena amb dues \u00abpomes resplandents\u00bb en les <em>Hist\u00f2ries troianes<\/em> de Guido delle Colonne, <a href=\"https:\/\/ca.wikipedia.org\/wiki\/Guido_delle_Colonne\" target=\"_blank\" rel=\"noopener\"><i class=\"fab fa-wikipedia-w\" aria-label=\"Viquip\u00e8dia\"><\/i><\/a> que Martorell havia de con\u00e9ixer a trav\u00e9s de la traducci\u00f3 catalana que en va fer Jaume Conesa. <a href=\"https:\/\/ca.wikipedia.org\/wiki\/Jaume_Conesa\" target=\"_blank\" rel=\"noopener\"><i class=\"fab fa-wikipedia-w\" aria-label=\"Viquip\u00e8dia\"><\/i><\/a><\/p><\/blockquote>\n<p>L&#8217;article d&#8217;Alemany va detallant la transformaci\u00f3 de l&#8217;experi\u00e8ncia amorosa i la intervenci\u00f3 en este tema d&#8217;altres personatges en cap\u00edtols posteriors:<\/p>\n<blockquote><p>En l&#8217;extensa seq\u00fcencia que ocupen els amors de Tirant i Carmesina en la nove\u0140la, aquesta funci\u00f3 la fan, alternativament, Diafebus, Estefania, Hipolit i, sobretot, Plaerdemavida, personatges amb els quals els dos enamorats comparteixen les seues tribulacions.<\/p><\/blockquote>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Rafael Alemany (2002), \u00abLa diversitat polifonica del discurs amor\u00f3s en el Tirant lo Blanc\u00bb: Els t\u00f2pics cortesans sobre l&#8217;amor troben en la figura de Tirant un fidel seguidor que travessa, empe\u0140lit per un desig vehement d&#8217;aconseguir la seua amada, els quatre estadis pels quals tot enamorat cort\u00e9s havia de transitar: fenhedor, pregador, entenedor i drutz. [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[17],"tags":[27],"class_list":["post-475","post","type-post","status-publish","format-standard","hentry","category-enciclopediques","tag-amor-cortes"],"_links":{"self":[{"href":"https:\/\/cdlpv.org\/tirant\/wp-json\/wp\/v2\/posts\/475","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/cdlpv.org\/tirant\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/cdlpv.org\/tirant\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/cdlpv.org\/tirant\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/cdlpv.org\/tirant\/wp-json\/wp\/v2\/comments?post=475"}],"version-history":[{"count":15,"href":"https:\/\/cdlpv.org\/tirant\/wp-json\/wp\/v2\/posts\/475\/revisions"}],"predecessor-version":[{"id":518,"href":"https:\/\/cdlpv.org\/tirant\/wp-json\/wp\/v2\/posts\/475\/revisions\/518"}],"wp:attachment":[{"href":"https:\/\/cdlpv.org\/tirant\/wp-json\/wp\/v2\/media?parent=475"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/cdlpv.org\/tirant\/wp-json\/wp\/v2\/categories?post=475"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/cdlpv.org\/tirant\/wp-json\/wp\/v2\/tags?post=475"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}