Courtly Parodies / Parodies of Courtoisie
Société Internationale de Littérature Courtoise
It is commonly accepted in contemporary literary criticism that medieval parody is based on genres rather than on individual texts. Considering a referential perspective of ordered and coherent groups of texts, both reflecting and conflicting with each other within a system that remains open to dialogic interaction despite its strong structure, parody shows literature as self-focused and conscious of the rhetorical strategies that govern different poetic discourses.
This may account for the rise of new forms of parody, particularly from the 13th century onwards. In fact, along with parody based on contrast, where conflict between stylistic imitation and semantic inversion was stressed and practiced throughout the Middle Ages and well beyond, new models were developed in the 13th century which some contemporary critics have rushed to interpret as a sign of the modernity of medieval literature, mostly arguing that they deconstruct, displace, combine and reinvest topoi, narrative patterns inherited from oral or manuscript traditions, and discourse utterances pertaining to distinct poetic domains.
However, as parody can hardly be considered strictly on narrative, textual or intertextual levels, the 14th Congress of the International Courtly Literature Society wishes to widen the perspectives from which it can be viewed by welcoming contributions on a broader range of artistic manifestations, such as music, iconography, and others, which interact and converge with poetic representations throughout the Middle Ages.
For more information, see https://sites.google.com/site/xivciclsc/