The difficulty of determining the speaker in Piers Plowman is a well-known challenge for readers. One particular issue involves Trajan's speech in the inner dream and the identity of the person who ...debated with the dreamer. Editors have punctuated this section differently based on their assessments of who is responsible for the discussion of poverty. However, there is agreement among editors on an erroneous punctuation in an earlier dialogue between Leaute and the dreamer. By comparing the B and C versions of the dialogue, a corrected punctuation can be determined, shedding light on Langland's revision work in the final form of Piers. The dialogue revolves around the ethics of satire and whether it is permissible to reveal the faults of others. The current punctuation attributes the first scriptural source to the dreamer, but it would make more sense for Leaute to speak these lines. Additionally, there is a logical inconsistency in the following lines, which can be resolved by repunctuating the passage.
The Getty Fiend, a contemporary medieval melodrama set in Los Angeles’s Getty Museum, takes the reader on a tour filled with rock stars and warrior-kings, werewolves and archivists, sartorial Huns ...and libertine saints, all seen through the keenly dramatic flair of a collector’s eye. A cinematic and labyrinthine take on pulp horror, Ken White’s screenplay-in-verse is a monster mash-up of forms and languages, facades and carnal catastrophes, archaic languages and misplaced rhetorics—a campy, fantastical gender-bending transformation into the inadvertently divine.
La presencia de personajes históricos camuflados entre seres de ficción es característica de diversos romans franceses del siglo XIII. Se trata de un fenómeno interesante que invita a analizar cómo ...es percibida la relación entre ficción y realidad desde la óptica de la aristocracia caballeresca que protagoniza estas obras. El estudio del fenómeno me ha permitido diferenciar dos corrientes contrastadas. Por una parte, algunos novelistas sitúan el ideal cortés en el plano de las representaciones simbólicas desvelando su naturaleza de orden puramente textual y transformándolo en un juego de sociedad; en el extremo opuesto, otros autores, contemplan nostálgicamente la literatura del siglo xii como espejo de un glorioso pasado histórico que invita a la mímesis.
The objective of this study is to introduce Central Asia and West Turkestan as seen in the Cosmography of Anonymous of Ravenna, an Italian cleric who lived in Ravenna at the end of the 7th and the ...beginning of the 8th century. Anonymous of Ravenna collected and penned the geographical and cosmographical insights of his own age. Posterity has named his work the Cosmography of Anonymous of Ravenna (in Latin: Ravennatis Anonymi Cosmographia).
This paper is a joint and complementary reading of poems I, II and III by Pere March. An ascetic program has been observed based on the virtue of fortitude and its annexed virtues: magnanimity, ...magnificence, patience and perseverance. These virtues are presented, by contrast, with exampla that illustrates the vices that oppose them and that, whenever possible, have been related to the Communiloquium or Summa of Collations of John of Wales book present in the poet’s library
At the least word that he wishes, the wind is ready to blow or to be still or to suspire gently, and he controls all the water of this world in his glove.2 He has fire without flint to burn his ...enemies. ...the 1980s, scholars had considered MS. Bodley 851 to contain a peculiarly defective copy of the earliest, 'A' version, contaminated with lines and readings from the later B and C versions and further characterized by 'many lines not relatable to any version, thus presumably spurious'.4 In 1983, however, George Rigg and Charlotte Brewer put forward, in the form of an edition of 'The Z Text', the controversial proposal that the unique lines and readings in Bodley 851 in fact attest an authorial draft prior to A.5 They find these lines on the powers of Truth, among others, 'well beyond an imitator's skills'.6 Rigg and Brewer do not specify in what respects they judge these verses to exceed the capabilities of an imitator, but in his parallel-text edition Carl Schmidt accepts their claims for the authorial status of the Z text. ...Kane notes, ' the power of God over the elements is expressed with imaginative delicacy in terms of Christ's life on earth in B XVIII 237 IF, where the heavens witness to his birth, the water reverences him as he walks on it, the sun withdraws its light, and the earth trembles at his death.10 Kane's general account of the derivative quality of the Z text's unique passages as distorted versions of authentic Langlandian lines appears to me definitive, for reasons that will become clear.11 However, some of the 'components' and 'associational links' of the 'powers of Truth' passage can, I think, be identified more precisely, specifically the details of lines yif. and 74. Some of the lines that find an echo in Z, vi.66-75 are omitted in the C version, making B the likeliest source for this particular passage, although C-text influence is also evident elsewhere.13 Comparison of the Z text's lines with the corresponding passage in the B version confirms the status of these lines not as Langlandian draft, but as someone else's appropriation of the poet's work; the 'juxtaposition of clerkly and colloquial motifs' that Schmidt detects is a feature of the original Langlandian 'components' that the Z redactor, the individual responsible for this form of the text, here redeploys to his own purposes.14 It follows, then, that the Z text's lines on the 'powers of Truth' are of interest to readers of Piers Plowman not as a stage in the authorial composition of the poem, but rather as a small episode in its early reception. ...as the hand holds all things firmly through four fingers and a thumb extended by the palm, just so the Father and the Son and the Holy Spirit as the third hold all the wide world within the three of them, the sky and the wind, the water and the earth, heaven and hell and all that is within them.) In these lines from the B version, one can see the apparent inspiration for the Z redactor's notion of Gods power over the elements, his control of the heavens and the wind (Z, vi.69h), and his holding alle the water of thys world'
How ‘green’ were people in late antiquity and the Middle Ages? Unlike today, the nature around them was approached with faith, trust and care. The population size was many times smaller than today ...and human impact on nature not as extreme as it is now. People did not have to worry about issues like deforestation and sustainability. This book is about the knowledge of plants and where that knowledge came from. How did people use earth and plants in ancient times, and what did they know about their nutritional or medicinal properties? From which plants one could make dyes, such as indigo, woad and dyer’s madder? Is it possible to determine that through technical research today? Which plants could be found in a ninth-century monastery garden, and what is the symbolic significance of plants in secular and religious literature? The Green Middle Ages addresses these and other issues, including the earliest herbarium collections, with a leading role for the palaeography and beautiful illuminations from numerous medieval manuscripts kept in Dutch and other Western libraries and museums.
El objetivo principal de este trabajo es analizar cómo se recupera el pasado medieval en el presente de la posmodernidad, a través de la reformulación de la historia de Apolonio de Tiro en la ...reciente novela El delfín, de Mark Haddon. El enfoque de la investigación se centra en aquello que la novela destaca del relato medieval de las aventuras del héroe: el tema del incesto inicial entre el rey Antíoco y su hija, una joven abusada que adquiere protagonismo en la narración presente, junto con otras mujeres víctimas de la opresión en la historia. En el marco de los recientes debates acerca de la recuperación del pasado medieval, el análisis se centra en la reescritura de la historia de Apolonio y en las técnicas literarias que se emplean para actualizarla. Se pretende contribuir de esta forma a visibilizar temáticas actuales como la violencia de género, que El delfín desarrolla, de manera privilegiada, a través del simulacro de la historia y de la espacialización del tiempo como recursos narrativos.
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