Arabic culture was a central and shaping phenomenon in medieval Europe, yet its influence on medieval literature has been ignored or marginalized for the last two centuries. In this ground-breaking ...book, now returned to print with a new afterword by the author, María Rosa Menocal argues that major modifications of the medieval canon and its literary history are necessary. Menocal reviews the Arabic cultural presence in a variety of key settings, including the courts of William of Aquitaine and Frederick II, the universities in London, Paris, and Bologna, and Cluny under Peter the Venerable, and she examines how our perception of specific texts including the courtly love lyric and the works of Dante and Boccaccio would be altered by an acknowledgment of the Arabic cultural component.
InPrinting the Middle AgesSiân Echard looks to the postmedieval, postmanuscript lives of medieval texts, seeking to understand the lasting impact on both the popular and the scholarly imaginations of ...the physical objects that transmitted the Middle Ages to the English-speaking world. Beneath and behind the foundational works of recovery that established the canon of medieval literature, she argues, was a vast terrain of books, scholarly or popular, grubby or beautiful, widely disseminated or privately printed. By turning to these, we are able to chart the differing reception histories of the literary texts of the British Middle Ages. For Echard, any reading of a medieval text, whether past or present, amateur or academic, floats on the surface of a complex sea of expectations and desires made up of the books that mediate those readings.
Each chapter ofPrinting the Middle Agesfocuses on a central textual object and tells its story in order to reveal the history of its reception and transmission. Moving from the first age of print into the early twenty-first century, Echard examines the special fonts created in the Elizabethan period to reproduce Old English, the hand-drawn facsimiles of the nineteenth century, and today's experiments with the digital reproduction of medieval objects; she explores the illustrations in eighteenth-century versions ofGuy of WarwickandBevis of Hampton; she discusses nineteenth-century children's versions of theCanterbury Talesand the aristocratic transmission history of John Gower'sConfessio Amantis; and she touches on fine press printings of Dante, Froissart, and Langland.
Des « siècles grossiers », un « art confus » : le dénigrement du Moyen Âge par le Grand Siècle et Boileau est depuis vingt ans nuancé par la critique. Cet ouvrage franchit une nouvelle étape et ...démontre l’existence au XVIIe s. d’une lecture positive et d’un usage valorisé des livres médiévaux. Les Gallaup de Chasteuil, parlementaires aixois, – en particulier Hubert et Pierre – lurent, annotèrent, reconfigurèrent les « vieux » manuscrits et imprimés de la riche bibliothèque familiale constituée dès la fin du XVIe s. par leur grand-père, Louis, poète ami de Malherbe, puis par Jean, leur père, qui prônait en 1624 une renaissance de la poésie des troubadours provençaux. Injustement disgraciés par Louis XIV en 1659, en fuite puis en exil 14 années durant, les deux frères usèrent de la littérature du Moyen Âge comme d’un outil de consolation, mais aussi de contestation contre la Justice royale, lui opposant le modèle fantasmé des Parlements d’amour de la Provence du XIIe siècle. À la justice de droit divin, le Moyen Âge offrait un contre-modèle érotico-politique où la poésie fondait le droit et la justice. Collectionnant et lisant sans relâche textes d’oc et d’oïl, ils ont défendu et fait la promotion de cette littérature qu’ils voulurent éditer et diffusèrent dans les années 1670 à 1710. En louant les « grâces » de Beuves de Hantone ou les « beautés » du tombeau de Béatrix de Provence, ils s’opposaient aux Anciens, de concert avec le mouvement galant qui intégra le Moyen Âge à sa pensée de la modernité et produisit les premières œuvres médiévalistes. Cette reviviscence de la littérature du « vieux temps » comportait donc des enjeux personnels, collectifs, esthétique, socio-politiques, et s’offrait comme une alternative idéologique à l’idéal classique imposé par Louis XIV.
The Shadow of Creusa Cullhed, Anders
2015, 2015-04-24, 20150417, Letnik:
339
eBook, Book
The volumes published in the series Beiträge zur Altertumskunde comprise monographs, collective volumes, editions, translations and commentaries on various topics from the fields of Greek and Latin ...Philology, Ancient History, Archeology, Ancient Philosophy as well as Classical Reception Studies. The series thus offers indispensable research tools for a wide range of disciplines related to Ancient Studies.
Charlemagne never traveled farther east than Italy, but by the mid-tenth century a story had begun to circulate about the friendly alliances that the emperor had forged while visiting Jerusalem and ...Constantinople. This story gained wide currency throughout the Middle Ages, appearing frequently in chronicles, histories, imperial decrees, and hagiographies-even in stained-glass windows and vernacular verse and prose. InEmperor of the World, Anne A. Latowsky traces the curious history of this myth, revealing how the memory of the Frankish Emperor was manipulated to shape the institutions of kingship and empire in the High Middle Ages.
The legend incorporates apocalyptic themes such as the succession of world monarchies at the End of Days and the prophecy of the Last Roman Emperor. Charlemagne's apocryphal journey to the East increasingly resembled the eschatological final journey of the Last Emperor, who was expected to end his reign in Jerusalem after reuniting the Roman Empire prior to the Last Judgment. Instead of relinquishing his imperial dignity and handing the rule of a united Christendom over to God as predicted, this Charlemagne returns to the West to commence his reign. Latowsky finds that the writers who incorporated this legend did so to support, or in certain cases to criticize, the imperial pretentions of the regimes under which they wrote. New versions of the myth would resurface at times of transition and during periods marked by strong assertions of Roman-style imperial authority and conflict with the papacy, most notably during the reigns of Henry IV and Frederick Barbarossa. Latowsky removes Charlemagne's encounters with the East from their long-presumed Crusading context and shows how a story that began as a rhetorical commonplace of imperial praise evolved over the centuries as an expression of Christian Roman universalism.
"Richard, Duke of Aquitaine, son of the King of England, remained with Philip, the King of France, who so honored him for so long that they ate every day at the same table and from the same dish, and ...at night their beds did not separate them. And the King of France loved him as his own soul; and they loved each other so much that the King of England was absolutely astonished at the vehement love between them and marveled at what it could mean." Public avowals of love between men were common from antiquity through the Middle Ages. What do these expressions leave to interpretation? An extraordinary amount, as Stephen Jaeger demonstrates. Unlike current efforts to read medieval culture through modern mores, Stephen Jaeger contends that love and sex in the Middle Ages relate to each other very differently than in the postmedieval period. Love was not only a mode of feeling and desiring, or an exclusively private sentiment, but a way of behaving and a social ideal. It was a form of aristocratic self-representation, its social function to show forth virtue in lovers, to raise their inner worth, to increase their honor and enhance their reputation. To judge from the number of royal love relationships documented, it seems normal, rather than exceptional, that a king loved his favorites, and the courtiers and advisors, clerical and lay, loved their superiors and each other. Jaeger makes an elaborate, accessible, and certain to be controversial, case for the centrality of friendship and love as aristocratic lay, clerical, and monastic ideals.Ennobling Loveis a magisterial work, a book that charts the social constructions of passion and sexuality in our own times, no less than in the Middle Ages.
This is the first study to apply some of the results of modern cognitive science to all the major genres of the courtly love literature of medieval France (twelfth and thirteenth centuries) in ...Occitan, Old French, and Latin.
The rise of an influential new family of poetry in the
Middle Ages
This book is the first collective examination of late medieval
intimate first-person narratives that blur the lines between
author, ...narrator, and protagonist and usually feature
personification allegory and courtly love tropes, creating an
experimental new family of poetry. In this volume, contributors
analyze why the allegorical first-person romance embedded itself in
the vernacular literature of Western Europe and remained popular
for more than two centuries.
The editors identify and discuss three predominant forms within
this family: debate poetry, dream allegories, and autobiographies.
Contributors offer textual analyses of key works from late medieval
German, French, Italian, and Iberian literature, with discussion of
developments in England, as well.
Allegory and the Poetic Self offers a sophisticated,
theoretically current discussion of relevant literature. This
exploration of medieval "I" narratives offers insights not just
into the premodern period but also into Western literature's
subsequent traditions of self-analysis and identity crafting
through storytelling.
"The essays gathered in this volume present multifaceted considerations of the intersection of objects and gender within the cultural contexts of late medieval France and England. Some take a ...material view of objects, showing buildings, books, and pictures as sites of gender negotiation and resistance and as extensions of women’s bodies. Others reconsider the concept of objectification in the lives of fictional and historical medieval women by looking closely at their relation to gendered material objects, taken literally as women’s possessions and as figurative manifestations of their desires. The opening section looks at how medieval authors imagined fictional and legendary women using particular objects in ways that reinforce or challenge gender roles. These women bring objects into the orbit of gender identity, employing and relating to them in a literal sense, while also taking advantage of their symbolic meanings. The second section focuses on the use of texts both as objects in their own right and as mechanisms by which other objects are defined. The possessors of objects in these essays lived in the world, their lives documented by historical records, yet like their fictional and legendary counterparts, they too used objects for instrumental ends and with symbolic resonances. The final section considers the objectification of medieval women’s bodies as well as its limits. While this at times seems to allow for a trade in women, authorial attempts to give definitive shapes and boundaries to women’s bodies either complicate the gender boundaries they try to contain or reduce gender to an ideological abstraction. This volume contributes to the ongoing effort to calibrate female agency in the late Middle Ages, honoring the groundbreaking work of Carolyn P. Collette."
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