'Nature' is a highly important term in the ethical discourse of the Middle Ages and, as such, a leading concept in medieval literature. This book examines the moral status of the natural in writings by Alan of Lille, Jean de Meun, John Gower, Geoffrey Chaucer, and others, showinghow-particularly in the erotic sphere-the influences of nature are not always conceived as wholly benign. Though medieval thinkers often affirm an association of nature with reason, and therefore with the good, there is also an acknowledgement that the animal, the pre-rational, the instinctivewithin human beings may be validly considered natural. In fact, human beings may be thought to be urged almost ineluctably by the force of nature within them towards behaviour hostile to reason and the right.
The mouth, responsible for both physical and spiritual functions - eating, drinking, breathing, praying and confessing - was of immediate importance to medieval thinking about the nature of the human being. Where scholars have traditionally focused on the mouth's grotesque excesses, Katie L. Walter argues for the recuperation of its material 'everyday' aspect. Walter's original study draws on two rich archives: one comprising Middle English theology (Langland, Julian of Norwich, Lydgate, Chaucer) and pastoral writings; the other broadly medical and surgical, including learned encyclopaedias and vernacular translations and treatises. Challenging several critical orthodoxies about the centrality of sight, the hierarchy of the senses and the separation of religious from medical discourses, the book reveals the centrality of the mouth, taste and touch to human modes of knowing and to Christian identity.
For thousands of years, people have used nature to justify their political, moral, and social judgments. Such appeals to the moral authority of nature are still very much with us today, as heated debates over genetically modified organisms and human cloning testify. The Moral Authority of Nature offers a wide-ranging account of how people have used nature to think about what counts as good, beautiful, just, or valuable. The eighteen essays cover a diverse array of topics, including the connection of cosmic and human orders in ancient Greece, medieval notions of sexual disorder, early modern contexts for categorizing individuals and judging acts as "against nature," race and the origin of humans, ecological economics, and radical feminism. The essays also range widely in time and place, from archaic Greece to early twentieth-century China, medieval Europe to contemporary America. Scholars from a wide variety of fields will welcome The Moral Authority of Nature, which provides the first sustained historical survey of its topic. Contributors: Danielle Allen, Joan Cadden, Lorraine Daston, Fa-ti Fan, Eckhardt Fuchs, Valentin Groebner, Abigail J. Lustig, Gregg Mitman, Michelle Murphy, Katharine Park, Matt Price, Robert N. Proctor, Helmut Puff, Robert J. Richards, Londa Schiebinger, Laura Slatkin, Julia Adeney Thomas, Fernando Vidal
Gower's use of the persona, the figure of the writer implicated in the text, is the main theme of this book. While it traces the development of Gower's voice through his major works, it concentrates on the dialogue of Amans and Genius in the Confessio Amantis. It argues that Gower negotiates problems of politics and problems of love by means of an analogy between political ethics and the rules of fin amour; Amans and Genius are both drawn from and occupied with amatory and ethical traditions, and their discourse produces a series of attempts to find a coherent and rational union of lover and ruler. The volume also argues that Gower's goal is poetic as well as political: through the personae, Gower's readers experience the pains and pleasures of erotic and social love. Gower's personae voice potential responses to exemplary experience, prompting readers to feel and to judge, and moving them to become better lovers and better rulers. Gower's analogy between fin amour and politics brings the affects of the lover to the action of government, and suggests for both love and rule the moderation that brings peace and joy. Matthew W. Irvin is Assistant Professor in the Department of English and Chair of the Medieval Studies Program at Sewanee.
This book is a detailed but accessible treatment of the political thought of John of Salisbury, a twelfth-century author and educationalist who rose from a modest background to become Bishop of Chartres. It shows how aspects of John's thought – such as his views on political cooperation and virtuous rulership – were inspired by the writings of Roman philosophers, notably Cicero and Seneca. Investigating how John accessed and adapted the classics, the book argues that he developed a hybrid political philosophy by taking elements from Roman Stoic sources and combining them with insights from patristic writings. By situating his ideas in their political and intellectual context, it offers a reassessment of John’s political thought, as well as a case study in classical reception of relevance to students and scholars of political philosophy and the history of ideas.
With the possible exception of Great Britain, France can justifiably lay claim to possess the richest literary history of any country in Western Europe. This book covers the authors and their works, literary movements, and philosophical and social developments that have had a direct impact on style or content, and major historical events such as the two world wars, the Franco-Prussian War, the Algerian War, or the events of May 1968 that are directly reflected in a substantial body of imaginative writing. Historical Dictionary of French Literature, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 500 cross-referenced entries on individual writers and key texts, significant movements, groups, associations, and periodicals, and on the literary reactions to major national and international events such as revolutions and wars. This book is an excellent resource for students, researchers, and anyone wanting to know more about French literature.
Contrary to popular belief, the medieval religious imagination did not restrict itself to masculine images of God but envisaged the divine in multiple forms. In fact, the God of medieval Christendom was the Father of only one Son but many daughters—including Lady Philosophy, Lady Love, Dame Nature, and Eternal Wisdom. God and the Goddesses is a study in medieval imaginative theology, examining the numerous daughters of God who appear in allegorical poems, theological fictions, and the visions of holy women. We have tended to understand these deities as mere personifications and poetic figures, but that, Barbara Newman contends, is a mistake. These goddesses are neither pagan survivals nor versions of the Great Goddess constructed in archetypal psychology, but distinctive creations of the Christian imagination. As emanations of the Divine, mediators between God and the cosmos, embodied universals, and ravishing objects of identification and desire, medieval goddesses transformed and deepened Christendom's concept of God, introducing religious possibilities beyond the ambit of scholastic theology and bringing them to vibrant imaginative life. Building a bridge between secular and religious conceptions of allegorized female power, Newman advances such questions as whether medieval writers believed in their goddesses and, if so, in what manner. She investigates whether the personifications encountered in poetic fictions can be distinguished from those that appear in religious visions and questions how medieval writers reconcile their statements about the multiple daughters of God with orthodox devotion to the Son of God. Furthermore, she examines why forms of feminine God-talk that strike many Christians today as subversive or heretical did not threaten medieval churchmen. Weaving together such disparate texts as the writings of Latin and vernacular poets, medieval schoolmen, liturgists, and male and female mystics and visionaries, God and the Goddesses is a direct challenge to modern theologians to reconsider the role of goddesses in the Christian tradition.
The latest volume in the Chaucer Bibliographies series, meticulously assembled by Kenneth Bleeth, is the most comprehensive record of scholarship on Chaucer's Squire's Tale, Franklin's Tale, and Physician's Tale.
Jessica Rosenfeld provides a history of the ethics of medieval vernacular love poetry by tracing its engagement with the late medieval reception of Aristotle. Beginning with a history of the idea of enjoyment from Plato to Peter Abelard and the troubadours, the book then presents a literary and philosophical history of the medieval ethics of love, centered on the legacy of the Roman de la Rose. The chapters reveal that 'courtly love' was scarcely confined to what is often characterized as an ethic of sacrifice and deferral, but also engaged with Aristotelian ideas about pleasure and earthly happiness. Readings of Machaut, Froissart, Chaucer, Dante, Deguileville and Langland show that poets were often markedly aware of the overlapping ethical languages of philosophy and erotic poetry. The study's conclusion places medieval poetry and philosophy in the context of psychoanalytic ethics, and argues for a re-evaluation of Lacan's ideas about courtly love.
The Oxford History of Poetry in English is designed to offer a fresh, multi-voiced, and comprehensive analysis of 'poetry': from Anglo-Saxon culture through contemporary British, Irish, American, and Global culture, including English, Scottish, and Welsh poetry, Anglo-American colonial and post-colonial poetry, and poetry in Canada, Australia, New Zealand, the Caribbean, India, Africa, Asia, and other international locales. The series both synthesizes existing scholarship and presents cutting-edge research, employing a global team of expert contributors for each of the fourteen volumes. This volume occupies both a foundational and a revolutionary place. Its opening date--1100--marks the re-emergence of a vernacular poetic record in English after the political and cultural disruption of the Norman Conquest. By its end date--1400--English poetry had become an established, if still evolving, literary tradition. The period between these dates sees major innovations and developments in language, topics, poetic forms, and means of expression. Middle English poetry reflects the influence of multiple contexts--history, social institutions, manuscript production, old and new models of versification, medieval poetic theory, and the other literary languages of England. It thus emphasizes the aesthetic, imaginative treatment of new and received materials by medieval writers and the formal craft required for their verse. Individual chapters treat the representation of national history and mythology, contemporary issues, and the shared doctrine and learning provided by sacred and secular sources, including the Bible. Throughout the period, lyric and romance figure prominently as genres and poetic modes, while some works hover enticingly on the boundary of genre and discursive forms. The volume ends with chapters on the major writers of the late fourteenth-century (Langland, the Gawain-poet, Chaucer, and Gower) and with a look forward to the reception of something like a national literary tradition in fifteenth-century literary culture.
