The first work of genuine literary merit in Old French is the Vie de saint Alexis, and later reworkings of it attest to its popularity. This volume offers two editions: a twelfth-century edition that was published inaccurately by Gaston Paris, and a thirteenth-century version that has not been published. These two revisions tell us a great deal about changing tastes and interests in the Middle Ages, and their implications exceed that of the fate of a particular work.
Contending that the study of hagiography is significant both for a consideration of medieval literature and for current theoretical debates in medieval studies, this book considers a range of Old French and Anglo-Norman texts, using modern theories of kinship and community to show how saints' lives construe social and sexual relations. Focusing on the depiction of the gift, kinship and community, the book maintains that social and sexual systems play a key role in vernacular hagiography. Such systems, along with the desires they produce and control, are, it is argued, central to hagiography's religious functions, particularly its role as a vehicle of community formation. In attempting to think beyond the limits of human relationships, saints' lives nonetheless create an environment in which queer desires and modes of connection become possible, suggesting that, in this case at least, the orthodox nurtures the queer. This book thus suggests not only that medieval hagiography is worthy of greater attention but also that this corpus might provide an important resource for theorizing community in its medieval contexts and for thinking it in the present. EMMA CAMPBELL is Associate Professor of French at the University of Warwick.
Neil Cartlidge analyses a number of continental texts which are central to any study of medieval marriage - the De amore of Andreas Capellanus, Erec et Enide, and the letters of Abelard and Heloise - but it is the concern with marriage in the medieval literature of England in particular that forms the substance of this book.
First published in 1996. This lavishly illustrated study is a comprehensive literary and social history which offers a record of changing genres, manuscript/book production, and cultural, political, and religious emphases by examining one of the most long lived popular legends in England. Guy of Warwick became part of history when he was named in chronicles and heraldic rolls. The power of the Earls of Warwick, especially Richard de Beauchamp, inspired the spread of the legend, but Guy's highest fame came in the Renaissance as one of the Nine Worthies. Widely praised in texts and allusions, Guy's feats were sung in ballads and celebrated on the stage in England and France. The first Anglo-Norman romance of Gui de Warewic, a Saxon hero of the tenth century was written in the early 13th century; the latest retellings of the legend are contemporary. Examples of Guy's legend can be found in two English translations that survived the Middle Ages, a new French prose romance, a didactic tale in the Gesta Romanorum, and late medieval versions in Celtic, German, and Catalan, as well as English. Guy remained a favorite Edwardian children's story and was featured in the Warwick Pageant, an historical extravaganza of 1906. The patriotism of World War II sparked a resurgence of interest that produced several new versions, mostly folkloric.
This book explores the influence of literacy on eleventh and twelfth-century life and though on social organization, on the criticism of ritual and symbol, on the rise of empirical attitudes, on the relationship between language and reality, and on the broad interaction between ideas and society. Medieval and early modern literacy, Brian Stock argues, did not simply supersede oral discourse but created a new type of interdependence between the oral and the written. If, on the surface, medieval culture was largely oral, texts nonetheless emerged as a reference system both for everyday activities and for giving shape to larger vehicles of interpretation. Even when texts were not actually present, people often acted and behaved as if they were. The book uses methods derived from anthropology, from literary theory, and from historical research, and is divided into five chapters. The first treats the growth and shape of medieval literacy itself. Theo other four look afresh at some of the period's major issues--heresy, reform, the Eucharistic controversy, the thought of Anselm, Abelard, and St. Bernard, together with the interpretation of contemporary experience--in the light of literacy's development. The study concludes that written language was the chief integrating instrument for diverse cultural achievements.
Medieval French literature encompasses 450 years of literary output in Old and Middle French, mostly produced in Northern France and England. These texts, including courtly lyrics, prose and verse romances, dits amoureux and plays, proved hugely influential for other European literary traditions in the medieval period and beyond. This Companion offers a wide-ranging and stimulating guide to literature composed in medieval French from its beginnings in the ninth century until the Renaissance. The essays are grounded in detailed analysis of canonical texts and authors such as the Chanson de Roland, the Roman de la Rose, Villon's Testament, Chrétien de Troyes, Machaut, Christine de Pisan and the Tristan romances. Featuring a chronology and suggestions for further reading, this is the ideal companion for students and scholars in other fields wishing to discover the riches of the French medieval tradition.
This is the first full-length study of the vernacular motet in thirteenth-century France. The motet was the most prestigious type of music of that period, filling a gap between the music of the so-called Notre-Dame School and the Ars Nova of the early fourteenth century. This book takes the music and the poetry of the motet as its starting-point and attempts to come to grips with the ways in which musicians and poets treated pre-existing material, creating new artefacts. The book reviews the processes of texting and retexting, and the procedures for imparting structure to the works; it considers the way we conceive genre in the thirteenth-century motet, and supplements these with principles derived from twentieth-century genre theory. The motet is viewed as the interaction of literary and musical modes whose relationships give meaning to individual musical compositions.
