Strong Voices, Weak History presents the first comparative history of major medieval and Renaissance European women writers in their relationship to national canons of literature. Challenging the notion of an oppressive patriarchy that discouraged women from writing and publishing, the fifteen essays collected here examine women's participation in fashionable male literary modes, trace their creation of female canons, and explore the history of their reception, from the fifteenth century to the present.
Considered in its full poetic and philosophical dimensions, the Romance of the Rose thus acquires an altogether new significance in the history of literature: it appears as a work that incessantly explores its own capacity to be other than it is.
Argues that the 13th-century French poem can best be understood not by trying to resolve or choosing among the diverse meanings within it or among the myriad of interpretations by scholars and medieval and modern readers, but to accept those differences and reflect on our own willingness to accept to reject those meanings as a guide for a love or morality. Paper edition (unseen), $17.95. Annotation copyright by Book News, Inc., Portland, OR
The Romance of the Rose had a transformative effect on the multilingual literary culture of fourteenth-century England, leaving more material evidence for late medieval English-speaking readers than any other vernacular literary work from mainland Europe. This book examines its decisive effect on English literature of the fourteenth century, and new literary experiments it provoked from writers such as Geoffrey Chaucer, John Gower, William Langland, and the author of Sir Gawain and the Green Knight. Linking the English afterlife of the Rose to a host of ongoing cultural developments in mainland Europe, The Romance of the Rose and the Making of Fourteenth-Century English Literature reveals th...
Containing almost 600 entries, this impressive 2-volume reference presents detailed and authoritative treatment of the field of Italian literature, with attention both to the work and influence of individual writers of all genres and to movements, styles, and critical approaches.
The Roman de la rose in its Philosophical Context offers a new interpretation of the long and complex medieval allegorical poem written by Guillaume de Lorris and Jean de Meun in the thirteenth century, a work that became one of the most influential works of vernacular literature in the European Middle Ages. The scope and sophistication of the poem's content, especially in Jean's continuation, has long been acknowledged, but this is the first book-length study to offer an in-depth analysis of how the Rose draws on, and engages with, medieval philosophy, in particular with the Aristotelianism that dominated universities in the thirteenth century. It considers the limitations and possibilities...
New Medieval Literatures is a new annual of work on the textual cultures of medieval Europe and beyond. The focus of Volume 2 is on continental European literatures as well as Anglo-Norman and Anglo-Latin writings, in addition to exemplification of work on earlier periods. The essays in Volume 2 move from the streets of Paris, London, and English market towns to English monasteries, idealized pastoral spaces, Christian-Jewish-Muslim Spain, Rome, andfourteenth-century Oxford. The essays cohere around three important issues of cultural analysis: gender, space, and reading history.
Often derided as an inferior form of literature, 'romance' as a literary mode or genre defies satisfactory definition, dividing critics, scholars and readers alike. This useful guidebook traces the myriad transformations of 'romance' from medieval courtly love to Mills and Boon, and claims that its elusive and complex nature serves as a touchstone for larger questions of literary and cultural theory, such as: How does the history of 'romance' as a category force us to rethink the historicization of literary genres? What definitions can we provide for our own time to help us recognize and analyze new forms of 'romance'? To what extent is the resistance to romance a resistance to the imaginative force of literature? The case for 'romance' as a concept is presented clearly and imaginatively, arguing that its usefulness to contemporary critics can be maintained if it is regarded as a literary strategy rather than a fixed genre. In encouraging the reader to consider the fluidity of literature, Romance will be of equal value to all students of historical and comparative literatures and of modern literary forms.