This volume builds on recent scholarship on contemporary poetry in relation to medieval literature, focusing on postmodern poets who work with the medieval in a variety of ways. Such recent projects invert or "queer" the usual transactional nature of engagements with older forms of literature, in which readers are asked to exchange some small measure of bewilderment at archaic language or forms for a sense of having experienced a medieval text. The poets under consideration in this volume demand that readers grapple with the ways in which we are still "medieval" - in other words, the ways in which the questions posed by their medieval source material still reverberate and hold relevance for today's world. They do so by challenging the primacy of present over past, toppling the categories of old and new, and suggesting new interpretive frameworks for contemporary and medieval poetry alike.

A new study of the continuations to Chretien's Conte du Graal shows their crucial influence on the development of Arthurian literature. Chretien de Troyes's late twelfth-century Conte du Graal has inspired writers and scholars from the moment of its composition to the present day. The challenge represented by its unfinished state was quickly taken up, and over the next fifty years the romance was supplemented by a number of continuations and prologues, which eventually came to dwarf Chretien's text. In one of the first studies to treat the Conte du Graal and its continuations as a unified work, Thomas Hinton considers the whole corpus as a narrative cycle. Through a combination of close textual readings and manuscript analysis, the author argues that the unity of the narrative depends on a balanced tension between centripetal and centrifugal dynamics. He traces how the authors, scribes and illuminators of the cycle worked to produce coherence, even as they contended with potentially disruptive forces: multiple authorship,differences of intention, and changes in the relation between text, audience and book. Finally, he tackles the long-held orthodoxy that places the Perceval Continuations on the margins of literary history. Widening the scope of enquiry to consider the corpus's influence on thirteenth-century verse romances, this study re-situates the Conte du Graal cycle as a vital element in the evolution of Arthurian literature. Thomas Hinton isJunior Research Fellow in Modern Languages at Jesus College, Oxford.

When a mysterious green knight arrives unbidden at Camelot one Christmas, only the young and inexperienced Gawain is brave or foolhardy enough to take up his challenge . . .

This story, first told in the late fourteenth century, is one of the most enthralling, enigmatic and beloved poems in the English language. Simon Armitage's version is meticulously responsive to the tact, sophistication and dramatic intensity of the original. It is as if, six hundred years apart, two poets set out on a journey through the same mesmeric landscape - physical, allegorical and acoustic - in the course of which the Gawain poet has finally found his true translator.

The poem's key episodes have been visualised into a series of bold, richly textured screen-prints by British artist Clive Hicks-Jenkins. They are reproduced here, alongside Armitage's revised text, to create a special edition of this marvellous classic.

Over six hundred years before John Milton's Paradise Lost, Anglo-Saxon authors told their own version of the fall of the angels. This book brings together various cultural moments, literary genres and relevant comparanda to recover that version, from the legal and social world to the world of popular spiritual ritual and belief. The story of the fall of the angels in Anglo-Saxon England is the story of a successfully transmitted exegetical teaching turned rich literary tradition. It can be traced through a range of genres - sermons, saints' lives, royal charters, riddles, devotional and biblical poetry - each one offering a distinct window into the ancient myth's place within the Anglo-Saxon literary and cultural imagination. -- .

The Bibliotheca Teubneriana, established in 1849, has evolved into the world's most venerable and extensive series of editions of Greek and Latin literature, ranging from classical to Neo-Latin texts. Some 4-5 new editions are published every year. A team of renowned scholars in the field of Classical Philology acts as advisory board: Gian Biagio Conte (Scuola Normale Superiore di Pisa) Marcus Deufert (Universitat Leipzig) James Diggle (University of Cambridge) Donald J. Mastronarde (University of California, Berkeley) Franco Montanari (Universita di Genova) Heinz-Gunther Nesselrath (Georg-August-Universitat Goettingen) Dirk Obbink (University of Oxford) Oliver Primavesi (Ludwig-Maximilians Universitat Munchen) Michael D. Reeve (University of Cambridge) Richard J. Tarrant (Harvard University) Formerly out-of-print editions are offered as print-on-demand reprints. Furthermore, all new books in the Bibliotheca Teubneriana series are published as eBooks. The older volumes of the series are being successively digitized and made available as eBooks. If you are interested in ordering an out-of-print edition, which hasn't been yet made available as print-on-demand reprint, please contact us: [email protected] All editions of Latin texts published in the Bibliotheca Teubneriana are collected in the online database BTL Online.

This book serves as the first in its field to analyze how disability and gender both thematically and formally operate within late medieval popular literature. Reading romance, conduct manuals, and spiritual autobiography, the study proposes a "gendered model" for exploring the processes by which differences like gender and disability get coded as deviant.

Studies on the Text of Caesar's Bellum civile is a companion volume to Damon's revised Oxford Classical Texts edition of Caesar's Bellum civile, his account of his civil war with Pompey. Comprising three parts, this volume investigates the detailed philological arguments that underpin the revised edition of the text. The first part supplements the preface of the Oxford Classical Texts edition, providing an expanded background on the history of the text and a more detailed argument for the shape of the stemma. The second part is a discussion of nature and the causes of the difficulties present in the text of the Bellum civile and their consequences for the revised edition. The third part presents a series of around 75 notes on different areas of the text, exploring in depth the contentions behind the various remedies suggested in the critical apparatus of the Oxford Classical Texts edition.

Tolkien, Race, and Racism in Middle-earth is the first systematic examination of how Tolkien understood racial issues, how race manifests in his oeuvre, and how race in Middle-earth, his imaginary realm, has been understood, criticized, and appropriated by others. This book presents an analysis of Tolkien's works for conceptions of race, both racist and anti-racist. It begins by demonstrating that Tolkien was a racialist, in that his mythology is established on the basis of different races with different characteristics, and then poses the key question "Was Tolkien racist?" Robert Stuart engages the discourse and research associated with the ways in which racism and anti-racism relate Tolkien to his fascist and imperialist contemporaries and to twenty-first-century neo-Nazis and White Supremacists-including White Supremacy, genocide, blood-and-soil philology, anti-Semitism, and aristocratic racism. Addressing a major gap in the field of Tolkien studies, Stuart focuses on race, racisms and the Tolkien legendarium.

The vital index to all previous volumes, I-X; plus new research. Epitomises what is best in Arthurian scholarship today.ZEITSCHRIFT FUR ROMANISCHE PHILOLOGIE Arthurian Literatureis now established as a leading publication for research articles of monograph length on subjects of perennial interest to Arthurians. The Indexto the first ten volumes, representing the years 1980-1990, will be warmly welcomed by Arthurians and other scholars with an interest in medieval and later literature. Additionally an extended biographical essay by JANET GRAYSON draws together material relating to the life and work of Jessie Weston, who, largely working outside the mainstream of scholarly tradition, exercised a powerful influence on Arthurian studies. The regular "Update" feature catalogues Arthurian legend in the fine and applied art of the 19th and early 20th centuries, contributed by ROGER SIMPSON.

The Records of Mazu and the Making of Classical Chan Literature explores the growth, makeup, and transformation of Chan (Zen) Buddhist literature in late medieval China. The volume analyzes the earliest extant records about the life, teachings, and legacy of Mazu Daoyi (709-788), the famous leader of the Hongzhou School and one of the principal figures in Chan history. While some of the texts covered are well-known and form a central part of classical Chan (or more broadly Buddhist) literature in China, others have been largely ignored, forgotten, or glossed over until recently. Poceski presents a range of primary materials important for the historical study of Chan Buddhism, some translated for the first time into English or other Western language. He surveys the distinctive features and contents of particular types of texts, and analyzes the forces, milieus, and concerns that shaped key processes of textual production during this period. Although his main focus is on written sources associated with a celebrated Chan tradition that developed and rose to prominence during the Tang era (618-907), Poceski also explores the Five Dynasties (907-960) and Song (960-1279) periods, when many of the best-known Chan collections were compiled. Exploring the Chan School's creative adaptation of classical literary forms and experimentation with novel narrative styles, The Records of Mazu and the Making of Classical Chan Literature traces the creation of several distinctive Chan genres that exerted notable influence on the subsequent development of Buddhism in China and the rest of East Asia.

Transforming Tales argues that the study of transformation is crucial for understanding a wide range of canonical work in medieval French literature. From the lais and Arthurian romances of the twelfth and thirteenth centuries, through the Roman de la Rose and its widespread influence, to the fourteenth-century Ovide moralise and the vast prose cycles of the late Middle Ages, metamorphosis is a recurrent theme, resulting in some of the best-known and most powerful literature of the era. Transforming Tales is the first book in English to explore in detail the importance of ideas of metamorphosis in French literature from the twelfth to the fifteenth centuries. This book's purpose is twofold: it traces a series of figures (the werewolf, the snake-woman, the nymph, the magician, amongst others) as they are transformed within individual texts; and it also examines the way in which the stories of transformation themselves become rewritten during the course of the Middle Ages. Griffin's approach combines close readings and comparisons of literary texts with readings informed by modern critical theories which are grounded in many of the ideas raised by medieval metamorphosis: the body, gender, identity and categories of life. Literary depictions and reworkings of transformation raise questions about medieval understandings of the differences between human and animal, man and woman, God and man, life and death-these are the questions explored in Transforming Tales.

Although it is often thought that Herodotus is a simple author, and that his Histories do not contain many passages requiring textual criticism, closer investigation reveals this view to be inaccurate. Written to accompany and augment the new Oxford Classical Texts edition of the Histories - which has been substantially revised by Nigel Wilson from the original edition by Danish scholar C. Hude in 1906 - this volume attempts to take account of discussion of numerous passages where there is reason to question whether the text as transmitted in ancient or medieval manuscripts is exactly what the author intended. A wide range of conjectures is represented, and work by scholars whose contributions have been neglected or insufficiently appreciated, in particular J. V. Pingel, H. Richards, and J. E. Powell, is taken into account.

This book is the first comprehensive study of the reception of classical Greece among English aesthetic writers of the nineteenth century. By exploring this history of reception, the book aims to give readers a new and fuller understanding of literary aestheticism, its intellectual contexts, and its challenges to mainstream Victorian culture.

Social Studies of the sciences have long analyzed and exposed the constructed nature of knowledge. Pioneering studies of knowledge production in laboratories (e.g., Latour/Woolgar 1979; Knorr-Cetina 1981) have identified factors that affect processes that lead to the generation of scientific data and their subsequent interpretation, such as money, training and curriculum, location and infrastructure, biography-based knowledge and talent, and chance. More recent theories of knowledge construction have further identified different forms of knowledge, such as tacit, intuitive, explicit, personal, and social knowledge. These theoretical frameworks and critical terms can help reveal and clarify the processes that led to ancient data gathering, information and knowledge production.　 The contributors use late-antique hermeneutical associations as means to explore intuitive or even tacit knowledge; they appreciate mistakes as a platform to study the value of personal knowledge and its premises; they think about rows and tables, letter exchanges, and schools as platforms of distributed cognition; they consider walls as venues for social knowledge production; and rethink the value of social knowledge in scholarly genealogies—then and now.

Many modern readers believe that, in his dramas, Euripides was questioning the nature and sometimes even the existence of the gods. In Euripides and the Gods, eminent classicist Mary K. Lefkowitz shows that the tragedian is not undermining ancient religion, but rather describing with a brutal realism what the gods are like, reminding his mortal audience of the limitations of human understanding. Although some scholars have begun to express similar views about the theology of individual plays, no one so far has written an extended treatment of these issues for a general audience who do not necessarily know ancient Greek. Lefkowitz will provide a book that will deal with all of his dramas, accessible to non-specialist readers, containing a more tolerant and nuanced understanding of ancient Greek religion: Euripides, like Homer, is making "a statement about the nature of the world and human life, terrible and dispassionate." That view of divinity was well known and understood in Euripides' own time. In spite of what has seemed to later critics his brutally realistic characterization of the gods, he was selected in virtually every year of his adult life to be one of the three poets allowed to put on a set of plays at the festival of Dionysus, and even after his death he remained the most popular and influential of the great playwrights in the Greek-speaking world. This would hardly have been the case if his portrayal of the gods appeared impious to the majority of his audiences. Like most of the author's distinguished publications in this field, the book will discuss a number of important related topics, including religion, philosophy, the surviving works of Euripides' contemporaries, and the theater and its significance to Greek society. The result will be a compelling invitation to return to the dramatic masterpieces of Euripides with fresh eyes.

The historical relationship between the Catalan and Occitan languages had a definitive impact on the linguistic identity of the powerful Crown of Aragon and the emergent Spanish Empire. Drawing upon a wealth of historical documents, linguistic treatises and literary texts, this book offers fresh insights into the political and cultural forces that shaped national identities in the Iberian Peninsula and, consequently, neighboring areas of the Mediterranean during the Middle Ages and the Early Modern Period. The innovative textual approach taken in these pages exposes the multifaceted ways in which the boundaries between the region's most prestigious languages were contested, and demonstrates how linguistic identities were linked to ongoing struggles for political power. As the analysis reveals, the ideological construction of Occitan would play a crucial role in the construction of a unified Catalan, and Catalan would, in turn, give rise to a fervent debate around 'Spanish' language that has endured through the present day. This book will appeal to students and scholars of historical linguistics, sociolinguistics, Hispanic linguistics, Catalan language and linguistics, anthropological linguistics, Early Modern literature and culture, and the history of the Mediterranean.

The Secret in Medieval Literature: Alternative Worlds in the Middle Ages explores the many strange phenomena, both in the Middle Ages and today, that do not find any good rational explanations. Those do not pertain to magic or to religion in the traditional sense of the word; they are secrets of an epistemological kind and tend to defy human rationality, without being marginal or irrelevant. At first sight, we might believe that we face elements from fairy tales, but the medieval cases discussed here go far beyond such a simplistic approach to the mysterious dimension of secrets. In fact, as this book argues, medieval poets commonly engaged with alternative forces and described their workings within the human context (both in the Latin West and in the East), without being able to come to terms with them critically. Those mysteries appear both in heroic epics and courtly romances, among other genres, and they figure more frequently than we might have assumed. On the one hand, we could conceive of those secrets as the product of literary liberties and imagination; on the other, those secrets prove to be rather serious agents intervening in the lives of the fictional protagonists. By the same token, our modern world is not all rationality and material conditions either. The study of secrets in the Middle Ages thus opens the pathway toward a new epistemology both for the people in the pre-modern age and us today.

This book makes the compelling argument that Chaucer, the "Perle"-poet, and "The Cloud of Unknowing" author exploited analogue and metaphor for marking out the pedagogical gap between science and the imagination. These writers take up an Aristotelian confidence in reason as a proof model for works of the imagination. St. Augustine, too, had argued persuasively that we might well train ourselves "to discern in the light of reason what we] already hold by faith." By the 12th century, John of Salisbury, in his "Metalogicon," had argued that "sensation is the progenitor of science." Chaucer, the "Perle"-poet, and the author of "The Cloud of Unknowing" set out models for such instruction--for seeing from the center--as they map the pedagogical energy of the browsing imagination. Here, Linda Tarte Holley adds definition to arguments that still gain our attention and energies in the twenty-first century.

Written by one of the leading critics in medieval studies, this new book explores the representations of madness in medieval French literature. Drawing on a range of modern psychoanalytic theories and an impressive range of texts from the twelfth to the fifteenth century, Sylvia Huot focuses on the relationship between madness and identity, both personal and collective, and demonstrates the cultural significance of madness in the Middle Ages.

Biological literature of the Roman imperial period remains somehow 'underestimated'. It is even quite difficult to speak of biological literature for this period at all: biology (apart from medicine) did not represent, indeed, a specific 'subgenre' of scientific literature. Nevertheless, writings as disparate as Philo of Alexandria's Alexander, Plutarch's De sollertia animalium or Bruta ratione uti, Aelian's De Natura Animalium, Oppian's Halieutika, Pseudo-Oppian's Kynegetika, and Basil of Caeserea's Homilies on the Creation engage with zoological, anatomic, or botanical questions. Poikile Physis examines how such writings appropriate, adapt, classify, re-elaborate and present biological knowledge which originated within the previous, mainly Aristotelian, tradition. It offers a holistic approach to these works by considering their reception of scientific material, their literary as well as rhetorical aspects, and their interaction with different socio-cultural conditions. The result of an interdisciplinary discussion among scholars of Greek studies, philosophy and history of science, the volume provides an initial analysis of forms and functions of biological literature in the imperial period.

Why did Gower choose to write his most famous poem in English? New insights into his purpose and the context and tradition of the poem are presented here. After establishing his reputation as a literary author by means of his French and Latin verse, Gower came to recognize the possibilities which English held for serious poetry only in the 1380s. This book gives sustained attentionto the implications of this language choice for the form, readership, religious position, and lay authority of his best-known work, the Confessio Amantis.The author argues that in all of his moral-political-theological writings, Gower's stance as a satirist and publicist is more markedly lay, and more rhetorically momentous for reasons associated with this lay status, than is generally thought. But during the 1380s, the conditions for writing lay public poetry in English made the Confessio a truly remarkable feat, for Gower and for English poetry. Notwithstanding the poem's formal debt to aristocratic literature and the evident elitism of its earliest known readership, the Confessio imagines a broader and more popular audience than do the Vox and the Mirour, modulating its author's vision into a comparatively muted register by appropriating the oblique strategies ofOvidian myth, Ovidian art of love, affective devotional writing, and romance. The resulting "public poetry" is at once subtly accommodated to the conditions for writing in English and profoundly significant for the development ofthe English poetic tradition. T. Matthew N. McCabe is Assistant Professor of English at Ambrose University College (Calgary).

The textual foundations of works of great cultural significance are often less stable than one would wish them to be. No work of Homer, Dante or Shakespeare survives in utterly reliable witnesses, be they papyri, manuscripts or printed editions. Notions of textual authority have varied considerably across the ages under the influence of different (and differently motivated) agents, such as scribes, annotators, editors, correctors, grammarians, printers and publishers, over and above the authors themselves. The need for preserving the written legacy of peoples and nations as faithfully as possible has always been counterbalanced by a duty to ensure its accessibility to successive generations at different times and in different cultural contexts. The ten chapters collected in this volume offer critical approaches to such authors and texts as Homer, the Bible, The Thousand and One Nights, Dante, Montaigne, Shakespeare, Eliot, but also Leonardo da Vinci's manuscripts uniquely combining word and image, as well as Beethoven's 'Tempest' sonata (Op. 31, No. 2) as seen from the angle of music as text. Together the contributors argue that an awareness of what the 'life of texts' entails is essential for a critical understanding of the transmission of culture.

Throughout Antiquity and the Middle Ages, literature was read with the ear as much as with the eye: silent reading was the exception; audible reading, the norm. This highly original book shows that Boethius's Consolation of Philosophy - one of the most widely-read texts in Western history - aims to affect the listener through the designs of its rhythmic sound. Stephen Blackwood argues that the Consolation's metres are arranged in patterns that have a therapeutic and liturgical purpose: as a bodily mediation of the text's consolation, these rhythmic patterns enable the listener to discern the eternal in the motion of time. The Consolation of Boethius as Poetic Liturgy vividly explores how in this acoustic encounter with the text philosophy becomes a lived reality, and reading a kind of prayer.

A wide overview of court culture in the middle ages. The court exercised an enormous amount of influence on the culture of the middle ages, as the essays collected here demonstrate. They examine a wide variety of different areas of medieval courtly culture, from the history of the book through courtly music to the theory of courtesy and courtly love. While some authors deal with the central texts of courtly literature, such as Castiglione's Book of the Courtier, Marie de France's Lais, the romances of Chretien de Troyes, Wolfram von Eschenbach, Gottfried von Strassburg, and the corpus of courtly lyric in various languages, others consider less-studied works like Galeran de Bretagne, or the French version of the Disciplina Clericalis. Several contributions take a comparative approach to courtly texts outside the Western tradition, while others point to the courtly nature of chronicle literature and to courtly influences on religious-didactic works. The volume as a whole thus presents an overview of medieval court culture. Contributors: GLORIA ALLAIRE, LAURA D. BAREFIELD, ANNE BERTHELOT, BERT BEYNEN, JEAN BLACKER, WALTER BLUE, MAUREEN BOULTON, FRANKBRANDSMA, EMMA CAYLEY, MARCO CEROCCHI, CHRISTOPHER R. CLASON, ALAIN CORBELLARI, IVY A. CORFIS, PAUL CREAMER, EVELYN DATTA, JUDITH M. DAVIS, FIDEL FAJARDO-ACOSTA, YASMINA FOEHR-JANSSENS, STACY L. HAHN, CAROL HARVEY, C. STEPHEN JAEGER, KATHY M. KRAUSE, JUNE HALL MCCASH, MATTHIAS MEYER, EDWARD J. MILOWICKI, JEANNE A. NIGHTINGALE, CHRISTOPHER PAGE, ANA PAIRET, WENDY PFEFFER, RUPERT T. PICKENS, MARIA PREDELLI, SILVIA RANAWAKE, PAUL ROCKWELL, SAMUEL, N. ROSENBERG, JUDITH RICE ROTHSCHILD, MARY ROUSE, RICHARD ROUSE, MARIANNE SANDELS, SUSAN STAKEL, ALEXANDRA STERLING-HELLENBRAND, JOSEPH M. SULLIVAN, YUKO TAGAYA, RICHARD TRACHSLER, ADRIAN TUDOR, MARION UHLIG, LORI J. WALTERS, LOGAN E. WHALEN, VALERIE M. WILHITE, MONICA L. WRIGHT.