More than any other secular story of the Middle Ages, the tale
of Tristan and Isolde fascinated its audience. Adaptations in
poetry, prose, and drama were widespread in western European
vernacular languages. Visual portrayals of the story appear not
only in manuscripts and printed books but in individual pictures
and pictorial narratives, and on an amazing array of objects
including stained glass, wall paintings, tiles, tapestries, ivory
boxes, combs, mirrors, shoes, and misericords.The pan-European and
cross-media nature of the surviving medieval evidence is not
adequately reflected in current Tristan scholarship, which largely
follows disciplinary and linguistic lines. The contributors to
"Visuality and Materiality in the Story of Tristan and Isolde" seek
to address this problem by opening a cross-disciplinary dialogue
and by proposing a new set of intellectual coordinates--the
concepts of materiality and visuality--without losing sight of the
historical specificity or the aesthetic character of individual
works of art and literature. Their theoretical paradigm allows them
to survey the richness of the surviving evidence from a variety of
disciplinary approaches, while offering new perspectives on the
nature of representation in medieval culture. Enriched by numerous
illustrations, this volume is an important examination of the story
of Tristan and Isolde in the European context of its visual and
textual transmission. "Comprehensive and cutting edge, "Visuality
and Materiality in the Story of Tristan and Isolde "defines the
moment in the history of Tristan scholarship. The essays, gathered
from both sides of the Atlantic, enrich and expand the key concepts
of materiality and visuality to account for the proliferation of
the Tristan story in an astonishing range of media. The collection
gives scholars in several disciplines the tools to explore the
productive connections between the verbal and the visual in
medieval culture." --Sarah Westphal-Wihl, Washington University in
St. Louis
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