As a traditional site of historical criticism, medieval studies is particularly well placed to benefit from the recent reemergence of historicism in literary studies. But this new "critical historicism" differes from the traditional criticism in both method an interests, differences that are well illustrated by this collection. A concern with politics, a reliance on the materials of economic and social history, a conception of writing as a form of social practices, a focus upon the forces of change in medieval culture, and unwillingness to observe the usual distinction between literary and historical texts, and a historicization of their own activity--these characteristics make these essays a significant contribution to medieval studies. Moreover, both in conception and execution the essays reject the barrier that the humanist account of history has erected between a Middle Ages stigmatized as distant and other and a Renaissance consecrated as the beginning of the modern world. Thus they invite the attention of nonmedievalists, especially Renaissance specialists, who wish to test their assumptions about medieval literature against some of the best recent work in the field. The authors consider a wide range of materials. Three of the essays explore Chaucer's career as a bureaucrat, a diplomat, and a poet. Other topics include Langland's self-constitution in Piers Plowman, the medieval production and modern reception of the mystery plays, Hoccleve's innovative strategies for offering political advice to his king, and the ideological and psychological interests that governed the idea of the city in sixteenth-century Scotland. All scholars and studies of the Middle Ages, comparative literature, and literature and language programs generally will appreciate this ground-breaking collection. Contributors:Anne MiddletonPaul StrohmLee PattersonDavid WallaceLarry ScanlonTheresa ColettiLouise Fradenburg This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1990.

The President of Iran is assassinated while sitting on the Peacock Throne, a throne dating back to the ancients and adorned with many precious stones. The assassination occurred during the celebration of the anniversary of the Islamic revolution. The Iranian police could not discover the identity nor the location of the killer. General Alavi Ali, head of the Islamic Secret Police, VAVAK, invited the Russian Secret Police, the North Korean Secret Police, Scotland Yard, and None of them could discover a single clue to the person or whereabouts of the assassin. General Alavi Ali then prevailed upon the U.S. for help in solving this crime. Come on this adventure with Rocky Storm, his fiancee, and his talented police detectives as they go to Iran and Iraq in an attempt to assist in solving the greatest assassination plot and mystery ever conceived.

How did the average American learn about art in the mid-nineteenth century? With public art museums still in their infancy, and few cities and towns large enough to support art galleries or print shops, Americans relied on mass-circulated illustrated magazines. One group of magazines in particular, known collectively as the Philadelphia pictorials, circulated fine art engravings of paintings, some produced exclusively for circulation in these monthlies, to an eager middle-class reading audience. These magazines achieved print circulations far exceeding those of other print media (such as illustrated gift books, or catalogs from art-union membership organizations).

"Godey's," "Graham's," "Peterson's," "Miss Leslie's," and "Sartain's Union Magazine" included two to three fine art engravings monthly, "tipped in" to the fronts of the magazines, and designed for pull-out and display. Featuring the work of a fledgling group of American artists who chose American rather than European themes for their paintings, these magazines were crucial to the distribution of American art beyond the purview of the East Coast elite to a widespread middle-class audience. Contributions to these magazines enabled many an American artist and engraver to earn, for the first time in the young nation's history, a modest living through art.

Author Cynthia Lee Patterson examines the economics of artistic production, innovative engraving techniques, regional imitators, the textual "illustrations" accompanying engravings, and the principal artists and engravers contributing to these magazines.

This volume brings together Lee Patterson's essays published in various venues over the past twenty-seven years. As he observes in his preface, "The one persistent recognition that emerged from writing these otherwise quite disparate essays is that whatever the text . . . and whoever the people . . ., the values at issue remain central to contemporary life." Two dialectics are at work in this book: that between the past and the present and that between the individual and the social, and both have moral significance. The first two chapters are methodological; the first is on the historical understanding of medieval literature and the second on how to manage the inseparability of fact and value in the classroom. The next three chapters take up three "less-read" late medieval writers: Sir John Clanvowe, Thomas Hoccleve, and John Lydgate. Each is used to illuminate a social phenomenon: the nature of court culture, the experience of the city, and Henry V's act of self-making. The following chapter explicitly links past and present by arguing that the bearing of the English aristocrat comes from a tradition beginning with Beowulf and later reinvoked in response to nineteenth-century imperialism. The next three chapters are the most literary, dealing with Chaucer and with literary conventions in relation to a number of texts. The final chapter is on the man Patterson considers one of the most important of our medieval ancestors, Francis of Assisi.

Dozens of cats and kittens have disappeared from their homes and Elzbeth and her friends are worried. Since the other kids at school don't play with them, the four friends use recess and weekends to figure out a diabolical - and sometimes funny - plot that's making captives out of innocent kittens. They use clever technology, mighty brains and special gifts to pinpoint where the cats are, and Elzbeth dives straight into trouble. Can her friends save her and the cats from a scheme so evil it will curl your whiskers? And exactly why does someone need hundreds of cats, anyway? Join The Crew as they use their considerable abilities to solve the mystery

This volume brings together Lee Patterson's essays published in various venues over the past twenty-seven years. As he observes in his preface, "The one persistent recognition that emerged from writing these otherwise quite disparate essays is that whatever the text . . . and whoever the people . . ., the values at issue remain central to contemporary life."

Two dialectics are at work in this book: that between the past and the present and that between the individual and the social, and both have moral significance. The first two chapters are methodological; the first is on the historical understanding of medieval literature and the second on how to manage the inseparability of fact and value in the classroom. The next three chapters take up three "less-read" late medieval writers: Sir John Clanvowe, Thomas Hoccleve, and John Lydgate. Each is used to illuminate a social phenomenon: the nature of court culture, the experience of the city, and Henry V's act of self-making. The following chapter explicitly links past and present by arguing that the bearing of the English aristocrat comes from a tradition beginning with Beowulf and later reinvoked in response to nineteenth-century imperialism. The next three chapters are the most literary, dealing with Chaucer and with literary conventions in relation to a number of texts. The final chapter is on the man Patterson considers one of the most important of our medieval ancestors, Francis of Assisi.

"This is a collection of essays published over the last twenty-seven years by an outstanding medievalist, one who has been exceptionally influential on medieval studies and whose work continues to be of the greatest importance. Patterson's collection is informed by a fascination with the ways in which the past inhabits the present. This collection of essays provide us with an eloquent, forceful demonstration of the hermeneutic potentials of liberal humanism in a committedly historicist mode. It will provide a timely, welcome, and stimulating challenge to the field." --David Aers, Duke University

""Acts of Recognition "offers us Lee Patterson at his best, as we've come to know his scholarship over the decades. Fearless, wide-ranging, and startling in the acuity of its insights, the volume reminds us why there is always something to learn from this superb thinker, whatever our critical approach or field. From the famous opening chapter on historical criticism to the luminous meditation on St. Francis that creates the book's 'sense of an ending, ' Patterson brilliantly shows us how the past continues part of us, always, and why it is not a foreign country but our home." --Geraldine Heng, University of Texas at Austin

The ten essays selected for this book illuminate the central themes of the most frequently taught Canterbury Tales. These texts are appropriate for undergraduates and general readers and were edited carefully to ensure that references and allusions are explained in footnotes. Theoretical excursus and critical jousting have been either simplified or omitted entirely. At the end of each essay is an annotated list of further readings. The volumes editor is one of the most distinguished active Chaucerian scholars in the world.

Winner of the Colorado Book Award;
Winner of the Willa Literary Award

As heard on Public Radio International's The Writer's Almanac!

Full of music and evocative word play, Veronica Patterson's Swan, What Shores? offers alluring poems varied in form and inventive in approach. In language that is both precise and lyrical, Patterson's work, like much of the best poetry, plumbs the human condition with depth, wit, and, above all, compassion.

The poems offer fine surprises, from the lyrical litany of "The Riddle of My Want" ("the stride of your eyes / a summering of skin") to the unusual elegy "Three Photographs Not of My Father" to the mysteries embodied in "Where Are My Swans?": "All movement in their dreams is theirs / that glide-without-haste, for what core of the universe / has to hurry?"

Swan, What Shores? marks the blossoming of a major poetic talent.

Winner of the Colorado Book Award;
Winner of the Willa Literary Award

As heard on Public Radio International's The Writer's Almanac!

Full of music and evocative word play, Veronica Patterson's Swan, What Shores? offers alluring poems varied in form and inventive in approach. In language that is both precise and lyrical, Patterson's work, like much of the best poetry, plumbs the human condition with depth, wit, and, above all, compassion.

The poems offer fine surprises, from the lyrical litany of "The Riddle of My Want" ("the stride of your eyes / a summering of skin") to the unusual elegy "Three Photographs Not of My Father" to the mysteries embodied in "Where Are My Swans?": "All movement in their dreams is theirs / that glide-without-haste, for what core of the universe / has to hurry?"

Swan, What Shores? marks the blossoming of a major poetic talent.

As a traditional site of historicist practice, medieval studies is particularly well-placed to benefit from the recent reemergence of historicism in literary studies. But this new "critical historicism" is different in both method and interests from past forms of historicist work. The differences are well illustrated by this collection. The concern with politics, the reliance on the materials of economic and social history, the conception of writing as a form of social practice, the focus upon the forces of change in medieval culture, the unwillingness to observe the usual distinction between literary and historical texts, and the historicization of their own practice--these characteristics make the publication of these essays a significant event for medieval studies.