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Often relegated to a backseat by action in the Eastern Theater, the
Western Theater is actually where the Federal armies won the Civil
War. In the West, General Ulysses S. Grant strung together a series
of victories that ultimately led him to oversee Robert E. Lee's
surrender at Appomattox Court House and, eventually, two terms in
the White House. In the West, the fall of Atlanta secured Lincoln's
reelection for his own second term. In the West, Federal armies
split the Confederacy in two - and then split it in two again. In
the West, Federal armies inexorably advanced, gobbling up huge
swaths of territory in the face of ineffective Confederate
opposition. By war's end, General William T. Sherman had marched
the "Western Theater" all the way into central North Carolina. In
the Eastern Theater, the principal armies fought largely within a
100-mile corridor between the capitals of Washington, D.C., and
Richmond, Virginia, with a few ill-fated Confederate invasions
north of the Mason-Dixon Line. The Western Theater, in contrast,
included the entire area between the Appalachian Mountains and the
Mississippi River, from Kentucky in the north to the Gulf of Mexico
in the south - a vast geographic expanse that, even today, can be
challenging to understand. The Western Theater of War: Favorite
Stories and Fresh Perspectives from the Historians at Emerging
Civil War revisits some of the Civil War's most legendary
battlefields: Shiloh, Chickamauga, Franklin, the March to the Sea,
and more.
Focusing on songs by the troubadours and trouveres from the twelfth
to the fourteenth centuries, Medieval Song from Aristotle to Opera
contends that song is not best analyzed as "words plus music" but
rather as a distinctive way of sounding words. Rather than
situating them in their immediate period, Sarah Kay fruitfully
listens for and traces crosscurrents between medieval French and
Occitan songs and both earlier poetry and much later opera.
Reflecting on a song's songlike quality-as, for example, the sound
of light in the dawn sky, as breathed by beasts, as sirenlike in
its perils-Kay reimagines the diversity of songs from this period,
which include inset lyrics in medieval French narratives and the
works of Guillaume de Machaut, as works that are as much desired
and imagined as they are actually sung and heard. Kay understands
song in terms of breath, the constellations, the animal soul, and
life itself. Her method also draws inspiration from opera,
especially those that inventively recreate medieval song, arguing
for a perspective on the manuscripts that transmit medieval song as
instances of multimedia, quasi-operatic performances. Medieval Song
from Aristotle to Opera features a companion website
(cornellpress.manifoldapp.org/projects/medieval-song) hosting
twenty-four audio or video recordings, realized by professional
musicians specializing in early music, of pieces discussed in the
book, together with performance scores, performance reflections,
and translations of all recorded texts. These audiovisual materials
represent an extension in practice of the research aims of the
book-to better understand the sung dimension of medieval song.
The songs of the troubadour poets of the south of France were a
pervasive influence in the development of the European lyric (and
indeed other genres) from the twelfth century to the Renaissance
and beyond. Much troubadour poetry is on the topic of love, and is
composed from a first-person position. This book is a full-length
study of this first-person subject position in its relation to
language and society. Using theoretical approaches where
appropriate, Sarah Kay discusses to what extent this first person
is a 'self' or 'character', and how far it is self-determining. Dr
Kay draws on a wide range of troubadour texts, and provides close
readings of many of them, as well as translating all medieval
quotations into English in order to make the discussion accessible
to the non-specialist. Her book will be of interest both to
scholars of medieval literature, and to anybody investigating
subjectivity in lyric poetry.
The songs of the troubadour poets of the south of France were a
pervasive influence in the development of the European lyric (and
indeed other genres) from the twelfth century to the Renaissance
and beyond. Much troubadour poetry is on the topic of love, and is
composed from a first-person position. This book is a full-length
study of this first-person subject position in its relation to
language and society. Using theoretical approaches where
appropriate, Sarah Kay discusses to what extent this first person
is a 'self' or 'character', and how far it is self-determining. Dr
Kay draws on a wide range of troubadour texts, and provides close
readings of many of them, as well as translating all medieval
quotations into English in order to make the discussion accessible
to the non-specialist. Her book will be of interest both to
scholars of medieval literature, and to anybody investigating
subjectivity in lyric poetry.
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Sarah Kay
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Sarah Kay Moll
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An aspiring yet disenchanted Northern Irish journalist finds
himself in New York where he discovers the interdependency of
creation, craft and audience. Through a reflective narrative
circling his daily life, a lost relationship with his beloved Mary,
and an assignment of interviews with a rock'n'roll band, he learns
that the key to understanding himself is realising where he really
wants to be.
Tell Me About Your Greatness is for children, parents and educators
to look at the school day differently and capture the ordinary
moments and magnify them to reflect the extraordinary character
qualities that are happening daily. This book is designed to teach
children that their actions and words truly reflect their qualities
of greatness as they go through their school day.These behaviors
are observable and give evidence to them and others about who they
are and build relationships that are more genuine and authentic.
Ultimately the vision of giving children evidence of their
greatness is to help them grow strong on the inside.
In the later Middle Ages, many writers claimed that prose is
superior to verse as a vehicle of knowledge because it presents the
truth in an unvarnished form, without the distortions of meter and
rhyme. Beginning in the thirteenth century, works of verse
narrative from the early Middle Ages were recast in prose, as if
prose had become the literary norm. Instead of dying out, however,
verse took on new vitality. In France verse texts were produced, in
both French and Occitan, with the explicit intention of
transmitting encyclopedic, political, philosophical, moral,
historical, and other forms of knowledge.
In Knowing Poetry, Adrian Armstrong and Sarah Kay explore why
and how verse continued to be used to transmit and shape knowledge
in France. They cover the period between Jean de Meun's Roman de la
rose (c. 1270) and the major work of Jean Bouchet, the last of the
grands rhetoriqueurs (c. 1530). The authors find that the advent of
prose led to a new relationship between poetry and knowledge in
which poetry serves as a medium for serious reflection and
self-reflection on subjectivity, embodiment, and time. They propose
that three major works the Roman de la rose, the Ovide moralise,
and Boethius' Consolation of Philosophy form a single influential
matrix linking poetry and intellectual inquiry, metaphysical
insights, and eroticized knowledge. The trio of
thought-world-contingency, poetically represented by Philosophy,
Nature, and Fortune, grounds poetic exploration of reality, poetry,
and community."
"May God forgive me for the order," Confederate Maj. Gen. John C.
Breckinridge remarked as he ordered young cadets from Virginia
Military Institute into the battle lines at New Market, just days
after calling them from their academic studies to assist in a
crucial defense. Virginia's Shenandoah Valley had seen years of
fighting. In the spring of 1864, Union Maj. Gen. Franz Sigel
prepared to lead a new invasion force into the Valley, operating on
the far right flank of Ulysses S. Grant's Overland Campaign.
Breckinridge scrambled to organize the Confederate defense. When
the opposing divisions clashed near the small crossroads town of
New Market on May 15, 1864, new legends of courage were born. Local
civilians witnessed the combat unfold in their streets,
churchyards, and fields and aided the fallen. The young cadets
rushed into the battle when ordered-an opportunity for an hour of
glory and tragedy. A Union soldier saved the national colors and a
comrade, later receiving a Medal of Honor. The battle of New
Market, though a smaller conflict in the grand scheme of that
blood-soaked summer, came at a crucial moment in the Union's
offensive movements that spring and also became the last major
Confederate victory in the Shenandoah Valley. The results in the
muddy fields reverberated across the North and South, altering
campaign plans-as well as the lives of those who witnessed or
fought. Some never left the fields alive; others retreated with
excuses or shame. Some survived, haunted or glorified by their
deeds. In Call Out the Cadets, Sarah Kay Bierle traces the history
of this important, yet smaller battle. While covering the military
aspects of the battle, the book also follows the history of
individuals whose lives or military careers were changed because of
the fight. New Market shined for its accounts of youth in battle,
immigrant generals, and a desperate, muddy fight. Youth and
veterans, generals and privates, farmers and teachers-all were
called into the conflict or its aftermath of the battle, an event
that changed a community, a military institute, and the very fate
of the Shenandoah Valley.
Following the success of her breakout poem, "B," Sarah Kay, in
collaboration with illustrator Sophia Janowitz, releases her debut
collection of poetry featuring work from the first decade of her
career. No Matter the Wreckage presents readers with new and
beloved poetry that showcases Kay's talent for celebrating family,
love, travel, and unlikely romance between inanimate objects ("The
Toothbrush to the Bicycle Tire"). Both fresh and wise, Kay's poetry
allows readers to join her on the journey of discovering herself
and the world around her. It is an honest and powerful collection.
From Jean de Meun in the late thirteenth century to Christine de
Pizan in the early fifteenth, medieval French poets often aimed to
impart theological, philosophical, or moral ideas. To unify their
thought, and to make its outline visible to readers, the poets
created vivid images of place, such as gardens, paths, idyllic
landscapes, cities, trees, and fountains. For Sarah Kay, these
spatial images are a prop of "monologism," helping to communicate
(or impose) unity of meaning and interpretation by summoning
readers to occupy the same "place" in their thinking as the
authors. Because of this monologism, Kay contends, didactic poetry
has been ill served by a critical tradition that favors difference,
plurality, and dialogism. In The Place of Thought, she seeks
radically to reassess this literature and reappraise the pleasure
to be derived from reading it. Kay argues that one meaning is not
inherently simpler or less interesting than many meanings. Using
specific works as examples, she demonstrates that this "one-ness"
of thought in French didactic poems can be an excitingly complex
and challenging notion, and that it strains the images in which it
is placed to the point where they become difficult to visualize.
Herein lies the poems' simultaneous intellectual and aesthetic
appeal. Focusing on the Roman de la Rose by Jean de Meun, the
Breviari d'amor by Matfre Ermengaud, the Ovide moralise, Pelerinage
de vie humaine by Guillaume de Deguileville's, Le Jugement dou roy
de Navarre by Guillaume de Machaut, Le Joli buisson de Jonece by
Jean Froissart, and Le Livre du Chemin de long estude by Christine
de Pizan, Kay traces the works' backgrounds in scholastic thinking,
illuminating them when appropriate with modern reflections on the
same ideas.
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,
Chretien 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.
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,
Chretien 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 book traces the history of French literature from its
beginnings to the present. Within its remarkably brief compass, it
offers a wide-ranging, personal, and detailed--though
selective--account of major writers and movements. Developments in
French literature are presented in an innovative way, not as an
even sequence of literary events but as a series of stories told at
varying pace and with different kinds of focus. Readers can thus
take in the broad sweep of historical change, grasp the main
characteristics of major periods, or enjoy a close appraisal of
individual works and their contexts. The book is written in an
accessible and non-technical style that will make it attractive
both to students of French and to non-specialist readers.
Where does courtly literature come from? What is the meaning of
"courtly love"? What is the relation between religious and secular
culture in the Middle Ages, and why does it matter? This book
addresses these questions, as its title indicates, by way of
contradiction. Contradiction is central both to medieval logic and
to most modern protocols of reading; it therefore informs both the
production and the reception of medieval texts. Yet contradiction
itself is rarely analyzed, serving more often as a spur to
interpretation than as its object.
This book works between the complex philosophical culture of the
twelfth century (principally the traditions of Aristotle and of
philosophical Neoplatonism, which diverge significantly in their
treatment of contradiction) and the no less complex thought of
Lacan (which is just as bound up with contradictoriness). Situating
twelfth-century Anglo-Norman, French, and Occitan literature within
this philosophical embrace, the author studies the interaction of
three major literary genres--hagiography, troubadour lyric, and
romance--an interaction that, in the course of the century,
generates what we now call "courtly literature."
She shows how preferences for different ways of dealing with
contradiction migrate from one genre to another during the twelfth
century. She also shows how this movement resulted, by about 1170,
in different traditions converging to produce the complex artifacts
that canonized literary "courtliness," not only for the Middle Ages
but for us as well. Coinciding with this convergence, there is a
shift in the locus of contradiction from subject to object. This
crucial development not only privileges the object "within" texts,
it also cements the value of texts themselves as object.
In a series of comparisons between religious and courtly texts that
draws on the writings of Lacan and Kristeva, the author explores
how these objects can be variously described in terms of the
psychoanalytical concepts of abjection, sublimation, or perversion.
The book concludes by suggesting that the historical importance of
courtly literature lies in its capacity to mediate, through the
centrality accorded to the contradictory object, this transfer from
medieval to modern structures of thought and thereby to shape
modern forms of enjoyment.
This book offers a general introduction to the world of the troubadours. Its sixteen chapters, newly commissioned from leading scholars in Britain, the United States, France, Italy and Spain, trace the development of troubadour song (including music), engage with the main trends in troubadour scholarship, and examine the reception of troubadour poetry in manuscripts and in Northern French romance. A series of appendices offer an invaluable guide to more than fifty troubadours, to technical vocabulary, to research tools and to surviving manuscripts.
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