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This book advances the rediscovery of forgotten women philosophers
in the nineteenth century who have been unjustly left out of the
philosophical canon and omitted from narratives about the history
of philosophy. Women often did philosophy in a public setting in
this period, engaging with practical issues of social concern and
using philosophy to make the world a better place. This book
highlights some of women’s interventions against slavery, for
women’s rights, and on morality, moral agency, and the conditions
of a flourishing life. The chapters are on: Mary Shepherd’s idea
of life; the collaborative authorships and feminist perspectives of
Anna Doyle Wheeler and Harriet Taylor Mill; the roles of Elizabeth
Cady Stanton and Lucretia Mott in the American women’s rights
movement; the influence of classical German philosophy on Lydia
Maria Child’s abolitionism; George Eliot’s understanding of
agency; the views of agency and resistance developed by Harriet
Tubman and Elizabeth from within the abolitionist tradition; Annie
Besant’s search for a metaphysical basis for ethics, which she
ultimately found in Hinduism; E. E. Constance Jones on the dualism
of practical reason; Marietta Kies on altruism and positive rights;
and Anna Julia Cooper’s black feminist conception of the right to
growth. The book unearths an important and neglected chapter in the
history of women philosophers, showing the variety and vitality of
nineteenth-century women’s intellectual lives. Nineteenth-Century
Women Philosophers in Britain and America will be of great use to
students and researchers interested in Philosophy, Women’s
Studies, and the politics of gender at the heart of British and
American societies. This book was originally published as a special
issue of British Journal for the History of Philosophy.
In this book, Alison Stone develops a feminist approach to
maternal subjectivity. Stone argues that in the West the self has
often been understood in opposition to the maternal body, so that
one must separate oneself from the mother and maternal care-givers
on whom one depended in childhood to become a self or, in
modernity, an autonomous subject. These assumptions make it
difficult to be a mother and a subject, an autonomous creator of
meaning. Insofar as mothers nonetheless strive to regain their
subjectivity when their motherhood seems to have compromised it,
theirs cannot be the usual kind of subjectivity premised on
separation from the maternal body. Mothers are subjects of a new
kind, who generate meanings and acquire agency from their position
of re-immersion in the realm of maternal body relations, of bodily
intimacy and dependency. Thus Stone interprets maternal
subjectivity as a specific form of subjectivity that is continuous
with the maternal body. Stone analyzes this form of subjectivity in
terms of how the mother typically reproduces with her child her
history of bodily relations with her own mother, leading to a
distinctive maternal and cyclical form of lived time.
The Routledge Companion to Feminist Philosophy is an outstanding
guide and reference source to the key topics, subjects, thinkers,
and debates in feminist philosophy. Fifty-six chapters, written by
an international team of contributors specifically for the
Companion, are organized into five sections: (1) Engaging the Past;
(2) Mind, Body, and World; (3) Knowledge, Language, and Science;
(4) Intersections; (5) Ethics, Politics, and Aesthetics. The volume
provides a mutually enriching representation of the several
philosophical traditions that contribute to feminist philosophy. It
also foregrounds issues of global concern and scope; shows how
feminist theory meshes with rich theoretical approaches that start
from transgender identities, race and ethnicity, sexuality,
disabilities, and other axes of identity and oppression; and
highlights the interdisciplinarity of feminist philosophy and the
ways that it both critiques and contributes to the whole range of
subfields within philosophy.
In this book, Alison Stone develops a feminist approach to maternal
subjectivity. Stone argues that in the West the self has often been
understood in opposition to the maternal body, so that one must
separate oneself from the mother and maternal care-givers on whom
one depended in childhood to become a self or, in modernity, an
autonomous subject. These assumptions make it difficult to be a
mother and a subject, an autonomous creator of meaning. Insofar as
mothers nonetheless strive to regain their subjectivity when their
motherhood seems to have compromised it, theirs cannot be the usual
kind of subjectivity premised on separation from the maternal body.
Mothers are subjects of a new kind, who generate meanings and
acquire agency from their position of re-immersion in the realm of
maternal body relations, of bodily intimacy and dependency. Thus
Stone interprets maternal subjectivity as a specific form of
subjectivity that is continuous with the maternal body. Stone
analyzes this form of subjectivity in terms of how the mother
typically reproduces with her child her history of bodily relations
with her own mother, leading to a distinctive maternal and cyclical
form of lived time.
Arthur and the grail stories appeared in this French prose cycle
together for the first time; scholars explore its social,
historical, literary and manuscript contexts and account for its
enduring interest. The early thirteenth-century French prose
Lancelot-Grail Cycle (or Vulgate Cycle) brings together the stories
of Arthur with those of the Grail, a conjunction of materials that
continues to fascinate the Western imagination today. Representing
what is probably the earliest large-scale use of prose for fiction
in the West, it also exemplifies the taste for big cyclic
compositions that shaped much of European narrative fiction for
three centuries. A Companion to the Lancelot-Grail Cycle is the
first comprehensive volume devoted exclusively to the
Lancelot-Grail Cycle and its medieval legacy. The twenty essays in
this volume, all by internationally known scholars, locate the work
in its social, historical, literary, and manuscript contexts. In
addition to addressing critical issues in the five texts that make
up the Cycle, the contributors convey to modern readers the appeal
that the text must have had for its medieval audiences, and the
richness of composition that made it compelling. This volume will
become standard reading for scholars, students, and more general
readers interested in the Lancelot-Grail Cycle, medieval romance,
Malory studies, and the Arthurian legends. Contributors: RICHARD
BARBER, EMMANUELE BAUMGARTNER, FANNI BOGDANOW, FRANK BRANDSMA,
MATILDA T. BRUCKNER, CAROL J. CHASE, ANNIE COMBES,HELEN COOPER,
CAROL R. DOVER, MICHAEL HARNEY, DONALD L. HOFFMAN, DOUGLAS KELLY,
ELSPETH KENNEDY, NORRIS J. LACY, ROGER MIDDLETON, HAQUIRA OSAKABE,
HANS-HUGO STEINHOFF, ALISON STONES, RICHARD TRACHSLER. CAROL DOVER
is associate professor of French and director of undergraduate
studies, Georgetown University, Washington DC.
A survey of the history, holdings, decoration, and conservation of
one of England's finest medieval libraries, with full catalogue.
The Willoughby family, from Wollaton, Nottinghamshire, built up an
extensive medieval library, including the notable Wollaton
Antiphonal; theirs is the largest surviving library gathered by a
gentry family of the period, the product of a single acquisitive
burst, beginning around 1460 and mainly completed at about the time
of the Dissolution in 1540. The manuscripts remain unique because
of the very substantial core which survives more or less in situ,
together with a huge collection of family archives, at the
University of Nottingham, just a few miles from their original
home. This book focuses upon the ten manuscripts now in the
Wollaton Library Collection as well asthe famous Antiphonal. Essays
explore the history of the library and the Willoughby family, the
books of Sir Thomas Chaworth, the art and function of the
Antiphonal, the works of pastoral instruction, the decoration of
the Frenchmanuscripts (including the earliest fully illustrated
manuscript of romances), the Confessio Amantis, and the
conservation of the collection. The essays are followed by a full
catalogue of the Wollaton Library Collection aswell as of
manuscripts and early printed books now dispersed as far afield as
Tokyo and New York. Contributors: Alixe Bovey, Gavin Cole, Ralph
Hanna, Dorothy Johnston, Rob Lutton, Derek Pearsall, Alison Stones,
Thorlac Turville-Petre.
Essays looking at the process of teaching and learning to write in
the middle ages, with evidence drawn from across Europe. The
capacity to read and write are different abilities, yet while
studies of medieval readers and reading have proliferated in recent
years, there has so far been little examination of how people
learnt to write in the middle ages- an aspect of literacy which
this volume aims to address. The papers published here discuss
evidence adduced from the "a sgraffio" writing of Ancient Rome,
through the attempts of scribes to model their handwriting after
that ofthe master-scribe in a disciplined scriptorium, to the
repeated copying of set phrases in a Florentine merchant's day
book. They show how a careful study of handwriting witnesses the
reception of the twenty-three letter Latin alphabet in different
countries of medieval Europe, and its necessary adaptation to
represent vernacular sounds. Monastic customaries provide evidence
of teaching and learning in early scriptoria, while an
investigation of the grammarians is a reminder that for the
medieval scholar learning to write did not mean simply mastering
the skill of holding a quill and forming one's letters properly,
but also mastering a correct understanding of grammar and
punctuation. Other essays consider the European reception of the
so-called Arabic numbers, provide an edition of a fifteenth-century
tract on how to use abbreviations correctly, and illustrate how
images of writing on wax tablets and learning in school can throw
light on medieval practice. The volume concludes with a paper on
the ways in which a sixteenth-century amateur theologican deployed
Latin, Greek and Hebrew alphabets. P.R. Robinson is a Senior
Research Fellow at the Institute of English Studies, University of
London. Contributors: Paolo Fioretti, David Ganz, Martin Steinman,
Patrizia Carmassi, Aliza Cohen-Mushlin, Annina Seiler, Alessandro
Zironi, Jerzy Kaliszuk, Aslaug Ommundsen, Erik Niblaeus, Gudvardur
Mar Gunnlaugsson, Cristina Mantegna, Irene Ceccherini, Jesus
Alturo, Carmen del Camino Martinez, Maria do Rosario Barbosa
Morujao, Charles Burnett, Olaf Pluta, Lucy Freeman Sandler, Alison
Stones, Berthold Kress
The final section of the Montpellier Codex analysed in full for the
first time, with major implications for late-medieval music. The
Montpellier Codex (Bibliotheque interuniversitaire, Section
Medecine, H.196) occupies a central place in scholarship on
medieval music. This small book, packed with gorgeous gold leaf
illuminations, historiated initials, and exquisite music
calligraphy, is one of the most famous of all surviving music
manuscripts, fundamental to understandings of the development of
thirteenth- and fourteenth-century polyphonic composition. At some
point in its historyan eighth section (fascicle) of 48 folios was
appended to the codex: when and why this happened has long
perplexed scholars. The forty-three works contained in the
manuscript's final section represent a collection of musical
compositions, assembled at a complex moment of historical change,
straddling the historiographical juncture between the thirteenth
and fourteenth centuries. This book provides the first in-depth
exploration of the contents and contexts of the Montpellier Codex's
final fascicle. It explores the manuscript's production, dating,
function, and notation, offering close-readings of individual
works, which illuminate compositionally progressive features of
therepertoire as well as its interactions with existing musical and
poetic traditions, from a variety of perspectives: thirteenth- and
fourteenth-century music, art history, and manuscript culture.
CATHERINE A. BRADLEY isan Associate Professor at the University of
Oslo; KAREN DESMOND is Assistant Professor of Music at Brandeis
University. Contributors: Rebecca A. Baltzer, Edward Breen, Sean
Curran, Rachel Davies, Margaret Dobby, Mark Everist, Solomon
Guhl-Miller, Anna Kathryn Grau, Oliver Huck, Anne Ibos-Auge, Eva M.
Maschke, David Maw, Dolores Pesce, Alison Stones, Mary Wolinski
Detailed exploration of an enigmatic manuscript containing the
texts to hundreds of songs, but no musical notation. The medieval
songbook known variously as trouvere manuscript C or the "Bern
Chansonnier" (Bern, Burgerbibliothek, Cod. 389) is one of the most
important witnesses to musical life in thirteenth-century France.
Almost certainly copied in Metz, it provides the texts to over five
hundred Old French songs, and is a unique insight into cultures of
song-making and copying on the linguistic and political borders
between French and German-speaking lands in the Middle Ages.
Notably, the names of trouveres, including several female
poet-musicians, are found in its margins, names which would be
unknown today without this evidence. However, the manuscript has
received relatively little scholarly attention, partly because the
songs' musical staves remained empty for reasons now unknown, and
partly because of where it was copied. This collection of essays is
the first to consider C on its own terms and from a range of
disciplinary perspectives, including philology, art history,
literary studies, and musicology. The contributors explore the
process of creating the complex object that is a music manuscript,
examining the work of the scribes and artists who worked on C, and
questioning how scribes acquired and organised exemplars for
copying. The peculiarly Messine flavour of the repertoire and
authors is also discussed, with contributors showing that C frames
the tradition of Old French song from a unique perspective. As a
whole, the volume demonstrates how in this eastern hub of music and
poetry, poet-composers, readers, and scribes interacted with the
courtly song tradition in fascinating and unusual ways.
In her third collection, Alison Stone presents us with 42 poems of
struggle and redemption. Her style is crisp and unencumbered by
literary pretence as she evokes the raw emotions that inspired her
poems with a rare honesty and clarity.
The Routledge Companion to Feminist Philosophy is an outstanding
guide and reference source to the key topics, subjects, thinkers,
and debates in feminist philosophy. Fifty-six chapters, written by
an international team of contributors specifically for the
Companion, are organized into five sections: (1) Engaging the Past;
(2) Mind, Body, and World; (3) Knowledge, Language, and Science;
(4) Intersections; (5) Ethics, Politics, and Aesthetics. The volume
provides a mutually enriching representation of the several
philosophical traditions that contribute to feminist philosophy. It
also foregrounds issues of global concern and scope; shows how
feminist theory meshes with rich theoretical approaches that start
from transgender identities, race and ethnicity, sexuality,
disabilities, and other axes of identity and oppression; and
highlights the interdisciplinarity of feminist philosophy and the
ways that it both critiques and contributes to the whole range of
subfields within philosophy.
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The Fortunes of King Arthur (Hardcover)
Norris J. Lacy; Contributions by Alan Lupack, Alison Stones, Caroline Eckhardt, Ceridwen Lloyd-Morgan, …
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R3,585
Discovery Miles 35 850
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Ships in 10 - 15 working days
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An examination of both the role played by Fortune in Arthurian
literature and legend, and the fortunes of the legend itself. The
essays in this volume offer a general overview and a number of
detailed examinations of Arthur's fortunes, in two senses. First is
the role of Fortune itself, often personified and consistently
instrumental, in accounts of Arthur's court and reign. More
generally the articles trace the trajectory of the Arthurian legend
- its birth, rise and decline - through the middle ages. The final
essay follows the continued turning of Fortune's wheel,
emphasizingthe modern revival and flourishing of the legend. The
authors, all distinguished Arthurian scholars, illustrate their
arguments through studies of early Latin and Welsh sources,
chronicles, romances [in English, French, German, Italian, Latin
and Welsh], manuscript illustration and modern literary texts.
Contributors: CHRISTOPHER A. SNYDER, SIAN ECHARD, EDWARD DONALD
KENNEDY, W.R.J. BARRON, DENNIS H. GREEN, NORRIS LACY, CERIDWEN
LLOYD-MORGAN, JOAN TASKER GRIMBERT, ALISON STONES, NEIL THOMAS,
JANE H.M. TAYLOR, CAROLINE D. ECKHARDT, ALAN C LUPACK.
Influential scholars from Britain and North America discuss future
directions in rapidly expanding field of manuscript study. The
study of manuscripts is one of the most active areas of current
research in medieval studies: manuscripts are the basic primary
material evidence for literary scholars, historians and
art-historians alike, and there has been an explosion of interest
over the past twenty years. Manuscript study has developed
enormously: codices are no longer treated as inert witnesses to a
culture whose character has already been determined by the modern
scholar, but are active participants in a process of exploration
and discovery. The articles collected here discuss the future of
this process and vital questions about manuscript study for
tomorrow's explorers. They deal with codicology and book
production, with textual criticism, with the material structure of
the medieval book, with the relation of manuscripts to literary
culture, to social history and to the medieval theatre, and with
the importance to manuscript study of the emerging technology of
computerised digitisation and hypertext display. The essays provide
an end-of-millennium perspective on the most vigorous developments
in a rapidly expanding field of study. Contributors: A.I. Doyle, C.
David Benson, Martha W. Driver, J.P. Gumbert, Kathryn Kerby-Fulton,
Linne R. Mooney, Eckehard Simon, Alison Stones, John Thompson.
DEREK PEARSALL is former Professor and Co-Director of the Centre
for Medieval Studies, York, and Professor of English at Harvard
University.
In this book, Alison Stone argues that popular music since
rock-'n'-roll is a unified form of music which has positive value.
That value is that popular music affirms the importance of
materiality and the body, challenging the long-standing Western
elevation of the intellect above all things corporeal. Stone also
argues that popular music's stress on materiality gives it
aesthetic value, drawing on ideas from the post-Kantian tradition
in aesthetics by Hegel, Adorno, and others. She shows that popular
music gives importance to materiality in its typical structure: in
how music of this type handles the relations between matter and
form, the relations between sounds and words, and in how it deals
with rhythm, meaning, and emotional expression. Extensive use is
made of musical examples from a wide range of popular music genres.
This book is distinctive in that it defends popular music on
philosophical grounds, particularly informed by the continental
tradition in philosophy.
This volume brings together essential writings by the unjustly
neglected nineteenth-century philosopher Frances Power Cobbe
(1822-1904). A prominent ethicist, feminist, champion of animal
welfare, and critic of Darwinism and atheism, Cobbe was well known
and highly regarded in the Victorian era. This collection of her
work introduces contemporary readers to Cobbe and shows how her
thought developed over time, beginning in 1855 with her Essay on
Intuitive Morals, in which she set out her duty-based moral theory,
arguing that morality and religion are indissolubly connected. This
work provided the framework within which she addressed many
theoretical and practical issues in her prolific publishing career.
In the 1860s and early 1870s, she gave an account of human duties
to animals; articulated a duty-based form of feminism; defended a
unique type of dualism in the philosophy of mind; and argued
against evolutionary ethics. Cobbe put her philosophical views into
practice, campaigning for women's rights and for first the
regulation and later the abolition of vivisection. In turn her
political experiences led her to revise her ethical theory. From
the 1870s onwards she increasingly emphasized the moral role of the
emotions, especially sympathy, and she theorized a gradual
historical progression in sympathy. Moving into the 1880s, Cobbe
combatted secularism, agnosticism, and atheism, arguing that
religion is necessary not only for morality but also for meaningful
life and culture. Shedding light on Cobbe's philosophical
perspective and its applications, this volume demonstrates the
range, systematicity and philosophical character of her work and
makes her core ethical theory and its central applications and
developments available for teaching and scholarship.
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Discovery Miles 3 300
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