Analysis of how emotion is pictured in Arthurian legend. Literary texts complicate our understanding of medieval emotions; they not only represent characters experiencing emotion and reaction emotionally to the behaviour of others within the text, but also evoke and play upon emotion inthe audiences which heard these texts performed or read. The presentation and depiction of emotion in the single most prominent and influential story matter of the Middle Ages, the Arthurian legend, is the subject of this volume.Covering texts written in English, French, Dutch, German, Latin and Norwegian, the essays presented here explore notions of embodiment, the affective quality of the construction of mind, and the intermediary role of the voice asboth an embodied and consciously articulating emotion. Frank Brandsma teaches Comparative Literature (Middle Ages) at Utrecht University; Carolyne Larrington is a Fellow in medieval English at St John's College, Oxford;Corinne Saunders is Professor of Medieval Literature in the Department of English Studies and Co-Director of the Centre for Medical Humanities at the University of Durham. Contributors: Anne Baden-Daintree, Frank Brandsma, Helen Cooper, Anatole Pierre Fuksas, Jane Gilbert, Carolyne Larrington, Andrew Lynch, Raluca Radulescu, Sif Rikhardsdottir, Corinne Saunders,

Analysis of how emotion is pictured in Arthurian legend. Literary texts complicate our understanding of medieval emotions; they not only represent characters experiencing emotion and reaction emotionally to the behaviour of others within the text, but also evoke and play upon emotion inthe audiences which heard these texts performed or read. The presentation and depiction of emotion in the single most prominent and influential story matter of the Middle Ages, the Arthurian legend, is the subject of this volume.Covering texts written in English, French, Dutch, German, Latin and Norwegian, the essays presented here explore notions of embodiment, the affective quality of the construction of mind, and the intermediary role of the voice asboth an embodied and consciously articulating emotion. FRANK BRANDSMA teaches Comparative Literature (Middle Ages) at Utrecht University; CAROLYNE LARRINGTON is Professor of Medieval European Literature at the University of Oxford and Official Fellow in Medieval English Literature at St John's College, Oxford; CORINNE SAUNDERS is Professor of Medieval Literature in the Department of English Studies and Co-Director of the Centre for Medical Humanities at the University of Durham. Contributors: Anne Baden-Daintree, Frank Brandsma, Helen Cooper, Anatole Pierre Fuksas, Jane Gilbert, Carolyne Larrington, Andrew Lynch, Raluca Radulescu, Sif Rikhardsdottir, Corinne Saunders.

An examination of written and other responses to conflict in a variety of forms and genres, from the thirteenth to the seventeenth century. War and violence took many forms in medieval and early modern Europe, from political and territorial conflict to judicial and social spectacle; from religious persecution and crusade to self-mortification and martyrdom; from comedic brutality to civil and domestic aggression. Various cultural frameworks conditioned both the acceptance of these forms of violence, and the protest that they met with: the elusive concept of chivalry, Christianity and just wartheory, political ambition and the machinery of propaganda, literary genres and the expectations they generated and challenged. The essays here, from the disciplines of history, art history and literature, explore how violence and conflict were documented, depicted, narrated and debated during this period. They consider manuals created for and addressed directly to kings and aristocratic patrons; romances whose affective treatments of violence invitedprofoundly empathetic, even troublingly pleasurable, responses; diaries and "autobiographies" compiled on the field and redacted for publication and self-promotion. The ethics and aesthetics of representation, as much as the violence being represented, emerge as a profound and constant theme for writers and artists grappling with this most fundamental and difficult topic of human experience. JOANNA BELLIS is the Fitzjames Research Fellow in Oldand Middle English at Merton College, Oxford; LAURA SLATER holds a Postdoctoral Fellowship from The Paul Mellon Centre for Studies in British Art in London. Contributors: Anne Baden-Daintree, Anne Curry, David Grummitt, Richard W. Kaeuper, Andrew Lynch, Christina Normore, Laura Slater, Sara V. Torres, Matthew Woodcock,