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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.
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,
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,
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