This is an insight into the rich cultural canvas of the Middle Ages is granted by a host of texts: liturgical manuals; manuscripts of epic poetry, vernacular lyric, and music; paintings, and many more. Adopting a wide range of disciplinary perspectives-literary studies, liturgical studies, iconography, and musicology - this collection of essays reveals the two-fold performative nature of such texts: they document, mediate, or prefigure acts of performance, while at the same time taking on performative roles themselves by generating additional layers of meaning. Focussing on acts, authors, and receptive processes of performance, the authors demonstrate the significance of the performative to the culture of the High and Late Middle Ages (c.1000-1500), from chant to Chaucer, from Scandinavia to Imperial Augsburg.

Essays on a variety of topics in late medieval literature, linked by an engagement with form. The insight that "the implications of textuality as such" can and must underlie our interpretations of literary works remains one of A.C. Spearing's greatest contributions to medieval studies. It is a tribute to the breadth and significance of his scholarship that the twelve essays gathered in his honour move beyond his own methods and interests to engage variously with "textuality as such," presenting a substantial and expansive view of current thinking on form in late medieval literary studies. Covering a range of topics, including the meaning of words, "experientiality", poetic form and its cultural contexts, revisions, rereadings, subjectivity, formalism and historicism, failures of form, the dit, problems of editing lyrics, and collective subjectivity in lyric, they offer a spectrum of the best sort of work blossoming forth from close reading of the kind Spearing was such an early advocate for,continues to press, and which is now so central to medieval studies. Authors and works addressed include Chaucer (The Canterbury Tales, Troilus and Criseyde, The Legend of Good Women, "Adam Scriveyn", "To Rosemounde", "TheComplaint Unto Pity"), Langland (Piers Plowman), the Gawain-poet (Cleanness), Charles d'Orleans, Gower (Confessio Amantis), and anonymous lyrics. Cristina Maria Cervone teaches English literature and medieval studies at the University of Memphis; D. Vance Smith is Professor of English at Princeton University. Contributors: Derek Pearsall, Elizabeth Fowler, Claire M. Waters, Kevin Gustafson, Michael Calabrese, David Aers, Nicolette Zeeman, Jill Mann, D. Vance Smith, J.A. Burrow, Ardis Butterfield, Cristina Maria Cervone, Peter Baker.

First entire collection centred on Chaucer's Book of the Duchess, making a compelling case for its importance and value. The Book of the Duchess, Chaucer's first major poem, is foundational for our understanding of Chaucer's literary achievements in relation to late-medieval English textual production; yet in comparison with other works, itstreatment has been somewhat peripheral in previous criticism. This volume, the first full-length collection devoted to the Book, argues powerfully against the prevalent view that it is an underdeveloped or uneven early work, and instead positions it as a nuanced literary and intellectual effort in its own right, one that deserves fuller integration with twenty-first-century Chaucer studies. The essays within it pursue lingering questions as well as new frontiers in research, including the poem's literary relationships in the sphere of French and English writing, material processes of transmission and compilation, and patterns of reception. Each chapter advances an original reading of the Book of the Duchess that uncovers new aspects of its internal dynamics or of its literary or intellectual contexts. As a whole, the volume reveals the poem's mobility and elasticity within an increasingly international sphere of cultural discourse that thrives on dynamic exchange and encourages sophisticated reflection on authorial practice. Jamie C. Fumo is Professor of English at Florida State University. Contributors: B.S.W. Barootes, Julia Boffey, Ardis Butterfield, Rebecca Davis, A.S.G. Edwards, Jeff Espie, Philip Knox, Helen Phillips, Elizaveta Strakhov, Sara Sturm-Maddox, Marion Wells.

Comparative studies of a number of mixed prose-and-verse literatures, from Europe to the Orient, from classical culture to the 19th century. In virtually all the literary traditions of the world there are works of verbal art that depend for part of their effect on the juxtaposition of prose and verse. This volume takes the first step towards a comparative study of "prosimetrum", the mixture of prose and verse, with essays by leading linguists and literary scholars of a selection of prosimetrical traditions. The nature of what constitutes verse or prose is one underlying question addressed. An outline of historical developments emerges, especially for Europe and the Near East, with articles on classical, medieval and nineteenth-century literatures. Oriental prosimetrical literatures discussed include that of Vedic Indiaand the old literary cultures of China and Japan; also represented are oral and oral-derived folk literatures of recent centuries in Africa, the West, and Inner Asia. Professor KARL REICHL teaches in the English Department at the University of Bonn; Professor JOSEPH HARRIS teaches in the English Department at Harvard University. Contributors: KRISTIN HANSON, PAUL KIPARSKY, JAN ZIOLKOWSKI, ARDIS BUTTERFIELD, PROINSIAS Mac CANA, JOSEPH HARRIS, JUDITH RYAN, W.F.H. NICOLAISEN, LEE HARING, STEVEN WEITZMAN, WOLFHART HEINRICHS, DWIGHT REYNOLDS, JULIE SCOTT MEISAMI, KARL REICHL, WALTHER HEISSIG

In Poetry and Music in Medieval France, first published in 2003, Ardis Butterfield examines vernacular song in medieval France. She begins with the moment when French song first survives in writing in the early thirteenth century, and examines a large corpus of works which combine elements of narrative and song, as well as a range of genres which cross between different musical and literary categories. Emphasising the cosmopolitan artistic milieu of Arras, Butterfield describes the wide range of contexts in which secular songs were quoted and copied, including narrative romances, satires and love poems. She uses manuscript evidence to shed light on medieval perceptions of how music and poetry were composed and interpreted. The volume is well illustrated to demonstrate the rich visual culture of medieval French writing and music. This interdisciplinary study will be of interest to both literary and musical scholars of late medieval culture.

Essays examining both the theory and practice of medieval translation. Engaging and informative to read, challenging in its assertions, and provocative in the best way, inviting the reader to sift, correlate and reflect on the broader applicability of points made in reference to a specific text orexchange. Professor Carolyne P. Collette, Mount Holyoke College. Medieval notions of translatio raise issues that have since been debated in contemporary translation studies concerning the translator's role asinterpreter or author; the ability of translation to reinforce or unsettle linguistic or political dominance; and translation's capacity for establishing cultural contact, or participating in cultural appropriation or effacement.This collection puts these ethical and political issues centre stage, asking whether questions currently being posed by theorists of translation need rethinking or revising when brought into dialogue with medieval examples. Contributors explore translation - as a practice, a necessity, an impossibility and a multi-media form - through multiple perspectives on language, theory, dissemination and cultural transmission. Exploring texts, authors, languages and genres not often brought together in a single volume, individual essays focus on topics such as the politics of multilingualism, the role of translation in conflict situations, the translator's invisibility, hospitality, untranslatability and the limits of translation as a category. EMMA CAMPBELL is Associate Professor in French at the University of Warwick; ROBERT MILLS is Lecturer in History of Art at University College London. Contributors: William Burgwinkle, Ardis Butterfield, Emma Campbell, Marilynn Desmond, Simon Gaunt, Jane Gilbert, Miranda Griffin, Noah D. Guynn, Catherine Leglu, Robert Mills, Zrinka Stahuljak, Luke Sunderland

Ardis Butterfield examines the relationship between the poetry and music of medieval France. Beginning when French song was first set into writing in the early thirteenth century, Butterfield describes the wide range of contexts in which secular songs were quoted and copied. Including narrative romances, satires and love poems, the book reveals the development of French song and narrative genres during a significant period of history.

Essays exploring Chaucer's identity as a London poet and the urban context for his writings. Literature of the city and the city in literature are topics of major contemporary interest. This volume enhances our understanding of Chaucer's iconic role as a London poet, defining the modern sense of London as a city in history, steeped in its medieval past. Building on recent work by historians on medieval London, as well as modern urban theory, the essays address the centrality of the city in Chaucer's work, and of Chaucer to a literature and a language of the city. Contributors explore the spatial extent of the city, imaginatively and geographically; the diverse and sometimes violent relationships between communities, and the use of language to identify and speak for communities; the worlds of commerce, the aristocracy, law, and public order. A final section considers the longer history and memory of the medieval city beyond the devastations of the Great Fire and into the Victorian period. Dr ARDIS BUTTERFIELD is Reader in English at University College London. Contributors: ARDIS BUTTERFIELD, MARION TURNER, RUTH EVANS, BARBARA NOLAN, CHRISTOPHER CANNON, DEREK PEARSALL, HELEN COOPER, C. DAVID BENSON, ELLIOTKENDALL, JOHN SCATTERGOOD, PAUL DAVIS, HELEN PHILLIPS

The Familiar Enemy re-examines the linguistic, literary, and cultural identities of England and France within the context of the Hundred Years War. During this war, two profoundly intertwined peoples developed complex strategies for expressing their aggressively intimate relationship. This special connection between the English and the French has endured into the modern period as a model for Western nationhood. Ardis Butterfield reassesses the concept of 'nation' in this period through a wide-ranging discussion of writing produced in war, truce, or exile from the thirteenth to the fifteenth century, concluding with reflections on the retrospective views of this conflict created by the trials of Jeanne d'Arc and by Shakespeare's Henry V. She considers authors writing in French, 'Anglo-Norman', English, and the comic tradition of Anglo-French 'jargon', including Machaut, Deschamps, Froissart, Chaucer, Gower, Charles d'Orleans, as well as many lesser-known or anonymous works. Traditionally Chaucer has been seen as a quintessentially English author. This book argues that he needs to be resituated within the deeply francophone context, not only of England but the wider multilingual cultural geography of medieval Europe. It thus suggests that a modern understanding of what 'English' might have meant in the fourteenth century cannot be separated from 'French', and that this has far-reaching implications both for our understanding of English and the English, and of French and the French.

An introduction to Gower and his work, focusing on his sources, historical context and literary tradition; special attention is paid to Confessio Amantis. Chaucer, Gower and Lydgate were the three poets of their time considered to have founded the English poetic tradition. Gower, like Lydgate, eventually fell victim to changing tastes but is now enjoying renewed scholarly attention.Current work in manuscript studies, linguistic studies, vernacularity, translation, politics, and the contexts of literary production has found a rich source in Gower's trilingual, learned, and politically engaged corpus. This Companion to Gower offers essays by scholars from Britain and North America, covering Gower's works in all three of his languages; they consider his relationships to his literary sources, and to his social, material and historical contexts; and they offer an overview of the manuscript, linguistic, and editorial traditions. Five essays concentrate specifically on the Confessio Amantis, Gower's major Middle English work, reading it in terms of its relationship to vernacular and classical models, its poetic style, and its treatment of such themes as politics, kingship, gender, sexuality, authority, authorship and self-governance. A reference bibliography, arranged as a chronologyof criticism, concludes the volume. Contributors J.A. BURROW, ARDIS BUTTERFIELD, NATHALIE COHEN, E.H. COOPER, SIAN ECHARD, ROBERT EPSTEIN, JOHN HINES, EDWARD MOORE, DEREK PEARSALL, RUSSELL PECK, A.G. RIGG, SIMON ROFFEY, JEREMY J. SMITH, DIANE WATT, WINTHROP WETHERBEE, ROBERT F. YEAGER. SIAN ECHARD is associate professor, Department of English, University of British Columbia. The Companion can serve as an introduction to Gower and his works for the advanced undergraduate or graduate student, and the essays will also be of interest to experts in Middle English studies and in Gower.

The Familiar Enemy re-examines the linguistic, literary, and cultural identities of England and France within the context of the Hundred Years War. During this war, two profoundly intertwined peoples developed complex strategies for expressing their aggressively intimate relationship. This special connection between the English and the French has endured into the modern period as a model for Western nationhood. Ardis Butterfield reassesses the concept of 'nation' in this period through a wide-ranging discussion of writing produced in war, truce, or exile from the thirteenth to the fifteenth century, concluding with reflections on the retrospective views of this conflict created by the trials of Jeanne d'Arc and by Shakespeare's Henry V. She considers authors writing in French, 'Anglo-Norman', English, and the comic tradition of Anglo-French 'jargon', including Machaut, Deschamps, Froissart, Chaucer, Gower, Charles d'Orleans, as well as many lesser-known or anonymous works. Traditionally Chaucer has been seen as a quintessentially English author. This book argues that he needs to be resituated within the deeply francophone context, not only of England but the wider multilingual cultural geography of medieval Europe. It thus suggests that a modern understanding of what 'English' might have meant in the fourteenth century cannot be separated from 'French', and that this has far-reaching implications both for our understanding of English and the English, and of French and the French.