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Showing 1 - 5 of 5 matches in All Departments
Beginning with an examination of the different stages of women's lives--childhood, virginity, marriage and widowhood, this Companion addresses various aspects of medieval life that affected women's writing. These include the nature of authorship in the period, the position of women at home or in nunneries, and their relationship to religion. Additional essays cover the lives and work of such prominent women writers as Heloise, Marie de France, Christine de Pizan, Julian of Norwich, Margery Kempe and Joan of Arc. A chronology and guides to further reading add information which students and scholars will find invaluable.
Beginning with an examination of the different stages of women's lives--childhood, virginity, marriage and widowhood, this Companion addresses various aspects of medieval life that affected women's writing. These include the nature of authorship in the period, the position of women at home or in nunneries, and their relationship to religion. Additional essays cover the lives and work of such prominent women writers as Heloise, Marie de France, Christine de Pizan, Julian of Norwich, Margery Kempe and Joan of Arc. A chronology and guides to further reading add information which students and scholars will find invaluable.
In "Getting Medieval "Carolyn Dinshaw examines
communities--dissident and orthodox--in late-fourteenth and
early-fifteenth-century England to create a new sense of queer
history. Reaching beyond both medieval and queer studies, Dinshaw
demonstrates in this challenging work how intellectual inquiry into
pre-modern societies can contribute invaluably to current issues in
cultural studies. In the process, she makes important connections
between past and present cultures that until now have not been
realized.
How Soon Is Now? performs a powerful critique of modernist temporal regimes through its revelatory exploration of queer ways of being in time as well as of the potential queerness of time itself. Carolyn Dinshaw focuses on medieval tales of asynchrony and on engagements with these medieval temporal worlds by amateur readers centuries later. In doing so, she illuminates forms of desirous, embodied being that are out of sync with ordinarily linear measurements of everyday life, that involve multiple temporalities, that precipitate out of time altogether. Dinshaw claims the possibility of a fuller, denser, more crowded now that theorists tell us is extant but that often eludes our temporal grasp.Whether discussing Victorian men of letters who parodied the Book of John Mandeville, a fictionalized fourteenth-century travel narrative, or Hope Emily Allen, modern coeditor of the early-fifteenth-century Book of Margery Kempe, Dinshaw argues that these and other medievalists outside the academy inhabit different temporalities than modern professionals operating according to the clock. How Soon Is Now? clears space for amateurs, hobbyists, and dabblers who approach medieval worlds from positions of affect and attachment, from desires to build other kinds of worlds. Unruly, untimely, they urge us toward a disorderly and asynchronous collective.
How Soon Is Now? performs a powerful critique of modernist temporal regimes through its revelatory exploration of queer ways of being in time as well as of the potential queerness of time itself. Carolyn Dinshaw focuses on medieval tales of asynchrony and on engagements with these medieval temporal worlds by amateur readers centuries later. In doing so, she illuminates forms of desirous, embodied being that are out of sync with ordinarily linear measurements of everyday life, that involve multiple temporalities, that precipitate out of time altogether. Dinshaw claims the possibility of a fuller, denser, more crowded now that theorists tell us is extant but that often eludes our temporal grasp.Whether discussing Victorian men of letters who parodied the Book of John Mandeville, a fictionalized fourteenth-century travel narrative, or Hope Emily Allen, modern coeditor of the early-fifteenth-century Book of Margery Kempe, Dinshaw argues that these and other medievalists outside the academy inhabit different temporalities than modern professionals operating according to the clock. How Soon Is Now? clears space for amateurs, hobbyists, and dabblers who approach medieval worlds from positions of affect and attachment, from desires to build other kinds of worlds. Unruly, untimely, they urge us toward a disorderly and asynchronous collective.
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