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An invigorating annual for those who are interested in medieval
textual cultures and open to ways in which diverse post-modern
methodologies may be applied to them. Alcuin Blamires, Review of
English Studies New Medieval Literatures is an annual of work on
medieval textual cultures, aiming to engage with intellectual and
cultural pluralism in the Middle Ages and now. Its scope is
inclusive of work across the theoretical, archival, philological,
and historicist methodologies associated with medieval literary
studies, and embraces both the British Isles and Europe. Essays in
this volume engage with the relations between humans and nonhumans;
the power of inanimate objects to animate humans and texts;
literary deployments of medical, aesthetic, and economic
discourses; the language of friendship; and the surprising value of
early readers' casual annotations. Texts discussed include Beowulf,
works by Rolle, Chaucer, Langland, Gower, and Lydgate; lyrics of
the Occitan troubadour Marcabru and the French poet Richard de
Fournival; and the Anglo-Saxon versions of Boethius's De
Consolatione Philosophiae and Augustine's Soliloquia. Wendy Scase
is Geoffrey Shepherd Professor of Medieval English Literature at
the University of Birmingham; David Lawton is Professor of English
at Washington University, StLouis; Laura Ashe is Associate
Professor of English at Worcester College, Oxford.
Stolen Song documents the act of cultural appropriation that
created a founding moment for French literary history: the
rescripting and domestication of troubadour song, a prestige corpus
in the European sphere, as French. This book also documents the
simultaneous creation of an alternative point of origin for French
literary history—a body of faux-archaic Occitanizing songs. Most
scholars would find the claim that troubadour poetry is the origin
of French literature uncomplicated and uncontroversial. However,
Stolen Song shows that the "Frenchness" of this tradition was
invented, constructed, and confected by francophone medieval poets
and compilers keen to devise their own literary history. Stolen
Song makes a major contribution to medieval studies both by
exposing this act of cultural appropriation as the origin of the
French canon and by elaborating a new approach to questions of
political and cultural identity. Eliza Zingesser shows that these
questions, usually addressed on the level of narrative and theme,
can also be fruitfully approached through formal, linguistic, and
manuscript-oriented tools.
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