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The intricate structure and the many different narrative threads of
the Prose Lancelot are here skilfully analysed, showing them to be
a major new development in literary technique. Thematically and as
a narrative technique, interlace, the complex weaving together of
many different story-telling strands, comes to its full development
in the intriguing conclusion of the Prose Lancelot. The Grail
appearson the horizon and although Lancelot's love for Guenevere
still makes him the best knight in the world, it becomes clear that
this very love disqualifies him from the Grail Quest. Meanwhile,
the adventures of a myriad Arthurian knights continue to be
followed. This study explains how the interlace works and shows
that it is the perfect vehicle for the relation of the events. It
discusses the division of the narrative into threads, their
interweaving,convergence and divergence, the gradual introduction
of the Grail theme and its first climax (the begetting of Galahad),
the distribution of information to the audience, the use of
dramatic irony and emotions, and many other aspects of this major
innovation in story-telling technique. Dr FRANK BRANDSMA is Senior
Lecturer in Comparative Literature (Middle Ages) in the Department
of Modern Languages at Utrecht University.
Arthur and the grail stories appeared in this French prose cycle
together for the first time; scholars explore its social,
historical, literary and manuscript contexts and account for its
enduring interest. The early thirteenth-century French prose
Lancelot-Grail Cycle (or Vulgate Cycle) brings together the stories
of Arthur with those of the Grail, a conjunction of materials that
continues to fascinate the Western imagination today. Representing
what is probably the earliest large-scale use of prose for fiction
in the West, it also exemplifies the taste for big cyclic
compositions that shaped much of European narrative fiction for
three centuries. A Companion to the Lancelot-Grail Cycle is the
first comprehensive volume devoted exclusively to the
Lancelot-Grail Cycle and its medieval legacy. The twenty essays in
this volume, all by internationally known scholars, locate the work
in its social, historical, literary, and manuscript contexts. In
addition to addressing critical issues in the five texts that make
up the Cycle, the contributors convey to modern readers the appeal
that the text must have had for its medieval audiences, and the
richness of composition that made it compelling. This volume will
become standard reading for scholars, students, and more general
readers interested in the Lancelot-Grail Cycle, medieval romance,
Malory studies, and the Arthurian legends. Contributors: RICHARD
BARBER, EMMANUELE BAUMGARTNER, FANNI BOGDANOW, FRANK BRANDSMA,
MATILDA T. BRUCKNER, CAROL J. CHASE, ANNIE COMBES,HELEN COOPER,
CAROL R. DOVER, MICHAEL HARNEY, DONALD L. HOFFMAN, DOUGLAS KELLY,
ELSPETH KENNEDY, NORRIS J. LACY, ROGER MIDDLETON, HAQUIRA OSAKABE,
HANS-HUGO STEINHOFF, ALISON STONES, RICHARD TRACHSLER. CAROL DOVER
is associate professor of French and director of undergraduate
studies, Georgetown University, Washington DC.
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.
Articles on comedy in Arthurian romance - French, Dutch, Italian,
Scottish and English. The texts analyzed underline the wide
dissemination of the Arthurian story in medieval and post-medieval
Europe, from Scotland to Italy, while the various analyses of the
manifestations of comedy refute the notion of romance as
ahumourless genre. Indeed, the comic treatment of conventional
themes and motifs appears to be not only characteristic of later
romance but an essential element of the genre from its beginnings
and from its earliest development. Authors of Arthurian romance,
from Chretien de Troyes to Malory, writing in French, Italian,
Middle Dutch, and Middle English, and the creators of an Irish
prose-tale, all question the fundamental assumptions of romance and
romancevalues through the medium of comedy. The theme of comedy in
Arthurian romance has been developed from the orignal session at
the Arthurian Congress in Toulouse. Contributors: ELIZABETH
ARCHIBALD, FRANK BRANDSMA, CHRISTINE FERLAMPIN-ACHER, LINDA GOWANS,
DONALD L. HOFFMAN, MARGOLEIN HOGENBIRK, NORRIS J. LACY, MARILYN
LAWRENCE, BENEDICTE MILLAND-BOVE, PETER S. NOBLE, KAREN PRATT,
ANGELICA RIEGER, ELIZABETH S. SKLAR, FRANCESCO ZAMBON.
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,
Essays demonstrating that Arthur belonged to the whole of Europe -
not just England. The European dimensions of Arthurian literature
form the focus of this special issue of Arthurian Literature,
derived from sessions held at the International Conference in
Utrecht (2005). It brings out in particular the supranational
coherence of the Arthurian genre, and the ways in which its motifs
appear throughout European literature. Questions discussed here
include the function of Perceval in a variety of Arthurian
romances, the character of Gauvain in the French, Dutch and English
traditions, the narrator in different versions of the Prose
Lancelot, and the concept of 'youth' in Scandinavian and Old French
romances. BART BESAMUSCA and FRANK BRANDSMA lecture at Utrecht
University. Contributors: BART BESAMUSCA, FRANK BRANDSMA, CORA
DIETL, SARAH GORDON, LINDA GOWANS, MARJOLEIN HOGENBIRK, SUSANNE
KRAMARZ-BEIN, NORRIS J. LACY, MARTINE MEUWESE, STEFANO MULA, JOSEPH
M. SULLIVAN,LORI J. WALTERS.
Latest volume in this series containing the best new work on
Arthurian topics. The latest volume of Arthurian Literature
includes an edition and study of the widely disseminated Latin
translation of Des Grantz Geanz(`De origine gigantum') by James
Carley and Julia Crick, with a feminist readingof the poem by
Lesley Johnson. Claude Luttrell writes on Chretien's Cliges;
Corinne Saunders explores the issue of rape in Chaucer's Wife of
Bath's Tale, Neil Wright offers a reconstruction of the Arthurian
epitaphin Royal 20 B.XV, Frank Brandsma discusses the treatment of
simultaneity in Yvain, Chanson de Roland and a section of the
Lancelot en prose, Julia Crick updates the progress on the
manuscripts of Geoffrey of Monmouth, and A.H.W. Smith contributes a
supplement to the bibliography of twentieth-century Arthurian
literature begun in earlier volumes.
In the medieval Low Countries (modern-day Belgium and the
Netherlands), Arthurian romance flourished in the thirteenth and
fourteenth centuries. The Middle Dutch poets translated French
material (like Chretien's Conte du Graal and the Prose Lancelot),
but also created romances of their own, like Walewein. This book
provides a current overview of the Dutch Arthurian material and the
research that it has provoked. Geographically, the region is a
crossroads between the French and Germanic spheres of influence,
and the movement of texts and manuscripts (West to East) reflects
its position, as revealed by chapters on the historical context,
the French material and the Germanic Arthuriana of the Rhinelands.
Three chapters on the translations of French verse texts, the
translations of French prose texts, and on the indigenous romances
form the core of the book, augmented by chapters on the
manuscripts, on Arthur in the chronicles, and on the post-medieval
Arthurian material.
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