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Essays on aspects of medieval French literature, celebrating the
scholarship of Sarah Kay and her influence on the field. Sarah Kay
is one of the most influential medievalists of the past fifty
years, making vital, theoretically informed interventions on
material from early medieval chansons de geste, through troubadour
lyric, to late medieval philosophy and poetry, in French, Occitan,
Latin, and Italian. This volume in her honour is organised around
her six major monographs, published between 1990 and 2017. Its
essays engage in critical, constructive dialogue with different
aspects of Kay's work, and envisage how these might shape medieval
French as a discipline in coming years or decades. The subject
matters demonstrate the richness of the discipline: animal studies,
musicology, temporality, the material turn, medieval textuality,
feminism, queer theory, voice, medieval and modern intellectual
formations, psychoanalysis, philology, visual arts, transversal
criticism, the literary object, affect, rhetoric, body, the past,
modern responses to medieval forms and tropes, non-Christian texts
and thought-patterns, politics. Reiterating Kay's engagement with
medieval literature's complex philosophical debates and analytical
scrutiny of human knowledge and affect, they follow her in
emphasising how the pleasure of reading medieval literature depends
crucially on that literature's intellectual robustness. These
essays shed new light on a range of canonical and less well-known
medieval texts and artefacts, to present a fresh perspective on the
field of medieval studies.
An examination of how the dead were memorialised in late medieval
French literature. Awarded a commendation in the Society for French
Studies R. Gapper Book Prize for the best book published in 2016 by
a scholar working in French studies in Britain or Ireland. Who am I
when I am dead? Several late-medieval French writers used literary
representation of the dead as a springboard for exploring the
nature of human being. Death is a critical moment for identity
definition: one is remembered, forgotten or, worse, misremembered.
Works in prose and verse by authors from Alain Chartier to Jean
Bouchet record characters' deaths, but what distinguishes them as
epitaph fictions is not their commemoration of the deceased, so
much as their interrogation of how, by whom, and to what purpose
posthumous identity is constituted. Far from rigidly memorialising
the dead, they exhibit a productive messiness in the processes by
which identity is composed in the moment of its decomposition as a
complex interplay between body, voice and text. The cemeteries,
hospitals, temples and testaments of fifteenth- and
early-sixteenth-century literature, from the "Belle Dame sans
mercy" querelle to Le Jugement poetic de l'honneur femenin, present
a wealth of ambulant corpses, disembodied voices, animated
effigies, martyrs for love and material echoes of the past which
invite readers to approach epitaphic identity as a challenging
question: here lies who, exactly? In its broadest context, this
study casts fresh light on ideas of selfhood in medieval culture as
well as on contemporary conceptions of the capacities and purposes
of literary representation itself. Helen Swift is Associate
Professor of Medieval French at St Hilda's College, Oxford.
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