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Over the course of her career, Elizabeth Robertson has pursued
innovative scholarship that investigates the overlapping domains of
medieval philosophy, literature, and gender studies. This
collection of essays dedicated to her work examines gender in
medieval English writing along several axes: poetic, philosophical,
material-textual, and historical. Gender, Poetry, and the Form of
Thought in Later Medieval Literature focuses on the ways that the
medieval body becomes a site of inquiry and agency, whether in the
form of the idealized feminine body of secular and religious lyric,
the sexually permissive and permeable body of fabliaux, or the
intercessory body of religious devotional writing. This collection
asks, how do imagined bodies frame literary explorations of
philosophical categories such as nature, the will, and emotion?
What can accounts of specific historical medieval women-as authors,
patrons, interlocutors-tell us about such representations? In what
ways do devotional practices and texts intersect with the
representations of gender? The essays span a broad range of
medieval literary works, from the lais of Marie de France to Pearl
to Piers Plowman and the poetry of Geoffrey Chaucer, and a broad
range of methodological approaches, from philosophy to affect and
manuscript studies.
What shall we make of medieval English lyrics? They have no fixed
line or meter, no consistent point of view, and their content may
seem misaligned with the other texts in manuscripts in which they
are found. Yet in Lyric Tactics, Ingrid Nelson argues that the
lyric poetry of later medieval England is a distinct genre defined
not by its poetic features-rhyme, meter, and stanza forms-but by
its modes of writing and performance, which are ad hoc,
improvisatory, and situational. Nelson looks at anonymous
devotional and love poems that circulated in manuscripts of
practical, religious, and literary material or were embedded in
popular, courtly, and liturgical works. For her, the poems'
abilities to participate in multiple modes of transmission are
"lyric tactics," responsive and contingent modes of practice that
emerge in opposition to institutional or poetic norms. Working
across the three languages of medieval England (English, French,
and Latin), Nelson examines the tactics of poetic voice in the
trilingual texts of British Library MS Harley 2253, which contains
the well-known English "Harley lyrics." In a study of the English
hymns and French lyrics of the commonplace book of William
Herebert, she unearths the moral implications of lyric tactics for
the friars who produced and disseminated them. And last, she
examines the work of Geoffrey Chaucer and shows how his
introduction of Continental poetic forms such as the balade and the
rondeau suggests continuity with rather than a break from earlier
English lyric. Combining literary analysis, manuscript studies, and
cultural history with modern social theory, Ingrid Nelson
demonstrates that medieval lyric poetry formed a crucial part of
the fabric of later medieval English society.
Essays studying the relationship between literariness and form in
medieval texts. The twenty-first century has witnessed the
re-emergence of various kinds of literary formalism, and one
project that characterizes most of these diverse formalisms is the
effort to distinguish what is precisely literary about their
objects of study. The presumed relation between form and the
literary that this project presupposes, however, raises questions
that still need to be addressed. What is it about form that
produces the category of the literary? What precisely is literary
about literary form? Can the literary be defined beyond form? This
volume explores these questions in the historical and geographical
frame of late medieval Britain, across vaunted literary works such
as the Franklin's Tale, Sir Gawain and the Green Knight, and the
Towneley Shepherds' Plays, and presumed "non-literary" texts, such
as books of hours. By studying texts from a period long priorto
literary formalism - indeed, before any fully articulated theory of
the literary - the essays gathered here aim to rethink the
relationship between form and the literary. Robert J. Meyer-Lee is
Margaret W. PepperdeneDistinguished Scholar-in-Residence at Agnes
Scott College; Catherine Sanok is an Associate Professor of English
and Women's Studies at the University of Michigan. Contributors:
Anke Bernau, Jessica Brantley, Seeta Chaganti, Shannon Gayk,
Kathryn Kerby-Fulton, Andrew Klein, Robert J. Meyer-Lee, Ingrid
Nelson, Maura Nolan, Sarah Elliott Novacich, Catherine Sanok, Emily
Steiner, Claire M. Waters.
What shall we make of medieval English lyrics? They have no fixed
line or meter, no consistent point of view, and their content may
seem misaligned with the other texts in manuscripts in which they
are found. Yet in Lyric Tactics, Ingrid Nelson argues that the
lyric poetry of later medieval England is a distinct genre defined
not by its poetic features-rhyme, meter, and stanza forms-but by
its modes of writing and performance, which are ad hoc,
improvisatory, and situational. Nelson looks at anonymous
devotional and love poems that circulated in manuscripts of
practical, religious, and literary material or were embedded in
popular, courtly, and liturgical works. For her, the poems'
abilities to participate in multiple modes of transmission are
"lyric tactics," responsive and contingent modes of practice that
emerge in opposition to institutional or poetic norms. Working
across the three languages of medieval England (English, French,
and Latin), Nelson examines the tactics of poetic voice in the
trilingual texts of British Library MS Harley 2253, which contains
the well-known English "Harley lyrics." In a study of the English
hymns and French lyrics of the commonplace book of William
Herebert, she unearths the moral implications of lyric tactics for
the friars who produced and disseminated them. And last, she
examines the work of Geoffrey Chaucer and shows how his
introduction of Continental poetic forms such as the balade and the
rondeau suggests continuity with rather than a break from earlier
English lyric. Combining literary analysis, manuscript studies, and
cultural history with modern social theory, Ingrid Nelson
demonstrates that medieval lyric poetry formed a crucial part of
the fabric of later medieval English society.
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