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New essays examining Bohemia as a key European context for
understanding Chaucer's poetry. Chaucer never went to Bohemia but
Bohemia came to him when, in 1382, King Richard II of England
married Anne, daughter of the Holy Roman Emperor, Charles IV.
Charles's splendid court in Prague was renowned across Europe for
its patronage of literature, art and architecture, and Anne and her
entourage brought with them some of its glamour and allure - their
fashions, extravagance and behaviour provoking comment from English
chroniclers. For Chaucer, a poet and diplomat affiliated to
Richard's court, Anne was more muse than patron, her influence
embedded in a range of his works, including the Parliament of
Fowls, Troilus and Criseyde, the Legend of Good Women and
Canterbury Tales. This volume shows Bohemia to be a key European
context, alongside France and Italy, for understanding Chaucer's
poetry, providing a wide perspective on the nature of cultural
exchange between England and Bohemia in the later fourteenth
century. The contributors consider such matters as court culture
and politics, the writings of Richard Rolle, artistic style, Troy
stories, historiographic writing and travel narrative; they
highlight the debt Chaucer owed to Bohemian culture, and the
affinities between English and Bohemian literary production,
whether in the use of Petrarch's tale of Griselde, the iconography
of the tapster figure, or satires on the Passion of Christ.
This series [pushes] the boundaries of knowledge and [develops] new
trends in approach and understanding. ENGLISH HISTORICAL REVIEW The
focus of this volume may be summed up as "The Word". Its essays
examine the contents and provenance of manuscripts which were
written for polemical purposes, treasured by the duchess of York,
and through the new medium of print introduced to a wider public
topics of historical interest and illustrations of the geography of
the known world. The essays here also consider official records of
forest administration, expressed in arcane language; documents
preserved in the papal curia which reveal significant facts about
the lives of Scottish bishops; archives produced by the English
chancery noting the movements of a royal councillor; and letters,
poems and songs exposing the political strategy of a German prince.
Nor is the spoken word neglected, whether employed in speeches
delivered at the start of parliaments, using as their themes
scriptures and classical texts to set a political agenda; or as
sermons to open-air congregations gathered at St. Paul's Cross,
where the oratory of Bishop Alcock stirred his listeners in
different ways. Contributors: Michael Bennett, Julia Boffey, Paul
Cavill, J.M. Grussenmeyer, TomJohnson, J.L. Laynesmith, John
Milner, Ben Pope, Dan E. Seward, Sarah Thomas
A collection attesting to the richness and lasting appeal of these
short forms of Middle English verse. The body of short Middle
English poems conventionally known as lyrics is characterized by
wonderful variety. Taking many different forms, and covering an
enormous number of subjects, these poems have proved at once
attractive andchallenging for modern readers and scholars. This
collection of essays explores a range of Middle English lyrics from
the thirteenth to the early sixteenth century, both religious and
secular in flavour. It directs attention to the intrinsic qualities
of these short poems and at the same time explores their capacity
to illuminate important aspects of medieval cultural practice and
production: forms of piety, contemporary conditions and events, the
historyof feelings and emotions, and the relationships of image,
song, performance and speech to the written word. The issues
covered in the essays include editing lyrics; lyric manuscripts;
affect; visuality; mouvance and transformation; and the
relationships between words, music and speech. A particularly
distinctive feature of the collection is that most of the essays
take as a point of departure a specific lyric whose particularities
are explored within wider-ranging critical argument.
First entire collection centred on Chaucer's Book of the Duchess,
making a compelling case for its importance and value. The Book of
the Duchess, Chaucer's first major poem, is foundational for our
understanding of Chaucer's literary achievements in relation to
late-medieval English textual production; yet in comparison with
other works, itstreatment has been somewhat peripheral in previous
criticism. This volume, the first full-length collection devoted to
the Book, argues powerfully against the prevalent view that it is
an underdeveloped or uneven early work, and instead positions it as
a nuanced literary and intellectual effort in its own right, one
that deserves fuller integration with twenty-first-century Chaucer
studies. The essays within it pursue lingering questions as well as
new frontiers in research, including the poem's literary
relationships in the sphere of French and English writing, material
processes of transmission and compilation, and patterns of
reception. Each chapter advances an original reading of the Book of
the Duchess that uncovers new aspects of its internal dynamics or
of its literary or intellectual contexts. As a whole, the volume
reveals the poem's mobility and elasticity within an increasingly
international sphere of cultural discourse that thrives on dynamic
exchange and encourages sophisticated reflection on authorial
practice. Jamie C. Fumo is Professor of English at Florida State
University. Contributors: B.S.W. Barootes, Julia Boffey, Ardis
Butterfield, Rebecca Davis, A.S.G. Edwards, Jeff Espie, Philip
Knox, Helen Phillips, Elizaveta Strakhov, Sara Sturm-Maddox, Marion
Wells.
The questions of fame and reputation are central to Chaucer's
writings; the essays here discuss their various treatments and
manifestations. Fama, or fame, is a central concern of late
medieval literature: where fame came from, who deserved it, whether
it was desirable and how it was acquired and kept. An interest in
fame was not new but was renewed and rethought within the
vernacular revolutions of the later Middle Ages. The work of
Geoffrey Chaucer collates received ideas on the subject of fama,
both from the classical world and from the work of his
contemporaries. Chaucer's place in these intertextual negotiations
was readily recognized in his aftermath, as later writers adopted
and reworked postures which Chaucer had struck, in their own bids
for literary authority. This volume tracks debates onfama which
were past, present and future to Chaucer, using his work as a
centre point to investigate canon formation in European literature
from the late Middle Ages and into the Early Modern period. Isabel
Davis is Senior Lecturer in Medieval Literature at Birkbeck,
University of London; Catherine Nall is Senior Lecturer in Medieval
Literature at Royal Holloway, University of London. Contributors:
Joanna Bellis, Alcuin Blamires, Julia Boffey, Isabel Davis,
Stephanie Downes, A.S.G. Edwards, Jamie C. Fumo, Andrew Galloway,
Nick Havely, Thomas A. Prendergast, Mike Rodman Jones, William T.
Rossiter, Elizaveta Strakhov.
Comprehensive survey of the Middle English lyric, one of the most
important forms of medieval literature. Winner of a CHOICE
Outstanding Academic Title Award The Middle English lyric occupies
a place of considerable importance in the history of English
literature. Here, for the first time in English, are found many
features of formal and thematic importance: they include rhyme
scheme, stanzaic form, the carol genre, love poetry in the manner
of the troubadour poets, and devotional poems focusing on the love,
suffering and compassion of Christ and theVirgin Mary. The essays
in this volume aim to provide both background information on and
new assessments of the lyric. By treating Middle English lyrics
chapter by chapter according to their kinds - poems dealing with
love, with religious devotion, with moral, political and popular
themes, and those associated with preaching - it provides the
awareness of their characteristic cultural contexts and literary
modalities necessary for an informed critical reading. Full account
is taken of the scholarship upon which our knowledge of these
lyrics rests, especially the outstanding contributions of the last
few decades and such recent insights as those of gender criticism.
Also included are detailed discussions of the valuable information
afforded by the widely varying manuscript contexts in which Middle
English lyrics survive and of the diverse issues involved in
editing these texts. Separate chapters are devotedto the carol,
which came to prominence in the fifteenth century, and to Middle
Scots lyrics which, at the end of the Middle English lyric
tradition, present some sophisticated productions of an entirely
new order. Contributors: Julia Boffey, Thomas G. Duncan, John
Scattergood, Vincent Gillespie, Christiania Whitehead, Douglas
Gray, Karl Reichl, Thorlac Turville-Petre, Alan J. Fletcher,
Bernard O'Donoghue, Sarah Stanbury and Alasdair A. MacDonald.
THOMAS G. DUNCAN is Honorary Senior Lecturer, School of English,
University of St Andrews.
Essays considering the relationship between Gower's texts and the
physical ways in which they were first manifested. The media in
which Gower's works were first transmitted, whether in print of
manuscript form, are of vital importance to an understanding of
both the poet and his audience. However, in comparison with those
of his contemporary Chaucer, they have been relatively little
studied. This volume represents a major collaboration between
specialist scholars in manuscript and book history, and experts in
Gower more generally, breaking new ground in approaching Gower
through first-hand study of his publications in manuscript and
print. Its chapters consider such matters as manuscript and book
illumination, provenance, variant texts and editions, scribes, and
printers, looking at how, and to what degree, the materiality of
the vellum, paper, ink and binding illuminates - and even
implicates - the poet and his poetry. MARTHA DRIVER is
Distinguished Professor of English and Women's and Gender Studies
at Pace University; the late DEREK PEARSALL was Gurney Professor of
English Literature, Emeritus, Harvard University; R.F. YEAGER Is
Professor of English and Foreign Languages, Emeritus, University of
West Florida. Contributors: Stephanie L. Batkie, Julia Boffey,
Margaret Connolly, Sian Echard, A.S.G. Edwards, Robert Epstein,
Brian W. Gastle, Amanda J. Gerber, Yoshiko Kobayashi, Aditi Nafde,
Tamara Perez-Fernandez, Wendy Scase, Karla Taylor, David Watt.
A collection attesting to the richness and lasting appeal of these
short forms of Middle English verse. The body of short Middle
English poems conventionally known as lyrics is characterized by
wonderful variety. Taking many different forms, and covering an
enormous number of subjects, these poems have proved at once
attractive andchallenging for modern readers and scholars. This
collection of essays explores a range of Middle English lyrics from
the thirteenth to the early sixteenth century, both religious and
secular in flavour. It directs attention to the intrinsic qualities
of these short poems and at the same time explores their capacity
to illuminate important aspects of medieval cultural practice and
production: forms of piety, contemporary conditions and events, the
historyof feelings and emotions, and the relationships of image,
song, performance and speech to the written word. The issues
covered in the essays include editing lyrics; lyric manuscripts;
affect; visuality; mouvance and transformation; and the
relationships between words, music and speech. A particularly
distinctive feature of the collection is that most of the essays
take as a point of departure a specific lyric whose particularities
are explored within wider-ranging critical argument. JULIA BOFFEY
is Professor of Medieval Studies in the Department of English at
Queen Mary University of London; CHRISTIANIA WHITEHEAD is Professor
of Middle English Literature at the University of Warwick.
Contributors: Anne Baden-Daintree, Julia Boffey, Anne Marie D'Arcy,
Thomas G. Duncan, Susanna Fein, Mary C. Flannery, Jane Griffiths,
Joel Grossman, John C. Hirsh, Hetta Elizabeth Howes, Natalie Jones,
Michael P. Kuczynski, A.S. Lazikani, Daniel McCann, Denis Renevey,
Elizabeth Robertson, Annie Sutherland, Mary Wellesley, Christiania
Whitehead, Katherine Zieman.
This collection of seventeen original essays by leading authorities
offers, for the first time, a comprehensive overview of the
significant authors and important aspects of fifteenth-century
English poetry. This collection of seventeen original essays by
leading authorities offers, for the first time, a comprehensive
overview of the significant authors and important aspects of
fifteenth-century English poetry. The major poets of thecentury,
John Lydgate and Thomas Hoccleve, receive detailed analysis,
alongside perhaps lesser-known authors: John Capgrave, Osbern
Bokenham, Peter Idley, George Ashby and John Audelay. In addition,
several essays examine genres and topics, including romance,
popular, historical and scientific poetry, and translations from
the classics. Other chapters investigate the crucial contexts for
approaching poetry of this period: manuscript circulation,
patronageand the influence of Chaucer. Julia Boffey is Professor of
Medieval Studies at Queen Mary, University of London; A.S.G.
Edwards is Professor of Medieval Manuscripts at the University of
Kent. Contributors: Anthony Bale, Julia Boffey, A.S.G. Edwards,
Susanna Fein, Alfred Hiatt, Simon Horobin, Sarah James, Andrew
King, Sheila Lindenbaum, Joanna Martin, Carol Meale, Robert
Meyer-Lee, Ad Putter, John Scattergood, Anke Timmermann,
DanielWakelin, David Watt.
A full survey and overview of the extraordinary flowering of
Scottish poetry in the middle ages. The poetry written in Scotland
between the late fourteenth and the early years of the sixteenth
century is exceptionally rich and varied. The contributions
collected here, by leading specialists in the field, provide a
comprehensive and up-to-date guide to the material. There are
introductions to the literary culture of late medieval Scotland and
its historical context; separate studies of the writings of James
I, Robert Henryson, William Dunbar, Gavin Douglas, and Sir David
Lyndsay; and essays devoted to general themes or genres, including
the historiographical tradition, religious verse, romances, and the
legendary history of Alexander the Great. A final chapter provides
bibliographical guidance on the major advances in the criticism and
scholarly study of this poetry during the last thirty years.
Contributors: PRISCILLA BAWCUTT, JULIA BOFFEY, JOHN BURROW,
ELIZABETH EWAN, R. JAMES GOLDSTEIN, DOUGLAS GRAY, JANET HADLEY
WILLIAMS, R. J. LYALL, ANNE MCKIMM, JOANNA MARTIN, RHIANNON PURDIE,
NICOLA ROYAN.
A full survey and overview of the extraordinary flowering of
Scottish poetry in the middle ages. The poetry written in Scotland
between the late fourteenth and the early years of the sixteenth
century is exceptionally rich and varied. The contributions
collected here, by leading specialists in the field, provide a
comprehensive and up-to-date guide to the material. There are
introductions to the literary culture of late medieval Scotland and
its historical context; separate studies of the writings of James
I, Robert Henryson, William Dunbar, Gavin Douglas, and Sir David
Lyndsay; and essays devoted to general themes or genres, including
the historiographical tradition, religious verse, romances, and the
legendary history of Alexander the Great. A final chapter provides
bibliographical guidance on the major advances in the criticism and
scholarly study of this poetry during the last thirty years.
Contributors: PRISCILLA BAWCUTT, JULIA BOFFEY, JOHN BURROW,
ELIZABETH EWAN, R. JAMES GOLDSTEIN, DOUGLAS GRAY, JANET HADLEY
WILLIAMS, R. J. LYALL, ANNE MCKIMM, JOANNA MARTIN, RHIANNON PURDIE,
NICOLA ROYAN.
Comprehensive survey of the Middle English lyric, one of the most
important forms of medieval literature. Winner of a CHOICE
Outstanding Academic Title Award The Middle English lyric occupies
a place of considerable importance in the history of English
literature. Here, for the first time in English, are found many
features of formal and thematic importance: they include rhyme
scheme, stanzaic form, the carol genre, love poetry in the manner
of the troubadour poets, and devotional poems focusing on the love,
suffering and compassion of Christ and theVirgin Mary. The essays
in this volume aim to provide both background information on and
new assessments of the lyric. By treating Middle English lyrics
chapter by chapter according to their kinds - poems dealing with
love, with religious devotion, with moral, political and popular
themes, and those associated with preaching - it provides the
awareness of their characteristic cultural contexts and literary
modalities necessary for an informed critical reading. Full account
is taken of the scholarship upon which our knowledge of these
lyrics rests, especially the outstanding contributions of the last
few decades and such recent insights as those of gender criticism.
Also included are detailed discussions of the valuable information
afforded by the widely varying manuscript contexts in which Middle
English lyrics survive and of the diverse issues involved in
editing these texts. Separate chapters are devotedto the carol,
which came to prominence in the fifteenth century, and to Middle
Scots lyrics which, at the end of the Middle English lyric
tradition, present some sophisticated productions of an entirely
new order. Contributors: Julia Boffey, Thomas G. Duncan, John
Scattergood, Vincent Gillespie, Christiania Whitehead, Douglas
Gray, Karl Reichl, Thorlac Turville-Petre, Alan J. Fletcher,
Bernard O'Donoghue, Sarah Stanbury and Alasdair A. MacDonald.
THOMAS G. DUNCAN is Honorary Senior Lecturer, School of English,
University of St Andrews
Material on the production and transmission of medieval literature
and the early formation of the canon of English poetry. A wide
range of poets is covered - Chaucer, Gower, Hoccleve, the Gawain
poet, Langland, and Lydgate, along with the translator of
Claudian's De Consulatu Stilichonis. The Turnament of Totenham is
read in termsof theory of the carnivalesque and popular culture,
and major contributions are made to current linguistic, editorial
and codicological controversies. Going beyond the Middle Ages, the
book also considers the sixteenth-century reception of Chaucer's
Legend of Good Women and Post-Reformation reading of Lydgate. It is
essential reading for anyone interested in the production and
transmission of medieval literature, and in the early formation of
the canon of English poetry. Contributors: JULIA BOFFEY, J.A.
BURROW, CHRISTOPHER CANNON, MARTHA DRIVER, SIAN ECHARD, A.S.G.
EDWARDS, KATE D. HARRIS, S.S. HUSSEY, KATHRYN KERBY-FULTON, CAROL
M. MEALE, LINNE R. MOONEY, CHARLOTTE C. MORSE, V.I.J. SCATTERGOOD,
ELIZABETH SOLOPOVA, ESTELLE STUBBS, JOHN THOMPSON.
The Oxford History of Poetry in English is designed to offer a
fresh, multi-voiced, and comprehensive analysis of 'poetry': from
Anglo-Saxon culture through contemporary British, Irish, American,
and Global culture, including English, Scottish, and Welsh poetry,
Anglo-American colonial and post-colonial poetry, and poetry in
Canada, Australia, New Zealand, the Caribbean, India, Africa, Asia,
and other international locales. The series both synthesizes
existing scholarship and presents cutting-edge research, employing
a global team of expert contributors for each of the fourteen
volumes. This volume explores the developing range of English verse
in the century after the death of Chaucer in 1400, years that saw
both change and consolidation in traditions of poetic writing in
English in the regions of Britain. Chaucer himself was an important
shaping presence in the poetry of this period, providing a stimulus
to imitation and to creative expansion of the modes he had
favoured. In addition to assessing his role, this volume considers
a range of literary factors significant to the poetry of the
century, including verse forms, literary language, translation, and
the idea of the author. It also signals features of the century's
history that were important for the production of English verse:
responses to wars at home and abroad, dynastic uncertainty, and
movements towards religious reform, as well as technological
innovations such as the introduction of printing, which brought
influential changes to the transmission and reception of verse
writing. The volume is shaped to include chapters on the contexts
and forms of poetry in English, on the important genres of verse
produced in the period, on some of the fifteenth-century's major
writers (Lydgate, Hoccleve, Dunbar, and Henryson), and a
consideration of the influence of the verse of this century on what
was to follow.
The essays in this volume celebrate the career of the distinguished
medievalist, Ronald Waldron. Fittingly, they focus on the Middle
English alliterative tradition, but do not exclude material in
other areas. Acting as a linking theme is a concern with the
relationship of texts to their contexts, whether historical,
philosophical, linguistic, or codicological. Topics discussed
include feasting in Middle English alliterative poetry; setting and
context in the works of the Gawain-poet; Henryson's Testament of
Cresseid; Layamon; and Middle English verse in Chronicles.
Contributors: MALCOLM ANDREW, ROSAMUND ALLEN, RALPH HANNA, SUSAN
POWELL, JANE ROBERTS, JEREMY SMITH, DEREK PEARSALL, N.F. BLAKE,
JULIA BOFFEY, A.S.G. EDWARDS, JANET COWEN, ROGER DAHOOD, ELTON D.
HIGGS, GEORGE KANE.
Contributors: Pamela King, James Simpson, Henrietta
Twycross-Martin, Janet Cowen, W.A. Davenport, Julia Boffey, Jane
Roberts, Rosamund S. Allen, Peter Brown
The annual Journal of the Early Book Society for the Study of
Manuscripts and Printing History is published by Pace University
Press. The greater part of each volume is devoted to four or five
substantial essays on the history of the book, with emphasis on the
period of transmission from manuscript to print. The main focus is
on English and continental works produced from 1350 to 1550. In
addition, the journal includes brief notes on manuscripts and early
printed books, descriptive reviews of recent works in the field,
and notes on libraries and collections.
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.
This anthology provides new editions of five 15th-century English
poems framed as dreams and demonstrates the energy with which this
influential medieval form was explored by post-Chaucerian writers.
Lydgate's "Temple of Glass", a complex love vision, generates a
counsel of a wide-ranging kind; "The Kingis Quair" of James I of
Scotland and "Love's Renewal" from the English poems of Charles of
Orleans manipulate autobiographical detail to philosophical and
political ends; the anonymous "Assembly of Ladies" foregrounds
women's voices; and finally, Skelton's "Bowge of Court" adapts the
love vision to the purposes of a satire on court life. The editions
are in lightly modernized spelling and accompanied by glosses,
explanatory notes and textual commentary. Each text has its own
introduction and recommendations for further reading and a general
introduction discusses the significance of the dream form, its
importance for Middle English writers, and the extraordinary
variety of directions in which it was developed by 15th-century
poets.
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