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The Continuations of Chretien de Troyes' Perceval are here examined
as constituting a discrete genre of medieval literature. The notion
of Continuation in medieval literature is a familiar one - but
difficult to define precisely. Despite the existence of important
texts which are commonly referred to as Continuations, such as Le
Roman de la Rose,Le Chevalier de la Charrette and, of course, the
Perceval Continuations, the mechanics and processes involved in
actually producing a Continuation have found themselves
indistinguishable from those associated with other forms of
medieval reecriture. The Perceval Continuations (composed
c.1200-1230) constitute a vast body of material which incorporates
four separately authored Continuations, each of which seeks to
further,in some way, the unfinished Perceval of Chretien de Troyes
- though they are not merely responses to his work.
Chronologically, they were composed one after the other, and the
next in line picks up where the previous one left off; they thus
respond intertextually to each other as well as to Chretien, and
only one actually furnishes the story as a whole with an ending.
Here, these fascinating texts are used as a lens for examining,
defining and distinguishing the whole concept of a Continuation;
the author also employs theories as to what constitutes an "end"
and what is "unfinished", alongside scrutiny of other medieval
"ends" and Continuations. Dr Leah Tether isa Postdoctoral Research
Fellow at the Cultures of the Digital Economy Institute, Anglia
Ruskin University.
Jane H. M. Taylor is one of the world's foremost scholars of
rewriting or reecriture. Her focus has been on literature in
medieval and Renaissance France, but rewriting, including
continuation, translation, and adaptation, lies at the heart of
literary traditions in all vernaculars. This book explores both the
interdisciplinarity of rewriting and Taylor's remarkable
contribution to its study. The rewriting and reinterpretation of
narratives across chronological, social and/or linguistic
boundaries represents not only a crucial feature of text
transmission, but also a locus of cultural exchange. Taylor has
shown that the adaptation of material to conform to the
expectations, values, or literary tastes of a different audience
can reveal important information regarding the acculturation and
reception of medieval texts. In recent years, numerous scholars
across disciplines have thus turned to this field of enquiry. This
collection of studies dedicated to the rewriting of medieval French
literature from the twelfth to the twenty-first centuries by
Taylor's friends, colleagues, and former students offers not only a
fitting tribute to Taylor's career, but also a timely consolidation
of the very latest research in the field, which will be vital for
all scholars of medieval rewriting. With contributions from Jessica
Taylor, Keith Busby, Leah Tether, Logan E. Whalen, Mireille Seguy,
Christine Ferlampin-Acher, Ad Putter, Anne Salamon, Patrick Moran,
Nathalie Koble, Bart Besamusca, Frank Brandsma, Richard Trachsler,
Carol J. Chase, Maria Colombo Timelli, Laura Chuhan Campbell, Joan
Tasker-Grimbert, Jean-Claude Muhlethaler, Michelle Szkilnik, Thomas
Hinton, Elizabeth Archibald.
The renowned and illustrious tales of King Arthur, his knights and
the Round Table pervade all European vernaculars, as well as the
Latin tradition. Arthurian narrative material, which had originally
been transmitted in oral culture, began to be inscribed regularly
in the twelfth century, developing from (pseudo-)historical
beginnings in the Latin chronicles of "historians" such as Geoffrey
of Monmouth into masterful literary works like the romances of
Chretien de Troyes. Evidently a big hit, Arthur found himself being
swiftly translated, adapted and integrated into the literary
traditions of almost every European vernacular during the
thirteenth and fourteenth centuries. This Handbook seeks to
showcase the European character of Arthurian romance both past and
present. By working across national philological boundaries, which
in the past have tended to segregate the study of Arthurian romance
according to language, as well as by exploring primary texts from
different vernaculars and the Latin tradition in conjunction with
recent theoretical concepts and approaches, this Handbook brings
together a pioneering and more complete view of the specifically
European context of Arthurian romance, and promotes the more
connected study of Arthurian literature across the entirety of its
European context.
Penguin Classics have built their reputation as one of the largest
and most successful modern imprints for 'classic' texts on the
notion of 'the general reader'. Following an interrogation of this
idea, Leah Tether investigates the publication of medieval French
literature on this list and shines a light on the drivers,
motivations, negotiations and decision-making processes behind it.
Focusing on the medieval French texts published between c.1956 and
2000, Tether demonstrates that, rather than Penguin's frequently
cited 'general reader', a more academic market may have contributed
to ensuring the success of these titles.
The renowned and illustrious tales of King Arthur, his knights and
the Round Table pervade all European vernaculars, as well as the
Latin tradition. Arthurian narrative material, which had originally
been transmitted in oral culture, began to be inscribed regularly
in the twelfth century, developing from (pseudo-)historical
beginnings in the Latin chronicles of "historians" such as Geoffrey
of Monmouth into masterful literary works like the romances of
Chretien de Troyes. Evidently a big hit, Arthur found himself being
swiftly translated, adapted and integrated into the literary
traditions of almost every European vernacular during the
thirteenth and fourteenth centuries. This Handbook seeks to
showcase the European character of Arthurian romance both past and
present. By working across national philological boundaries, which
in the past have tended to segregate the study of Arthurian romance
according to language, as well as by exploring primary texts from
different vernaculars and the Latin tradition in conjunction with
recent theoretical concepts and approaches, this Handbook brings
together a pioneering and more complete view of the specifically
European context of Arthurian romance, and promotes the more
connected study of Arthurian literature across the entirety of its
European context.
The early "publishing industry" examined through the prism of the
Grail legend. The Grail is one of the most enduring literary motifs
in publishing history. In spite of an ever-changing world, the
reading public has maintained a fascination for this enigmatic
object, as well as the various adventures and characters associated
with it. But the nature and reception of the Grail have not
remained static. Thanks to the fact that the first known author of
a Grail story, Chretien de Troyes, died c.1180-90 before completing
his tale and revealing the meaning of the Grail, authors and
publishers across history have reimagined, reinterpreted and
re-packaged Grail literature so as to appeal to the developing
tastes and interests of their target audiences. This bookanalyses
the developing publication practices associated with French Grail
literature in medieval and Renaissance France. Arguing for
pre-print book production as constituting an early incarnation of a
publishing trade, it discusses such matters as the disclosure of
authorship and patronage, and the writing and formatting of blurbs,
as well as tactics of compilation and production techniques that
bear evidence of common commercial motivations between pre-and
post-print publication. The distinctive investigation of manuscript
and early-print evidence brings medieval and early-modern
publishers and their concepts of both product and market into
focus. Leah Tether is Reader in Medieval Literature and Digital
Cultures, and Co-Director of the Centre for Medieval Studies at the
University of Bristol. She is the author of The Continuations of
Chretien's Perceval: Content and Construction, Extensionand Ending
(D.S. Brewer, 2012).
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