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Essays examining both the theory and practice of medieval
translation. Engaging and informative to read, challenging in its
assertions, and provocative in the best way, inviting the reader to
sift, correlate and reflect on the broader applicability of points
made in reference to a specific text orexchange. Professor Carolyne
P. Collette, Mount Holyoke College. Medieval notions of translatio
raise issues that have since been debated in contemporary
translation studies concerning the translator's role asinterpreter
or author; the ability of translation to reinforce or unsettle
linguistic or political dominance; and translation's capacity for
establishing cultural contact, or participating in cultural
appropriation or effacement.This collection puts these ethical and
political issues centre stage, asking whether questions currently
being posed by theorists of translation need rethinking or revising
when brought into dialogue with medieval examples. Contributors
explore translation - as a practice, a necessity, an impossibility
and a multi-media form - through multiple perspectives on language,
theory, dissemination and cultural transmission. Exploring texts,
authors, languages and genres not often brought together in a
single volume, individual essays focus on topics such as the
politics of multilingualism, the role of translation in conflict
situations, the translator's invisibility, hospitality,
untranslatability and the limits of translation as a category. EMMA
CAMPBELL is Associate Professor in French at the University of
Warwick; ROBERT MILLS is Lecturer in History of Art at University
College London. Contributors: William Burgwinkle, Ardis
Butterfield, Emma Campbell, Marilynn Desmond, Simon Gaunt, Jane
Gilbert, Miranda Griffin, Noah D. Guynn, Catherine Leglu, Robert
Mills, Zrinka Stahuljak, Luke Sunderland
Ovid's Art and the Wife of Bath examines how Ovid's Ars amatoria
shaped the erotic discourses of the medieval West. The Ars amatoria
circulated in medieval France and England as an authoritative
treatise on desire; consequently, the sexualities of the medieval
West are haunted by the imperial Roman constructions of desire that
emerge from Ovid's text. The Ars amatoria ironically proposes the
erotic potential of violence, and this aspect of the Ars proved to
be enormously influential. Ovid's discourse on erotic violence
provides a script for Heloise's epistolary expression of desire for
Abelard. The Roman de la Rose extends the directives of the Ars
with a rhetorical flourish and poetic excess that tests the limits
of Ovidian irony. While Christine de Pizan critiqued the
representations of erotic violence in the Rose, Chaucer
appropriates the Ovidian discourse from the Roman de la Rose to
construct the Wife of Bath a female figure that today's readers
find uncannily familiar. Well written and provocative, this book
will interest scholars of premodern literature, especially those
who work on Medieval English and French, as well as classical,
texts. Marilynn Desmond draws on feminist and queer theory, which
places Ovid's Art and the Wife of Bath at the cutting edge of
debates in gender and sexuality."
Ovid's Art and the Wife of Bath examines how Ovid's Ars amatoria
shaped the erotic discourses of the medieval West. The Ars amatoria
circulated in medieval France and England as an authoritative
treatise on desire; consequently, the sexualities of the medieval
West are haunted by the imperial Roman constructions of desire that
emerge from Ovid's text. The Ars amatoria ironically proposes the
erotic potential of violence, and this aspect of the Ars proved to
be enormously influential. Ovid's discourse on erotic violence
provides a script for Heloise's epistolary expression of desire for
Abelard. The Roman de la Rose extends the directives of the Ars
with a rhetorical flourish and poetic excess that tests the limits
of Ovidian irony. While Christine de Pizan critiqued the
representations of erotic violence in the Rose, Chaucer
appropriates the Ovidian discourse from the Roman de la Rose to
construct the Wife of Bath a female figure that today's readers
find uncannily familiar. Well written and provocative, this book
will interest scholars of premodern literature, especially those
who work on Medieval English and French, as well as classical,
texts. Marilynn Desmond draws on feminist and queer theory, which
places Ovid's Art and the Wife of Bath at the cutting edge of
debates in gender and sexuality."
Medieval manuscript culture organizes reading as a visual
experience. Early fifteenth-century Paris saw a proliferation of
luxury manuscripts whose illuminations situate the reader as
spectator. Christine de Pizan understood this visual aspect of
medieval texts and exploited it throughout her work. The Epistre
Othea (or Letter of Othea, dated about 1400) exemplifies the visual
potential of medieval literature to enhance the reading experience.
Myth, Montage, and Visuality in Late Medieval Manuscript Culture,
as a study of this visuality, draws extensively on film theory,
which offers critical categories for the structures of
spectatorship. The authors argue that premodern and postmodern
cultures share a predilection for the cinematic arrangement of
knowledge in a montage format. Their book explores the competing
models for the study of visual cultures represented by the work of
Erwin Panofsky and Aby Warburg and argues that the latter's
Mnemosyne offers the most productive method for analyzing the
Epistre Othea.
Marilynn Desmond is Professor of English, Binghamton University.
Pamela Sheingorn is Professor of History, Medieval Studies, and
Theatre, Graduate Center, the City University of New York.
If we view the Aeneid - the poem of empire, conquest, and male
hierarchy - as the West's quintessential canonical text and Latin
primer, then the history of Virgil readership should tell us much
about the concept of education in the West. In this book, Marilynn
Desmond reveals how a constructed and mediated tradition of reading
Virgil has conditioned various interpretations among readers
responding to medieval cultural and literary texts. In particular,
she shows how the story of Dido has been marginalized within
canonical readings of the "Aeneid". Reaching back to the Middle
Ages, to vernacular poetic readings of Dido, Desmond recovers an
alternative Virgil from historical tradition and provides another
paradigm for reading the "Aeneid". Desmond follows the figure of
Dido as she emerges from ancient historical and literary texts
(from Timaeus and Justin to Virgil and Ovid) and circulates in
medieval textual cultures. Her study ranges from the pedagogical
discourses of Latin textual traditions (including Servius,
Augustine, Bernard Silvestris, and John of Salisbury) to the French
and English vernacular cultures inscribed in the Roman d'Eneas, the
Histoire ancienne jusqu'a Cesar, and the work of Dante, Chaucer,
Gavin Douglas, Caxton, and Christine de Pizan. The positions of all
these readers point to the cultural specificity and historical
contingency of all traditions of reading. Thus, this book
demonstrates how medieval traditions of reading Dido offer the
modern reader a series of counter-traditions that support feminist,
anti-homophobic, and post-colonial interpretive gestures. A new
series sponsored by the Center for Medieval Studies at the
University of Minnesota. The volumes in this series study the
diversity of medieval cultural histories and practices including
such interrelated issues as gender, class, and social hierarchies,
race and ethnicity, geographical relations, definitions of
political space, discourses of authority and dissent, educational
institutions, canonical and non-canonical literatures, and
technologies of textual and visual literacies.
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