In medieval Occitania (southern France), troubadours and monastic creators fostered a vibrant musical culture. In response to the early Crusade campaigns of the twelfth and thirteenth centuries, Christians of the region turned to producing monophonic, poetic song, encompassing both secular and sacred genres. These works assert shifting regional identities and worldviews, exploring devotional practices and religious beliefs, overlaid with notions of contemporaneous geopolitics and secular, intellectual interests. Mapping Medieval Identities in Occitanian Crusade Song demonstrates the profound impact the Crusades had on two seemingly discrete musical-poetic practices: the Latin, sacred Aquitanian versus, associated with Christian devotion, and the vernacular troubadour lyric, associated with courtly love. Rachel May Golden investigates how such Crusade songs distinctively arose out of their geographic environment, uncovering intersections between the beginning of Holy War and the emergence of new styles of poetic-musical composition. She brings together sacred and secular genres of the region to reveal the inventiveness of new composition and the imaginative scope of the Crusades within medieval culture. These songs reflect both the outer world and interior lives, and often their conjunction, giving shape and expression to concerns with the Occitanian homeland, spatial aspects of the Crusades, and newly emerging positions within socio-political history. Drawing on approaches from cultural geography, literary studies, and musicology, Mapping Medieval Identities in Occitanian Crusade Song provides a timely perspective on geopolitical and cultural interactions between nations.

As a younger generation discovered sewing and traditional quilting, they yearned for a less restrictive way to express their creativity in fabric. By experimenting with the use of colour, asymmetrical blocks, fabric, and improvisational sewing techniques, their quilts took on a new aesthetic and the Modern Quilting movement was born. In Quilting with a Modern Slant, Rachel May shares the stories and work of 80 renowned modern quilters, as well as the techniques and patterns that serve as the foundation of the craft. With step-by-step tutorials to guide newer quilters, this book offers first-hand guidance on the quilting process and experience.

This volume brings together literary and musical compositions of medieval France, including the Occitanian region, identifying the use of voice in these works as a way of articulating gendered identities. The contributors to this volume argue that because medieval texts were often read or sung aloud, voice is central for understanding the performance, transmission, and reception of work from the period across a wide variety of genres. These essays offer close readings of narrative and lyric poetry, chivalric romance, sermons, letters, political writing, motets, troubadour and trouvere lyric, crusade songs, love songs, and debate songs. Through literary, musical, and historiographical analyses, contributors highlight the voicing of gendered perspectives, expressions of sexuality, and power dynamics. The volume includes feminist readings, investigations of masculinity, queer theory, and intersectional approaches. The contributors interpret literary or musical works by Chretien de Troyes, Aimeric de Peguilhan, Hue de la Ferte, the Chastelain de Couci, Jacques de Vitry, Christine de Pizan, Anne de Graville, Alain Chartier, and Giovanni Boccaccio, among others. Gender and Voice in Medieval French Literature and Song offers a valuable interdisciplinary approach and contributes to the history of women's voices in the Middle Ages and Early Modern periods. It illuminates the critical role of voice in negotiating culture, celebrating and innovating traditions, advancing personal and political projects, and defining the literary and musical developments that shaped medieval France.

What does it mean to read one nation's literature in another language? The considerable popularity of Russian literature in the English-speaking world rests almost entirely upon translations: the many competing versions of major works, and the continuing publication of new and revised translations, suggest the inherently complex interplay between language and literature. In ""The Translator in the Text"", Rachel May analyzes Russian literature in English translation, treating it less as a substitute for the original works than as a special subset of English literature, with its own cultural, stylistic, and narrative traditions. Using a blend of translation criticism, close reading, and linguistic analysis, the author explores the translator's role as mediator between cultures and among the voices within literary texts. By observing historical trends in translation styles, May shows how translators have tended to mirror and strengthen contemporary attitudes toward Russia and how swings in political relations have affected the texture of Russian literature as it appears to the anglophone public. Focusing on specific stylistic effects and their treatment in translation, the author also demonstrates regular, repeated alterations of linguistic structures which have a profound impact on the way we read Russian literature in English. May's argument is supplemented with dozens of comparative analyses of Russian passages and their English translations, which provide model close readings, focusing on the thematic implications of stylized language. Two appended essays address specific problems in the teaching of Russian literature in English. And an extensive bibliography lists many alternative translations of important literary works as well as a wealth of theoretical studies of translation. More than a simple critique of existing translations, ""The Translator in the Text"" offers a new paradigm for translation criticism as a pedagogical tool.