The role of poetry in the transmission and shaping of knowledge in late medieval France. Covering the period from the late thirteenth to the early sixteenth century, Poetry, Knowledge, and Community examines the role of poetry in French culture in transmitting and shaping knowledge. The volume reveals the interplay between poet, text, and audience, and explores the key dynamics of later medieval French poetry and of the communities in which it was produced. Essays in both English and French are organised into three inter-related sections, "Learned Poetry/ Poetry and Learning", "Poetry or Prose?", and "Poetic Communities", and address both canonical and less well-known French and Occitan verse literature, together with a wide range of complementary subjectareas. The international cast of contributors to the volume includes many of the best-known scholars in the field: the introductory essay is by Jacqueline Cerquiglini-Toulet (Universite de Paris IV, Sorbonne), and keynote essays are provided by David F. Hult (University of California, Berkeley), Michel Zink (College de France), and Nancy Freeman Regalado (New York University). Edited by REBECCA DIXON (University of Manchester) and FINN E. SINCLAIR (University of Cambridge), with Adrian Armstrong (University of Manchester), Sylvia Huot (University of Cambridge), and Sarah Kay (University of Princeton). CONTRIBUTORS: Suzanne Conklin Akbari, Mishtooni Bose, Jacqueline Cerquiglini-Toulet, Rebecca Dixon, Thelma Fenster, Denis Hue, David Hult, Stephanie Kamath, Deborah McGrady, Amandine Mussou, Nancy Freeman Regalado, Jennifer Saltzstein, Finn E. Sinclair, Lori J. Walters, David Wrisley, Michel Zink

Often relegated to a backseat by action in the Eastern Theater, the Western Theater is actually where the Federal armies won the Civil War. In the West, General Ulysses S. Grant strung together a series of victories that ultimately led him to oversee Robert E. Lee's surrender at Appomattox Court House and, eventually, two terms in the White House. In the West, the fall of Atlanta secured Lincoln's reelection for his own second term. In the West, Federal armies split the Confederacy in two - and then split it in two again. In the West, Federal armies inexorably advanced, gobbling up huge swaths of territory in the face of ineffective Confederate opposition. By war's end, General William T. Sherman had marched the "Western Theater" all the way into central North Carolina. In the Eastern Theater, the principal armies fought largely within a 100-mile corridor between the capitals of Washington, D.C., and Richmond, Virginia, with a few ill-fated Confederate invasions north of the Mason-Dixon Line. The Western Theater, in contrast, included the entire area between the Appalachian Mountains and the Mississippi River, from Kentucky in the north to the Gulf of Mexico in the south - a vast geographic expanse that, even today, can be challenging to understand. The Western Theater of War: Favorite Stories and Fresh Perspectives from the Historians at Emerging Civil War revisits some of the Civil War's most legendary battlefields: Shiloh, Chickamauga, Franklin, the March to the Sea, and more.

Focusing on songs by the troubadours and trouveres from the twelfth to the fourteenth centuries, Medieval Song from Aristotle to Opera contends that song is not best analyzed as "words plus music" but rather as a distinctive way of sounding words. Rather than situating them in their immediate period, Sarah Kay fruitfully listens for and traces crosscurrents between medieval French and Occitan songs and both earlier poetry and much later opera. Reflecting on a song's songlike quality-as, for example, the sound of light in the dawn sky, as breathed by beasts, as sirenlike in its perils-Kay reimagines the diversity of songs from this period, which include inset lyrics in medieval French narratives and the works of Guillaume de Machaut, as works that are as much desired and imagined as they are actually sung and heard. Kay understands song in terms of breath, the constellations, the animal soul, and life itself. Her method also draws inspiration from opera, especially those that inventively recreate medieval song, arguing for a perspective on the manuscripts that transmit medieval song as instances of multimedia, quasi-operatic performances. Medieval Song from Aristotle to Opera features a companion website (cornellpress.manifoldapp.org/projects/medieval-song) hosting twenty-four audio or video recordings, realized by professional musicians specializing in early music, of pieces discussed in the book, together with performance scores, performance reflections, and translations of all recorded texts. These audiovisual materials represent an extension in practice of the research aims of the book-to better understand the sung dimension of medieval song.

An exciting reassessment of the works of Chretien, making use of modern critical theory to test orthodox opinion. This co-written, multi-stranded book challenges assumptions about Chretien as the author of a canon of works. In a series of lively exchanges, its five authors reassess the relationship between lyric and romance, between individuality and social conditions, and between psychology and medieval philosophy. The idea of "logical time" is used to open up such topics as adventure, memory, imagination, and textual variation. Recent research on Troyes and on the political agency of women leads to the reappraisal of subjectivity and gender. Throughout, the medieval texts associated with the name of Chretien are highlighted as sites where thought emerges; the implications of this thought arehistoricized and further conceptualized with the help of recent theoretical works, including those of Lacan. ZRINKA STAHULJAK, VIRGINIE GREENE, SARAH KAY, SHARON KINOSHITA and PEGGY McCRACKEN are professors at the University of California, Los Angeles, Harvard, New York University, the University of California, Santa Cruz and the University of Michigan respectively.

From Jean de Meun in the late thirteenth century to Christine de Pizan in the early fifteenth, medieval French poets often aimed to impart theological, philosophical, or moral ideas. To unify their thought, and to make its outline visible to readers, the poets created vivid images of place, such as gardens, paths, idyllic landscapes, cities, trees, and fountains. For Sarah Kay, these spatial images are a prop of "monologism," helping to communicate (or impose) unity of meaning and interpretation by summoning readers to occupy the same "place" in their thinking as the authors. Because of this monologism, Kay contends, didactic poetry has been ill served by a critical tradition that favors difference, plurality, and dialogism. In The Place of Thought, she seeks radically to reassess this literature and reappraise the pleasure to be derived from reading it. Kay argues that one meaning is not inherently simpler or less interesting than many meanings. Using specific works as examples, she demonstrates that this "one-ness" of thought in French didactic poems can be an excitingly complex and challenging notion, and that it strains the images in which it is placed to the point where they become difficult to visualize. Herein lies the poems' simultaneous intellectual and aesthetic appeal. Focusing on the Roman de la Rose by Jean de Meun, the Breviari d'amor by Matfre Ermengaud, the Ovide moralise, Pelerinage de vie humaine by Guillaume de Deguileville's, Le Jugement dou roy de Navarre by Guillaume de Machaut, Le Joli buisson de Jonece by Jean Froissart, and Le Livre du Chemin de long estude by Christine de Pizan, Kay traces the works' backgrounds in scholastic thinking, illuminating them when appropriate with modern reflections on the same ideas.

Where does courtly literature come from? What is the meaning of "courtly love"? What is the relation between religious and secular culture in the Middle Ages, and why does it matter? This book addresses these questions, as its title indicates, by way of contradiction. Contradiction is central both to medieval logic and to most modern protocols of reading; it therefore informs both the production and the reception of medieval texts. Yet contradiction itself is rarely analyzed, serving more often as a spur to interpretation than as its object.
This book works between the complex philosophical culture of the twelfth century (principally the traditions of Aristotle and of philosophical Neoplatonism, which diverge significantly in their treatment of contradiction) and the no less complex thought of Lacan (which is just as bound up with contradictoriness). Situating twelfth-century Anglo-Norman, French, and Occitan literature within this philosophical embrace, the author studies the interaction of three major literary genres--hagiography, troubadour lyric, and romance--an interaction that, in the course of the century, generates what we now call "courtly literature."
She shows how preferences for different ways of dealing with contradiction migrate from one genre to another during the twelfth century. She also shows how this movement resulted, by about 1170, in different traditions converging to produce the complex artifacts that canonized literary "courtliness," not only for the Middle Ages but for us as well. Coinciding with this convergence, there is a shift in the locus of contradiction from subject to object. This crucial development not only privileges the object "within" texts, it also cements the value of texts themselves as object.
In a series of comparisons between religious and courtly texts that draws on the writings of Lacan and Kristeva, the author explores how these objects can be variously described in terms of the psychoanalytical concepts of abjection, sublimation, or perversion. The book concludes by suggesting that the historical importance of courtly literature lies in its capacity to mediate, through the centrality accorded to the contradictory object, this transfer from medieval to modern structures of thought and thereby to shape modern forms of enjoyment.

An aspiring yet disenchanted Northern Irish journalist finds himself in New York where he discovers the interdependency of creation, craft and audience. Through a reflective narrative circling his daily life, a lost relationship with his beloved Mary, and an assignment of interviews with a rock'n'roll band, he learns that the key to understanding himself is realising where he really wants to be.

Tell Me About Your Greatness is for children, parents and educators to look at the school day differently and capture the ordinary moments and magnify them to reflect the extraordinary character qualities that are happening daily. This book is designed to teach children that their actions and words truly reflect their qualities of greatness as they go through their school day.These behaviors are observable and give evidence to them and others about who they are and build relationships that are more genuine and authentic. Ultimately the vision of giving children evidence of their greatness is to help them grow strong on the inside.

In the later Middle Ages, many writers claimed that prose is superior to verse as a vehicle of knowledge because it presents the truth in an unvarnished form, without the distortions of meter and rhyme. Beginning in the thirteenth century, works of verse narrative from the early Middle Ages were recast in prose, as if prose had become the literary norm. Instead of dying out, however, verse took on new vitality. In France verse texts were produced, in both French and Occitan, with the explicit intention of transmitting encyclopedic, political, philosophical, moral, historical, and other forms of knowledge.

In Knowing Poetry, Adrian Armstrong and Sarah Kay explore why and how verse continued to be used to transmit and shape knowledge in France. They cover the period between Jean de Meun's Roman de la rose (c. 1270) and the major work of Jean Bouchet, the last of the grands rhetoriqueurs (c. 1530). The authors find that the advent of prose led to a new relationship between poetry and knowledge in which poetry serves as a medium for serious reflection and self-reflection on subjectivity, embodiment, and time. They propose that three major works the Roman de la rose, the Ovide moralise, and Boethius' Consolation of Philosophy form a single influential matrix linking poetry and intellectual inquiry, metaphysical insights, and eroticized knowledge. The trio of thought-world-contingency, poetically represented by Philosophy, Nature, and Fortune, grounds poetic exploration of reality, poetry, and community."

"May God forgive me for the order," Confederate Maj. Gen. John C. Breckinridge remarked as he ordered young cadets from Virginia Military Institute into the battle lines at New Market, just days after calling them from their academic studies to assist in a crucial defense. Virginia's Shenandoah Valley had seen years of fighting. In the spring of 1864, Union Maj. Gen. Franz Sigel prepared to lead a new invasion force into the Valley, operating on the far right flank of Ulysses S. Grant's Overland Campaign. Breckinridge scrambled to organize the Confederate defense. When the opposing divisions clashed near the small crossroads town of New Market on May 15, 1864, new legends of courage were born. Local civilians witnessed the combat unfold in their streets, churchyards, and fields and aided the fallen. The young cadets rushed into the battle when ordered-an opportunity for an hour of glory and tragedy. A Union soldier saved the national colors and a comrade, later receiving a Medal of Honor. The battle of New Market, though a smaller conflict in the grand scheme of that blood-soaked summer, came at a crucial moment in the Union's offensive movements that spring and also became the last major Confederate victory in the Shenandoah Valley. The results in the muddy fields reverberated across the North and South, altering campaign plans-as well as the lives of those who witnessed or fought. Some never left the fields alive; others retreated with excuses or shame. Some survived, haunted or glorified by their deeds. In Call Out the Cadets, Sarah Kay Bierle traces the history of this important, yet smaller battle. While covering the military aspects of the battle, the book also follows the history of individuals whose lives or military careers were changed because of the fight. New Market shined for its accounts of youth in battle, immigrant generals, and a desperate, muddy fight. Youth and veterans, generals and privates, farmers and teachers-all were called into the conflict or its aftermath of the battle, an event that changed a community, a military institute, and the very fate of the Shenandoah Valley.

Following the success of her breakout poem, "B," Sarah Kay, in collaboration with illustrator Sophia Janowitz, releases her debut collection of poetry featuring work from the first decade of her career. No Matter the Wreckage presents readers with new and beloved poetry that showcases Kay's talent for celebrating family, love, travel, and unlikely romance between inanimate objects ("The Toothbrush to the Bicycle Tire"). Both fresh and wise, Kay's poetry allows readers to join her on the journey of discovering herself and the world around her. It is an honest and powerful collection.

Medieval French literature encompasses 450 years of literary output in Old and Middle French, mostly produced in Northern France and England. These texts, including courtly lyrics, prose and verse romances, dits amoureux and plays, proved hugely influential for other European literary traditions in the medieval period and beyond. This Companion offers a wide-ranging and stimulating guide to literature composed in medieval French from its beginnings in the ninth century until the Renaissance. The essays are grounded in detailed analysis of canonical texts and authors such as the Chanson de Roland, the Roman de la Rose, Villon's Testament, Chretien de Troyes, Machaut, Christine de Pisan and the Tristan romances. Featuring a chronology and suggestions for further reading, this is the ideal companion for students and scholars in other fields wishing to discover the riches of the French medieval tradition.

Medieval French literature encompasses 450 years of literary output in Old and Middle French, mostly produced in Northern France and England. These texts, including courtly lyrics, prose and verse romances, dits amoureux and plays, proved hugely influential for other European literary traditions in the medieval period and beyond. This Companion offers a wide-ranging and stimulating guide to literature composed in medieval French from its beginnings in the ninth century until the Renaissance. The essays are grounded in detailed analysis of canonical texts and authors such as the Chanson de Roland, the Roman de la Rose, Villon's Testament, Chretien de Troyes, Machaut, Christine de Pisan and the Tristan romances. Featuring a chronology and suggestions for further reading, this is the ideal companion for students and scholars in other fields wishing to discover the riches of the French medieval tradition.

The songs of the troubadour poets of the south of France were a pervasive influence in the development of the European lyric (and indeed other genres) from the twelfth century to the Renaissance and beyond. Much troubadour poetry is on the topic of love, and is composed from a first-person position. This book is a full-length study of this first-person subject position in its relation to language and society. Using theoretical approaches where appropriate, Sarah Kay discusses to what extent this first person is a 'self' or 'character', and how far it is self-determining. Dr Kay draws on a wide range of troubadour texts, and provides close readings of many of them, as well as translating all medieval quotations into English in order to make the discussion accessible to the non-specialist. Her book will be of interest both to scholars of medieval literature, and to anybody investigating subjectivity in lyric poetry.