Search results

You are looking at 11 - 20 of 24 items for :

  • "medieval poems" x
  • Refine by access: All content x
Clear All
Abstract only
Gillian Rudd

makes much nature writing so resilient to critical interpretation. Oerlemans makes his argument with regard to the writing of the Romantics (prose, shorter poems and sections within longer narrative texts) but the questions of focus and interpretation he raises are thrown into greater relief when, as with the medieval poems under discussion here, we are dealing with free-standing lyrics that are often anonymous, frequently without certain date and usually without a known precise reason for their composition. In this they are most like found objects: they do not need

in Greenery
The abjection of the Middle Ages
Thomas A. Prendergast and Stephanie Trigg

discovery and rather forcefully suggests that scholars might do well to attend to the manuscript context of medieval poems before making assertions about their literary, historical, religious or even generic qualities. 14 The story is irresistible both because it seems to demonstrate the delightful horror of academic error (as long as it doesn’t happen to us) and demonstrates how academic discipline

in Affective medievalism
Peter Barry

italics again] Here, the destined encounter with wilderness as the locale of revelation is rather like that in the medieval poem Sir Gawain and the Green Knight. Having encountered the Green Knight in the crowded festive hall at Christmas time, Gawain must go out into the wilderness a year later in search of the man of the man he beheaded (who immediately picked up his head and left the hall), and there receive the return blow. Like Gawain, but in hired car, rather than on horseback, Hallett sets out for the foothills: The foothills of Cadair Idris are beautiful beyond

in Extending ecocriticism
Willem de Blécourt

small, possibly mutually related group of stories, 19 and she obliterated the horse. In her opinion the brothers guarding the apple tree were not important either, since they were absent in the medieval poem (and, like the illness, belonged to another story type anyway). She divulged a preference for northern European texts: the Russian version was ‘excellent’, the Scottish ‘good’, whereas variants in

in Tales of magic, tales in print
Swooning in late medieval literature
Naomi Booth

There has been scattered scholarship on the relationship between Shakespeare's Romeo and Juliet and his reading of Chaucer's Troilus and Criseyde : see Ann Thompson, who suggests that ‘the medieval poem was very much in [Shakespeare's] mind if not actually in front of his eyes when he was working on Romeo and Juliet ’ (‘ Troilus and Criseyde and Romeo and Juliet ’, The Yearbook of English Studies 6 (1976), 26–37 at 26). Prior to this M.C. Bradbrook suggested: ‘That the author of Romeo and Juliet had learned from the author of Troilus and Criseyde would

in Swoon
Abstract only
Temporal dissonance and narrative voice
Caitlin Flynn

off music, language became self-sufficient as the vehicle of verse, and memory assumed the function of aesthetic distance which had been earlier accorded to music. 19 Douglas’s attention to harmony and cosmology reflects a nuanced and humanist-complected presentation of music not commonly found in other medieval poems, especially dream visions. The extreme to which he pushes this temporal and affective antinomy is deeply grotesque. More generally, Douglas’s engagement with sound and

in The narrative grotesque in medieval Scottish poetry
The implications of mobility
Daniel Birkholz

being forgotten. Chapter 1 thus also concerns how, under the pressure of historicist methodological tastes (New and old), one kind of literary anonymity, the anonymity of unestablished authorship, can breed another: the anonymity of provincial inconsequence. Below we will examine how the cultural meanings and artistic valuation of some reportedly slight medieval poems have been affected by trends in post-medieval literary study. All texts are subject to the vagaries of reception, but the Harley items analysed here have found themselves unusually susceptible to

in Harley manuscript geographies
Joshua Davies

cultures, are able to flourish 54 54 Visions and ruins across time and remake the past and make the future in their own image. As in the case of Detroit, ruination can be the result of political will, and the contemplation of ruins, of the twenty-​first century city or the early medieval poem, can mitigate as well as express, as Derrida would have it, the ruins of one’s own self. So the poem provides a shock of historical depth to Temple’s images, a historical depth that emphasises common humanity rather than race, class or precise historical context. The sense of

in Visions and ruins
Joshua Davies

as belonging in an abjected past. Locating Beowulf in the modern world Racial, ethnic and nationalist readings and uses of medieval culture are present in the disciplinary history of medieval studies as well as the political and creative archive of the Middle Ages.77 Indeed, the discipline of medieval studies developed alongside the birth of nationalist thinking and the two are inextricably linked. This is seen clearly in the early scholarly history of the Old English poem known as Beowulf, during which the early medieval poem was used to secure the identity of a

in Visions and ruins
Jan Broadway

internal inconsistencies in the work are catalogued, it seems obvious that it is a fourteenth-century forgery, but respect for medieval texts and an appreciation of the problems of scribal copies made early antiquaries less critical than later generations of historians. As befitted an author whose first published work was an edition of Geoffrey Chaucer, Stow’s Survey of London reflected his interest in poetry, and he drew on several medieval poems for descriptions of the medieval city. Among the sources he had acquired was part of the collection of John Shirley, who in the

in ‘No historie so meete’