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Daniel C. Remein

to detect and explore the non-representational capacities and orientations of medieval poems without immediately reinscribing them within a representational teleology, we are able to perceive them at work in an energetic world. In understanding medieval poems as active in this way, we also have that much more of a chance of doing what I believe Brodeur wanted to do for Beowulf in constructing a fragile framework for the study and appreciation of its aesthetics at mid-century: that is, to translate the poem—in the sense of allowing it to recrystallize—in the

in The heat of Beowulf
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Translative comparative poetics
Daniel C. Remein

within its own post-war intellectual geologies and literary histories—as a comparative horizon for the Old English poem will suggest the usefulness of cultivating a greater critical capacity to detect, comprehend, and explore the non-representational capacities and orientations of medieval poems without immediately re-inscribing them within a representational teleology. As a return to aesthetics that cannot be reduced to formalism, a naive account of a Kantian exhibition of aesthetic ideas, or a transhistorical sensualism, this effort will remain tied to language

in The heat of Beowulf
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Cary Howie

way, with you. The chapter’s title modernizes, as a kind of choreography of stillness, a term the medieval poem uses to express the limits of arithmetic when coping with who we are, alone, together. Chapters 7 and 8 , “Lyric medievalism” and “Lyric theology,” are two sides of the same coin, or, perhaps, two coins of the same side, as they each read closely a handful of modern lyric poems devoted, in various ways, to medieval objects and experiences. “Lyric medievalism” shows how B. H. Fairchild, Lynda Hull and Rynn Williams evoke the Middle Ages as a way of

in Transfiguring medievalism
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Caledonian fatality in Thomas Percy’s Reliques
Frank Ferguson
and
Danni Glover

of Chevy Chase’, chosen as the first ballad in the collection, might have presented problems because of the events it commemorated. It could be perceived as a medieval poem about a border skirmish between English and Scottish factions, which occurred because the then Lord Percy arbitrarily decided to make an illegal incursion into Scotland to hunt deer (1; 1, I, i). However, the ballad depicts this action as a holy and righteous exercise of Percy’s power as an English nobleman: The Persé owt of Northombarlande

in Suicide and the Gothic
Tim William Machan

medieval Scandinavians. In place of regnal genealogies and migration myths, he uses imagery that stresses raw and starkly drawn emotional power of a kind that recalls Frithjof’s saga , a wildly popular pseudo-medieval poem of the early nineteenth century that was translated many times, including by the Robert Latham who wrote so much about Norway. 12 ‘I am the God Thor’, begins one of Longfellow’s poems: I am the War God, I am the Thunderer Here in my Northland, My fastness and fortress, Reign I forever! Here amid icebergs Rule I the nations

in Northern memories and the English Middle Ages
Andrew Higson

-budget British version Robin Hood (1990); the American blockbuster Robin Hood: Prince of Thieves (1991), starring Kevin Costner; and Mel Brooks’s spoof Robin Hood: Men in Tights (1993). A further eighteen films were adapted from an assortment of other literary sources, from the medieval to the postmodern. Medieval poems and letters and the plays of Shakespeare and Marlowe accounted for The Wanderer

in Medieval film
Louise D’Arcens

in the darkest imaginable fashion, reminding of a time dominated by war and epidemics … the time of torture, gallows, and François Villon’s poetry’. 35 Other late medieval poems singled out by the band reinforce this bleak vision of the Middle Ages. Folkfuck Folie bases one song on the devil’s speech about the superiority of the

in Medieval literary voices
Reading historically and intertextually
Judith Anderson

high Renaissance. Sources and analogues like the Variorum ’s need hardly be abandoned, but they cannot exclude a verbal parallel in English in a medieval poem known to be familiar to Spenser. This time, the evidence is incontrovertible. The seventy-ninth sonnet devalues the lady’s ‘fayre’ (1) appearance and ‘glorious hew’ (6), on both of which the lady prides herself. The speaker supersedes these outer qualities with what alone ‘is permanent and free / from frayle corruption, that doth flesh ensew’ (7–8). But unlike

in Rereading Chaucer and Spenser
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
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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