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Voice is a fleeting physical phenomenon that leaves behind traces of its existence. Medieval literary voices offers a wide-reaching approach to the concept of literary voices, both the vanished authorial ones and the implicit textual ones. Its impressive lineup deepens our understanding of how literary voices evoke the elusive voices lurking beyond the text, capturing the absent authorial voice, the traces of scribal voices and the soundscape of the uttered text. It explores multiple dimensions of medieval voice and vocalisations, and the interactions between literary voices and their authorial, scribal and socio-political settings. It contends that through the theorizing of literary voices we can begin to understand the ways in which medieval voices mediate or proclaim an embodied selfhood or material presence, how they dictate or contest moral conventions, and how they create and sustain narrative soundscapes.
David Lawton approaches later medieval English vernacular culture in terms of voice. As texts and discourses shift in translation and in use from one language to another, antecedent texts are revoiced in ways that recreate them (as "public interiorities") without effacing their history or future. The approach yields important insights into the voice work of late medieval poets, especially Langland and Chaucer, and also their fifteenth-century successors, who treat their work as they have treated their precursors. It also helps illuminate vernacular religious writing and its aspirations, and it addresses literary and cultural change, such as the effect of censorship and increasing political instability in and beyond the fifteenth century. Lawton also proposes his emphasis on voice as a literary tool of broad application, and his book has a bold and comparative sweep that encompasses the Pauline letters, Augustine's Confessions, the classical precedents of Virgil and Ovid, medieval contemporaries like Machaut and Petrarch, extra-literary artists like Monteverdi, later poets such as Wordsworth, Heaney, and Paul Valery, and moderns such as Jarry and Proust. What justifies such parallels, the author claims, is that late medieval texts constitute the foundation of a literary history of voice that extends to modernity. The book's energy is therefore devoted to the transformative reading of later medieval texts, in order to show their original and ongoing importance as voice work.
This volume brings together literary and musical compositions of medieval France, identifying the use of voice in these works as a way of articulating gendered identities.
Twelve medieval scholars from a wide range of disciplines, including law, literature, and religion address the question: What did it mean to possess a voice - or to be without one - during the Middle Ages? This collection reveals how the philosophy, theology, and aesthetics of the voice inhabit some of the most canonical texts of the Middle Ages.
The fascinating story of how premodern Anatolia’s multireligious intersection of cultures shaped its literary languages and poetic masterpieces By the mid-thirteenth century, Anatolia had become a place of stunning cultural diversity. Kindred Voices explores how the region’s Muslim and Christian poets grappled with the multilingual and multireligious worlds they inhabited, attempting to impart resonant forms of instruction to their intermingled communities. This convergence produced fresh poetic styles and sensibilities, native to no single people or language, that enabled the period’s literature to reach new and wider audiences. This is the first book to study the era’s major Persian, Armenian, and Turkish poets, from roughly 1250 to 1340, against the canvas of this broader literary ecosystem.
The school of Paradise -- The genesis of hermeneutics -- The Garden of eloquence -- The Old English epic of the Fall -- The seducer and the daughter of Eve -- The carnal letter in Chaucer's earthly paradise -- Signs of the Fall: from the Middle Ages to Postmodernism.
The study takes the received view among scholars that women in the Middle Ages were faced with sustained misogyny and that their voices were seldom heard in public and subjects it to a critical analysis. The ten chapters deal with various aspects of the question, and the voices of a variety of authors - both female and male - are heard. The study opens with an enquiry into violence against women, including in texts by male writers (Hartmann von Aue, Gottfried von Straßburg, Wolfram von Eschenbach) which indeed describe instances of violence, but adopt an extremely critical stance towards them. It then proceeds to show how women were able to develop an independent identity in various genres and could present themselves as authorities in the public eye. Mystic texts by Hildegard of Bingen, Marie de France and Margery Kempe, the medieval conduct poem known as Die Winsbeckin, the Devout Books of Sisters composed in convents in South-West Germany, but also quasi-historical documents such as the memoirs of Helene Kottaner or Anna Weckerin's cookery book, demonstrate that far more women were in the public gaze than had hitherto been assumed and that they possessed the self-confidence to establish their positions with their intellectual and their literary achievements.
This collection of essays reveals the diversity of the impact on late medieval and Golden Age Spanish literature of the socio-religious dichotomy that came to exist between conversos (New Christians), who were perceived as inferior because of their Jewish descent, and Old Christians, who asserted the superiority of their pure Christian lineage.
This book explores the voices of nonhuman things in Anglo-Saxon literature and material culture, making a valuable contribution to 'thing theory'.
David Lawton approaches later medieval English vernacular culture in terms of voice, and shows how medieval texts constitute the foundation of a literary history of voice that extends to modernity. As texts and discourses shift in translation and use, antecedent texts are revoiced in ways that recreate them without effacing their history or future.