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At the center of Petrarch's vision, announcing a new way of seeing the world, was the individual, a sense of the self that would one day become the center of modernity as well. This self, however, seemed to be fragmented in Petrarch's work, divided among the worlds of philosophy, faith, and love of the classics, politics, art, and religion, of Italy, France, Greece, and Rome. In recent decades scholars have explored each of these worlds in depth. In this work, Giuseppe Mazzotta shows for the first time how all these fragmentary explorations relate to each other, how these separate worlds are part of a common vision. Written in a clear and passionate style, The Worlds of Petrarch takes us into the politics of culture, the poetic imagination, into history and ethics, art and music, rhetoric and theology. With this encyclopedic strategy, Mazzotta is able to demonstrate that the self for Petrarch is not a unified whole but a unity of parts, and, at the same time, that culture emerges not from a consensus but from a conflict of ideas produced by opposition and dark passion. These conflicts, intrinsic to Petrarch's style of thought, lead Mazzotta to a powerful rethinking of the concepts of "fragments" and "unity" and, finally, to a new understanding of the relationship between them. Essential to students of Medieval and Renaissance literature, this book will engage anyone interested in the development of modernity as it has evolved in culture and is understood today.
Roy Harris's thoroughgoing attack on the presuppositions underpinning the dominant traditions of Western thought about language, and his advocacy of a radically reconceived linguistics focused on the idea that the linguistic sign is contextually created and interpreted as a function of the meaningful integration of communicative behaviour, have made him one of the most controversial figures in the field today. In the essays in this volume Naomi S. Baron, Bob Borsley, Philip Carr, David Fleming, Rom Harré, Anthony Holiday, John E. Joseph, Frederick J. Newmeyer, David R. Olson, Trevor Pateman, John Sören Pettersson and John R. Taylor offer a critical examination of various aspects and implications of Harris's views, in reponse to which Harris contributes an article that both engages with his critics and develops some of the major themes of his work.
Proposing a fresh theoretical approach to the study of cinematic portrayals of the Middle Ages, this book uses both semiotics and historiography to demonstrate how contemporary filmmakers have attempted to recreate the past in a way that, while largely imagined, is also logical, meaningful, and as truthful as possible. Carrying out this critical approach, the author analyzes a wide range of films depicting the Middle Ages, arguing that most of these films either reflect the past through a series of visual signs (a concept he has called "iconic recreation") or by comparing the past to a modern equivalent (called "paradigmatic representation").
For the past few hundred years, Western cultures have relied on print. When writing was accomplished by a quill pen, inkpot, and paper, it was easy to imagine that writing was nothing more than a means by which writers could transfer their thoughts to readers. The proliferation of technical media in the latter half of the twentieth century has revealed that the relationship between writer and reader is not so simple. From telegraphs and typewriters to wire recorders and a sweeping array of digital computing devices, the complexities of communications technology have made mediality a central concern of the twenty-first century. Despite the attention given to the development of the media landscape, relatively little is being done in our academic institutions to adjust. In Comparative Textual Media, editors N. Katherine Hayles and Jessica Pressman bring together an impressive range of essays from leading scholars to address the issue, among them Matthew Kirschenbaum on archiving in the digital era, Patricia Crain on the connection between a child’s formation of self and the possession of a book, and Mark Marino exploring how to read a digital text not for content but for traces of its underlying code. Primarily arguing for seeing print as a medium along with the scroll, electronic literature, and computer games, this volume examines the potential transformations if academic departments embraced a media framework. Ultimately, Comparative Textual Media offers new insights that allow us to understand more deeply the implications of the choices we, and our institutions, are making. Contributors: Stephanie Boluk, Vassar College; Jessica Brantley, Yale U; Patricia Crain, NYU; Adriana de Souza e Silva, North Carolina State U; Johanna Drucker, UCLA; Thomas Fulton, Rutgers U; Lisa Gitelman, New York U; William A. Johnson, Duke U; Matthew G. Kirschenbaum, U of Maryland; Patrick LeMieux; Mark C. Marino, U of Southern California; Rita Raley, U of California, Santa Barbara; John David Zuern, U of Hawai‘i at Mānoa.
The present volume collects in one place the most important of Shackleton Bailey's very numerous papers on classical topics, which were originally published in a wide variety of journals around the world. The papers cover the chronological spread of the author's work, and are centered around the fields of Roman history, textual criticism, studies of classical scholars, and important reviews of the textual or historical work of contemporary classicists.
This book is aimed at students coming to the study of western European medieval history for the first time, and also graduate students on interdisciplinary medieval studies programmes. It examines the place of the Middle Ages in modern popular culture, exploring the roots of the stereotypes that appear in films, on television and in the press, and asking why they remain so persistent. The book also asks whether 'medieval' is indeed a useful category in terms of historical periodization. It investigates some of the particular challenges posed by medieval sources and the ways in which they have survived. And it concludes with an exploration of the relevance of medieval history in today's world.
A reappraisal of the tail-rhyme form so strongly associated with medieval English romance, and how it became so appropriated.