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The medieval landscape, as viewed through the eyes of scholars, was hardly populated by women. Particularly, young unmarried women or "maidens" have been paid little attention. This book aims to fill that gap by examining the meaning, experiences and voices of young womanhood. The life-phase of “adolescence” was different for maidens than for young men, and as such merits study in its own right. At the same time a study of young womanhood provides insights into ideals of feminine gender roles and identities at different social levels.
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Exploring how the depiction of otherness or alterity during the Middle Ages became problematic in the aesthetics of the Romance epics written during the centuries of the Crusades, this book offers a vital contribution to the growing interest in the way foreign women are presented in the texts of the Latin West and will be of consuming interest to students in women's studies, cultural studies, and medieval literature.The texts considered are written in the major European languages of the time and range from the Song of Songs through Geoffrey of Vinsauf's Poetria Nova to such epics and romances as Erec et Enide,Doon de Maience, Fierabras, La Prise d'Orange, Ars Versificatoria, The Sowdone of Babylone, and Parzifal.
Literary criticism often includes ad hoc comments about onomatopoeia, synaesthesia, or other forms of iconism. In A Grammar of Iconism, Earl Anderson discusses these phenomena systematically. According to Anderson, modern post-Saussurian linguistics has as its central tenet the arbitrariness of linguistic signs. Thus, linguistic elements that bear some relationship to their referent have been seen as marginal to the system of language, or at best similar in their arbitrariness to other linguistic signs. As an example of the latter, while most languages have an onomatopoeic element, different languages imitate sounds differently. Anderson argues against the standard view, provides a detailed critique of the negative arguments against iconism, and offers a positive typology that demonstrates the extensiveness and complexity of iconism in language.
The essays in this single-author collection are principally concerned with Madame Eglentyne, the demure and elegant prioress depicted in Chaucer's Canterbury Tales. Richard Rex contends that how we think about Chaucer as a Christian depends largely on our interpretation of the Prioress's Tale, which in turn is linked to the brilliant portrait of Madame Eglentyne in the General Prologue.