Download Free Medieval French On The Move Book in PDF and EPUB Free Download. You can read online Medieval French On The Move and write the review.

When Keith Busby published his field-shaping Codex and Context in 2002, the work was referred to as ‘groundbreaking’ and ‘monumental’. It prompted scholars of medieval literature to return to manuscripts in their droves. However, Busby’s Codex and Context would also enact another, more gradual movement. His formulation of the term ‘medieval Francophonia’ to describe the presence, power and effect of French outside France would filter steadily into academic enquiry. The term and concept are now widely recognised and applied in global scholarship, including in multiple major projects dedicated to the topic. This volume brings together a series of cutting-edge studies of medieval Francophonia, covering in one place and for the first time the fullest scope of the concept’s remit, with contributions on history, historiography, language, literature, culture, society and authority. At the same time as offering a timely contribution to the field, this volume pays tribute to Busby’s life work not only to pioneer medieval Francophonia, but also, and moreover, to encourage the study of the medieval through material philology. Each of the studies here, written by Busby’s friends and colleagues, thus roots its approach in a material context.
In medieval Europe, cultural, political, and linguistic identities rarely coincided with modern national borders. As early as the end of the twelfth century, French rose to prominence as a lingua franca that could facilitate communication between people, regardless of their origin, background, or community. Between the twelfth and fifteenth centuries, literary works were written or translated into French not only in France but also across Europe, from England and the Low Countries to as far afield as Italy, Cyprus, and the Holy Land. Many of these texts had a broad European circulation and for well over three hundred years they were transmitted, read, studied, imitated, and translated.00Drawing on the results of the AHRC-funded research project Medieval Francophone Literary Culture Outside France, this volume aims to reassess medieval literary culture and explore it in a European and Mediterranean setting. The book, incorporating nineteen papers by international scholars, explores the circulation and production of francophone texts outside of France along two major axes of transmission: one stretching from England and Normandy across to Flanders and Burgundy, and the other running across the Pyrenees and Alps from the Iberian Peninsula to the Levant. In doing so, it offers new insights into how francophone literature forged a place for itself, both in medieval textual culture and, more generally, in Western cultural spheres.
Studies manuscript sources, often of under-studied works and writers, to reassess the use of French as a literary language outside France in the medieval period.
The monograph series Oxford Studies in Medieval Literature and Culture showcases the plurilingual and multicultural quality of medieval literature and actively seeks to promote research that not only focuses on the array of subjects medievalists now pursue in literature, theology, and philosophy, in social, political, jurisprudential, and intellectual history, the history of art, and the history of science but also that combines these subjects productively. It offers innovative studies on topics that may include, but are not limited to, manuscript and book history; languages and literatures of the global Middle Ages; race and the post-colonial; the digital humanities, media and performance; music; medicine; the history of affect and the emotions; the literature and practices of devotion; the theory and history of gender and sexuality, ecocriticism and the environment; theories of aesthetics; medievalism. The field of medieval francophone literary culture outside France was for many years a minor and peripheral sub-field of medieval French literary studies (or, in the case of Anglo-Norman, of English studies). The past two decades, however, have seen a major reassessment of the use of French in England, in the Low Countries, in Italy, and in the eastern Mediterranean, and this impacts significantly upon the history of literature in French more generally. This book is the first to look at the question overall, rather than just at one region. It also takes a more sustained theorised approach than other studies, drawing particularly on Derrida and on Actor-Network Theory. It discusses a wide range of texts, some of which have hitherto been regarded as marginal to French literary history, and makes the case for this material being more central to the literary history of French than was allowed in more traditional approaches focused narrowly on 'France'. Many of the arguments in Medieval French Literary Culture Abroad are grounded in readings of texts in manuscript (rather than in modern critical editions), and sustained attention is paid throughout to manuscripts that were produced or travelled outside the kingdom of France.
Both a study of Anglo-Norman history based upon long and detailed research and also the biography of a man whose personal career was spectacular.
Do you want to learn French the fast, fun and easy way? And do you want to master daily conversations and speak like a native? Then this is the book for you. Learn French: Must-Know French Slang Words & Phrases by FrenchPod101 is designed for Beginner-level learners. You learn the top 100 must-know slang words and phrases that are used in everyday speech. All were hand-picked by our team of French teachers and experts. Here’s how the lessons work: • Every Lesson is Based on a Theme • You Learn Slang Words or Phrases Related to That Theme • Check the Translation & Explanation on How to Use Each One And by the end, you will have mastered 100+ French Slang Words & phrases!
First English translation of one of the most influential French poems of the Middle Ages. The anonymous Ovide moralisé (Moralized Ovid), composed in France in the fourteenth century, retells and explicates Ovid's Metamorphoses, with generous helpings of related texts, for a Christian audience. Working from the premise that everything in the universe, including the pagan authors of Graeco-Roman Antiquity, is part of God's plan and expresses God's truth even without knowing it, the Ovide moralisé is a massive and influential work of synthesis and creativity, a remarkable window into a certain kind of medieval thinking. It is of major importance across time and across many disciplines, including literature, philosophy, theology, and art history. This three volume set offers an English translation of this hugely significant text - the first into any modern language. Based on the only complete edition to date, that by Cornelis de Boer and others completed in 1938, it also reflects more recent editions and numerous manuscripts. The translation is accompanied by a substantial introduction, situating the Ovide moralisé in terms of the reception of Ovid, the mythographical tradition, and its medieval French religious and intellectual milieu. Notes discuss textual problems and sources, and relate the text to key issues in the thought of theologians such as Bonaventure and Aquinas.
1. 0. V2 AND NULL SUBJECTS IN THE HIS TORY OF FRENCH The prototypical Romance null subject language has certain well known characteristics: verbal inflection is rich, distinguishing six per sonlnumber forms; subject pronouns are generally emphatic; and, when there is no need to emphasize the subject, the pronoun is not expressed at all. Spanish and Italian, for example, fit this description rather weIl. Modem French, however, provides a striking contrast to these lan guages; it does not allow subjects to be missing and, not unexpectedly, it has a verbal agreement system with few overt endings and subject pronouns which are not emphatic. One of the goals of the present work is to examine null subjects in two dialects of Romance that fit neither the Italian nor the French model: later Old French (12th-13th centriries) and MiddIe French (14th- 15th centuries). Old French has null subjects only in contexts where the subject would be postverbal if expressed (cf. Foulet (1928)), and Mid dIe French has null subjects in a wider range of syntactic contexts but does not freely allow a11 persons of the verb to be null. The work of Vanelli, Renzi and Beninca (1985) (along with many other works by these authors individually) shows that a number of other geographically proximate medieval dialects had similar systems, though it appears that there are significant differences in detail among them.
This volume in honor of Jan Terje Faarlund covers the areas in which he has contributed to linguistic theorizing, ranging from in-depth studies of Norwegian and Scandinavian grammar both synchronically and diachronically, to work on the Indian language Chiapas Zoque. The book is organized thematically with two chapters on each topic: The grammar of the Scandinavian languages (Tor A. Åfarli and Christer Platzack); language policies and sociolinguistics (Unn Røyneland and Peter Trudgill); French (Hans Petter Helland and Christine Meklenborg Salvesen); language change (Werner Abraham and Elly van Gelderen); lesser-studied languages (Alice Harris and Jerry Sadock); language acquisition (David Lightfoot and Marit Westergaard); and language evolution (Erika Hagelberg and Salikoko Mufwene). This book will be of interest to a wide range of readers, from students to scholars working on any of the areas covered.
Dance is part of the art of theatre, a part which connects to movement, to communication, to improvisation, and to performance. It cannot exist on its own in the context of dramatic performance, but works in conjunction with other elements to enable meanings to be created in performance. Dramatic Dance sets a programme for actors to perform dance as part of the drama, offering several approaches which can contribute to developing this understanding, to training this skill, and always ensuring that the whole active and thinking body and mind are fully engaged with the task of making dance an integral and vital part of theatre. To study dance in this way allows students to develop further their understanding of logic and structure in a dramatic text. Many books deal with one aspect of dance or another: some on dance training, some on dance history, some on Rudolf Laban's ideas, some as dance manuals, and some as academic papers. Dramatic Dance is the first book to act as a comprehensive guide for theatre practice, bringing together these different, complementary disciplines.