Cristina Maria Cervone – författare

The Gospel of John describes the Incarnation of Christ as "the Word made flesh"-an intriguing phrase that uses the logic of metaphor but is not traditionally understood as merely symbolic. Thus the conceptual puzzle of the Incarnation also draws attention to language and form: what is the Word; how is it related to language; how can the Word become flesh? Such theological questions haunt the material imagery engaged by medieval writers, the structural forms that give their writing shape, and even their ideas about language itself. In Poetics of the Incarnation, Cristina Maria Cervone examines the work of fourteenth-century writers who, rather than approaching the mystery of the Incarnation through affective identification with the Passion, elected to ponder the intellectual implications of the Incarnation in poetical and rhetorical forms. Cervone argues that a poetics of the Incarnation becomes the grounds for working through the philosophical and theological implications of language, at a point in time when Middle English was emerging as a legitimate, if contested, medium for theological expression.In brief lyrics and complex narratives, late medieval English writers including William Langland, Julian of Norwich, Walter Hilton, and the anonymous author of the Charters of Christ took the relationship between God and humanity as a jumping-off point for their meditations on the nature of language and thought, the elision between the concrete and the abstract, the complex relationship between acting and being, the work done by poetry itself in and through time, and the meaning latent within poetical forms. Where Passion-devoted writing would focus on the vulnerability and suffering of the fleshly body, these texts took imaginative leaps, such as when they depict the body of Christ as a lily or the written word. Their Incarnational poetics repeatedly call attention to the fact that, in theology as in poetics, form matters.

The Gospel of John describes the Incarnation of Christ as "the Word made flesh"-an intriguing phrase that uses the logic of metaphor but is not traditionally understood as merely symbolic. Thus the conceptual puzzle of the Incarnation also draws attention to language and form: what is the Word; how is it related to language; how can the Word become flesh? Such theological questions haunt the material imagery engaged by medieval writers, the structural forms that give their writing shape, and even their ideas about language itself. In Poetics of the Incarnation, Cristina Maria Cervone examines the work of fourteenth-century writers who, rather than approaching the mystery of the Incarnation through affective identification with the Passion, elected to ponder the intellectual implications of the Incarnation in poetical and rhetorical forms. Cervone argues that a poetics of the Incarnation becomes the grounds for working through the philosophical and theological implications of language, at a point in time when Middle English was emerging as a legitimate, if contested, medium for theological expression.In brief lyrics and complex narratives, late medieval English writers including William Langland, Julian of Norwich, Walter Hilton, and the anonymous author of the Charters of Christ took the relationship between God and humanity as a jumping-off point for their meditations on the nature of language and thought, the elision between the concrete and the abstract, the complex relationship between acting and being, the work done by poetry itself in and through time, and the meaning latent within poetical forms. Where Passion-devoted writing would focus on the vulnerability and suffering of the fleshly body, these texts took imaginative leaps, such as when they depict the body of Christ as a lily or the written word. Their Incarnational poetics repeatedly call attention to the fact that, in theology as in poetics, form matters.

What Kind of a Thing Is a Middle English Lyric? considers issues pertaining to a corpus of several hundred short poems written in Middle English between the twelfth and early fifteenth centuries. The chapters draw on perspectives from varied disciplines, including literary criticism, musicology, art history, and cognitive science. Since the early 1900s, the poems have been categorized as "lyrics," the term now used for most kinds of short poetry, yet neither the difficulties nor the promise of this treatment have received enough attention. In one way, the book argues, considering these poems to be lyrics obscures much of what is interesting about them. Since the nineteenth century, lyrics have been thought of as subjective and best read without reference to cultural context, yet nonetheless they are taken to form a distinct literary tradition. Since Middle English short poems are often communal and usually spoken, sung, and/or danced, this lyric template is not a good fit. In another way, however, the very differences between these poems and the later ones on which current debates about the lyric still focus suggest they have much to offer those debates, and vice versa.As its title suggests, this book thus goes back to the basics, asking fundamental questions about what these poems are, how they function formally and culturally, how they are (and are not) related to other bodies of short poetry, and how they might illuminate and be illuminated by contemporary lyric scholarship. Eleven chapters by medievalists and two responses by modernists, all in careful conversation with one another, reflect on these questions and suggest very different answers. The editors' introduction synthesizes these answers by suggesting that these poems can most usefully be read as a kind of "play," in several senses of that word. The book ends with eight "new Middle English lyrics" by seven contemporary poets.

What Kind of a Thing Is a Middle English Lyric? considers issues pertaining to a corpus of several hundred short poems written in Middle English between the twelfth and early fifteenth centuries. The chapters draw on perspectives from varied disciplines, including literary criticism, musicology, art history, and cognitive science. Since the early 1900s, the poems have been categorized as "lyrics," the term now used for most kinds of short poetry, yet neither the difficulties nor the promise of this treatment have received enough attention. In one way, the book argues, considering these poems to be lyrics obscures much of what is interesting about them. Since the nineteenth century, lyrics have been thought of as subjective and best read without reference to cultural context, yet nonetheless they are taken to form a distinct literary tradition. Since Middle English short poems are often communal and usually spoken, sung, and/or danced, this lyric template is not a good fit. In another way, however, the very differences between these poems and the later ones on which current debates about the lyric still focus suggest they have much to offer those debates, and vice versa.As its title suggests, this book thus goes back to the basics, asking fundamental questions about what these poems are, how they function formally and culturally, how they are (and are not) related to other bodies of short poetry, and how they might illuminate and be illuminated by contemporary lyric scholarship. Eleven chapters by medievalists and two responses by modernists, all in careful conversation with one another, reflect on these questions and suggest very different answers. The editors' introduction synthesizes these answers by suggesting that these poems can most usefully be read as a kind of "play," in several senses of that word. The book ends with eight "new Middle English lyrics" by seven contemporary poets.