Nicholas Perkins - Böcker

Hoccleve, often considerd conventional and naive, is shown to be deeply engaged in the political and literary currents of his time.The 'new' new historicist shift from a Foucauldian modelling of the infinitely malleable instrumentation of power, in which writers like Hoccleve are inevitably complicit, to a more flexible model in which authority is typically anxious and unstable, open to compromise and negotiation, and where writers can mak significant interventions, is welcome. Perkins's book is a triumph of this new approach. MEDIUM AEVUM [Derek Pearsall]This is the first book-length study of Hoccleve's Regiment of Princes. It is an excellent one; critically alert and sensitive to the potential of a variety of fruitful approaches to Hoccleve'smajor poem.... helpfully contextualises Hoccleve's poem in a far more comprehensive way than previously... combines critical and scholarly acumen to give us a book that will be the necessary departure for any future study of The Regiment of Princes. A.S.G. EDWARDS, NOTES AND QUERIESThomas Hoccleve's politics and poetics have often been viewed as conventional, servile and naive. In the first book-length study of Hoccleve's major poem,Nicholas Perkins argues that The Regiment of Princes is in fact deeply engaged in the political and literary currents of the early fifteenth century, combining the elaborate deference of a petition, the resistance of a complaint and the monitory authority of a speculum principis in its address to the future Henry V. Perkins sets the Regiment's production within a late-medieval economy of advisory speech, reassesses the poem's relationship to the Latin treatises on which it draws, and examines its hermeneutics of royal counsel, which challenges the prince to interpret and act on the advice he receives. Using evidence from the Regiment's many manuscripts,he then reveals how Hoccleve's poem was refashioned for new audiences beyond the Lancastrian court in the fifteenth and early sixteenth centuries.NICHOLAS PERKINS teaches at St Hugh's College, Oxford.

This invigorating study places medieval romance narrative in dialogue with theories and practices of gift and exchange, opening new approaches to questions of storytelling, agency, gender and materiality in some of the most engaging literature from the Middle Ages. It argues that the dynamics of the gift are powerfully at work in romances: through exchanges of objects and people; repeated patterns of love, loyalty and revenge; promises made or broken; and the complex effects that time works on such objects, exchanges and promises. Ranging from the twelfth century to the fifteenth, and including close discussions of poetry by Chaucer, the Gawain-Poet and romances in the Auchinleck Manuscript, this book will prompt new ideas and debate amongst students and scholars of medieval literature, as well as anyone curious about the pleasures that romance narratives bring.

This invigorating study places medieval romance narrative in dialogue with theories and practices of gift and exchange, opening new approaches to questions of storytelling, agency, gender and materiality in some of the most engaging literature from the Middle Ages. It argues that the dynamics of the gift are powerfully at work in romances: through exchanges of objects and people; repeated patterns of love, loyalty and revenge; promises made or broken; and the complex effects that time works on such objects, exchanges and promises. Ranging from the twelfth century to the fifteenth, and including close discussions of poetry by Chaucer, the Gawain-Poet and romances in the Auchinleck Manuscript, this book will prompt new ideas and debate amongst students and scholars of medieval literature, as well as anyone curious about the pleasures that romance narratives bring.

The essays here engage with the ways in which the Anglo-Saxons and their literature have been received, confronted, and re-envisioned in the modern imagination.An excellent collection... breaks new ground in many areas. Should make a substantial impact on the discussion of the contemporary influence of Anglo-Saxon Culture. Conor McCarthy, author of Seamus Heaney and the Medieval ImaginationBritain's pre-Conquest past and its culture continues to fascinate modern writers and artists. From Henry Sweet's Anglo-Saxon Reader to Seamus Heaney's Beowulf, and from high modernism to themusclebound heroes of comic book and Hollywood, Anglo-Saxon England has been a powerful and often unexpected source of inspiration, antagonism, and reflection. The essays here engage with the ways in which the Anglo-Saxons and their literature have been received, confronted, and re-envisioned in the modern imagination. They offer fresh insights on established figures, such as W.H. Auden, J.R.R. Tolkien, and David Jones, and on contemporary writers such asGeoffrey Hill, Peter Reading, P.D. James, and Heaney. They explore the interaction between text, image and landscape in medieval and modern books, the recasting of mythic figures such as Wayland Smith, and the metamorphosis of Beowulf into Grendel - as a novel and as grand opera. The early medieval emerges not simply as a site of nostalgia or anxiety in modern revisions, but instead provides a vital arena for creativity, pleasure, and artistic experiment. Contributors: Bernard O'Donoghue, Chris Jones, Mark Atherton, Maria Artamonova, Anna Johnson, Clare A. Lees, Sian Echard, Catherine A.M. Clarke, Maria Sachiko Cecire, Allen J. Frantzen, John Halbrooks, Hannah J. Crawforth, Joshua Davies, Rebecca Anne Barr

Studies of how the physical manifests itself in medieval romance - and medieval romances as objects themselves.Medieval romance narratives glitter with the material objects that were valued and exchanged in late-medieval society: lovers' rings and warriors' swords, holy relics and desirable or corrupted bodies. Romance, however, is also agenre in which such objects make meaning on numerous levels, and not always in predictable ways. These new essays examine from diverse perspectives how romances respond to material culture, but also show how romance as a genre helps to constitute and transmit that culture. Focusing on romances circulating in Britain and Ireland between the twelfth and sixteenth centuries, individual chapters address such questions as the relationship between objects and protagonists in romance narrative; the materiality of male and female bodies; the interaction between visual and verbal representations of romance; poetic form and manuscript textuality; and how a nineteenth-century edition of medieval romances provoked artists to homage and satire.NICHOLAS PERKINS is Associate Professor and Tutor in English at St Hugh's College, University of Oxford.Contributors: Siobhain Bly Calkin, Nancy Mason Bradbury, Aisling Byrne, Anna Caughey, Neil Cartlidge, Mark Cruse, Morgan Dickson, Rosalind Field, Elliot Kendall, Megan G. Leitch, Henrike Manuwald, Nicholas Perkins, Ad Putter, Raluca L. Radulescu, Robert Allen Rouse,

From King Arthur and the Round Table to Alexander the Great’s global conquests, the stories of romance appear in some of the most beautiful books of the Middle Ages, and still resonate today. This book provides an engaging, scholarly and richly illustrated guide to medieval romance and its continuing influence on literature and art. Romance’s conjunctions of chivalric violence, love and piety, and its openness to the miraculous, monstrous or bizarre mark it out as the most fertile narrative form of the Western Middle Ages. This book examines the development of romance as a literary genre, its place in medieval culture, and the scribes and readers who copied, owned and commented on romance books – from magnificent illuminated manuscripts to personal notebooks and chance survivals. It also explores the complex anatomy of human desire in romance, as portrayed by writers including Dante, Chaucer and Thomas Malory. Medieval romance was hugely popular after the Middle Ages. Shakespeare, Spenser and Walter Scott imbibed its motifs, Mark Twain parodied them, and the Pre-Raphaelites based an aesthetic movement around them. The Romance of the Middle Ages traces the influence of the genre to the twentieth century and beyond, encompassing the stories of J.R.R. Tolkien, C.S. Lewis and J.K. Rowling, the Jedi knights of Star Wars and Monty Python’s Knights who say ‘Ni!’.