Simon Gaunt - Böcker

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.

Some of medieval culture's most arresting images and stories inextricably associate love and death. Thus the troubadour Jaufre Rudel dies in the arms of the countess of Tripoli, having loved her from afar without ever having seen her. Or in Marie de France's Chevrefoil, Tristan and Iseult's fatal love is hauntingly symbolized by the fatally entwined honeysuckle and hazel. And who could forget the ethereal spectacle of the Damoisele of Escalot's body carried to Camelot on a supernatural funerary boat with a letter on her breast explaining how her unrequited love for Lancelot killed her? Medieval literature is fascinated with the idea that love may be a fatal affliction. Indeed, it is frequently suggested that true love requires sacrifice, that you must be ready to die for, from, and in love. Love, in other words, is represented, sometimes explicitly, as a form of martyrdom, a notion that is repeatedly reinforced by courtly literature's borrowing of religious vocabulary and imagery. The paradigm of the martyr to love has of course remained compelling in the early modern and modern period.This book seeks to explore what is at stake in medieval literature's preoccupation with love's martyrdom. Informed by modern theoretical approaches, particularly Lacanian psychoanalysis and Jacques Derrida's work on ethics, it offers new readings of a wide range of French and Occitan courtly texts from the twelfth and thirteenth centuries, and argues that a new secular ethics of desire emerges from courtly literature because of its fascination with death. This book also examines the interplay between lyric and romance in courtly literary culture and shows how courtly literature's predilection for sacrificial desire imposes a repressive sex-gender system that may then be subverted by fictional women and queers who either fail to die on cue, or who die in troublesome and disruptive ways.

Charles the king, our emperor great,Has been a full seven years in Spain.As far as the sea he conquered this haughty land.Not a single castle remains standing in his pathCharlemagne (768-814) was crowned Holy Roman Emperor in 800 and presided over a huge empire. He frequently appears in literature as a great warlord and pious crusading figure. In 778, the rearguard of Charlemagne's retreating army was ambushed and defeated at the battle of Roncevaux. This became the inspiration for songs and poems celebrating deeds of valour in the face of overwhelming odds, through the character of Charlemagne's nephew (the imaginary) Roland. The Song of Roland is the most stirring and moving epic poem of the European Middle Ages, offering a particularly heady mixture of history, legend, and poetry. Presented here in a lively and idiomatic new translation, the Song of Roland offers fascinating insights into medieval ideas about heroism, manhood, religion, race, and nationhood which were foundational for modern European culture. The Song of Roland is accompanied here by two other medieval French epics about Charlemagne, both of which show him to be a far more equivocal figure than that portrayed by the Roland: the Occitan Daurel and Beton, in which he is a corrupt and avaricious monarch; and the Journey of Charlemagne to Jerusalem and Constantinople, which gives the heroes of the Roland a comic makeover.

This wide-ranging study explores the ideological framework of genre in Old French and Occitan literature by charting the relationship between ideology and gender in five key genres: the chansons de geste, courtly romance, the Occitan canso, hagiography, and the fabliaux. Simon Gaunt offers new readings of canonical Old French and medieval Occitan texts such as the Chanson de Roland, Chrétien de Troyes's Chevalier de la charrette, and lyrics by Bernart de Ventadorn, and in addition he considers many less well-known works and less familiar genres such as hagiography and the fabliaux. Drawing on contemporary feminist theory, he examines how masculinity, as well as femininity, is constructed in medieval French and Occitan texts, and shows that gender is a crucial element in the formation of the ideologies that underpin medieval literary genres.

From Petrarch and Dante to Pound and Eliot, the influence of the troubadours on European poetry has been profound. They have rightly stimulated a vast amount of critical writing, but the majority of modern critics see the troubadour tradition as a corpus of earnestly serious and confessional love poetry, with little or no humour. Troubadours and Irony re-examines the work of five early troubadours, namely Marcabru, Bernart Marti, Peire d'Alvernha, Raimbaut d'Aurenga and Giraut de Borneil, to argue that the courtly poetry of southern France in the twelfth century was permeated with irony and that many troubadour songs were playful, laced with humorous sexual innuendo and far from serious; attention is also drawn to the large corpus of texts that are not love poems, but comic or satirical songs.

This wide-ranging study explores the ideological framework of genre in Old French and Occitan literature by charting the relationship between ideology and gender in five key genres: the chansons de geste, courtly romance, the Occitan canso, hagiography, and the fabliaux. Simon Gaunt offers new readings of canonical Old French and medieval Occitan texts such as the Chanson de Roland, Chrétien de Troyes's Chevalier de la charrette, and lyrics by Bernart de Ventadorn, and in addition he considers many less well-known works and less familiar genres such as hagiography and the fabliaux. Drawing on contemporary feminist theory, he examines how masculinity, as well as femininity, is constructed in medieval French and Occitan texts, and shows that gender is a crucial element in the formation of the ideologies that underpin medieval literary genres.

The dazzling culture of the troubadours - the virtuosity of their songs, the subtlety of their exploration of love, and the glamorous international careers some troubadours enjoyed - fascinated contemporaries and had a lasting influence on European life and literature. Apart from the refined love songs for which the troubadours are renowned, the tradition includes political and satirical poetry, devotional lyrics and bawdy or zany poems. It is also in the troubadour song-books that the only substantial collection of medieval lyrics by women is preserved. This book offers a general introduction to the troubadours. Its sixteen newly-commissioned essays, written by leading scholars from Britain, the US, France, Italy and Spain, trace the historical development and setting of troubadour song, engage with the main trends in troubadour criticism, and examine the reception of troubadour poetry. Appendices offer an invaluable guide to the troubadours, to technical vocabulary, to research tools and to surviving manuscripts.

The dazzling culture of the troubadours - the virtuosity of their songs, the subtlety of their exploration of love, and the glamorous international careers some troubadours enjoyed - fascinated contemporaries and had a lasting influence on European life and literature. Apart from the refined love songs for which the troubadours are renowned, the tradition includes political and satirical poetry, devotional lyrics and bawdy or zany poems. It is also in the troubadour song-books that the only substantial collection of medieval lyrics by women is preserved. This book offers a general introduction to the troubadours. Its sixteen newly-commissioned essays, written by leading scholars from Britain, the US, France, Italy and Spain, trace the historical development and setting of troubadour song, engage with the main trends in troubadour criticism, and examine the reception of troubadour poetry. Appendices offer an invaluable guide to the troubadours, to technical vocabulary, to research tools and to surviving manuscripts.

Medieval French literature encompasses 450 years of literary output in Old and Middle French, mostly produced in Northern France and England. These texts, including courtly lyrics, prose and verse romances, dits amoureux and plays, proved hugely influential for other European literary traditions in the medieval period and beyond. This Companion offers a wide-ranging and stimulating guide to literature composed in medieval French from its beginnings in the ninth century until the Renaissance. The essays are grounded in detailed analysis of canonical texts and authors such as the Chanson de Roland, the Roman de la Rose, Villon's Testament, Chrétien de Troyes, Machaut, Christine de Pisan and the Tristan romances. Featuring a chronology and suggestions for further reading, this is the ideal companion for students and scholars in other fields wishing to discover the riches of the French medieval tradition.

Medieval French literature encompasses 450 years of literary output in Old and Middle French, mostly produced in Northern France and England. These texts, including courtly lyrics, prose and verse romances, dits amoureux and plays, proved hugely influential for other European literary traditions in the medieval period and beyond. This Companion offers a wide-ranging and stimulating guide to literature composed in medieval French from its beginnings in the ninth century until the Renaissance. The essays are grounded in detailed analysis of canonical texts and authors such as the Chanson de Roland, the Roman de la Rose, Villon's Testament, Chrétien de Troyes, Machaut, Christine de Pisan and the Tristan romances. Featuring a chronology and suggestions for further reading, this is the ideal companion for students and scholars in other fields wishing to discover the riches of the French medieval tradition.

The function of literature and words changes dramatically over the centuries, particularly when dealing with medieval literature. The most common misconception among students and dated textbooks is that medieval French literature is merely a 'recording' of an oral tradition. In this book Simon Gaunt draws a picture of medieval literature, showing that medieval writers were in fact very aware that they were retelling tales in a new medium.

New critical edition of complete work of 12c Occitanian troubadour Marcabru, crucial figure in development of European courtly lyric.One of the earliest troubadours, Marcabru was a remarkable artist and entertainer, and a figure of crucial importance to the development of the European courtly lyric. His blistering attacks on contemporary court society reveal anintellectual insider's view of the clash between clerical morality and the emerging secular ethics of love and courtesy. His fervent, often acerbic engagement with contemporary events also provides a unique southern perspective on political upheavals and crusading movements in twelfth-century Occitania and northern Spain. This new critical edition, the first for nearly 100 years, makes his complete corpus accessible to a wide readership, supplying translations, full critical apparatus, and copious textual notes, with a substantial glossary of Marcabru's extraordinarily inventive vocabulary. The introduction supplies historical information, discussion of the poet's language, andan analysis of the manuscript transmission. It also raises fresh issues of troubadour versification techniques in this formative period, and engages in a new way with the current debate about editorial methodology and medieval textual criticism. [Leaflet blurb - see AN]

The first book in English to examine one of the most important and influential texts from a literary perspective.Le Devisement du Monde (1298), better though inaccurately known in English as Marco Polo's Travels, is one of only a handful of medieval texts that remain iconic today for European cultural history, and Marco Polo is one of only a handful of medieval writers who still enjoys instant name-recognition. Yet there is little awareness of the Devisement's complex history and development.This book examines the text from a fresh, literary viewpoint, drawing upon a range of different disciplines and approaches: philology, manuscript studies, narratology, cultural history, postcolonial studies and theory. It contains comparative readings of multiple versions of the text in French, Italian and Latin, Rather than offering a Eurocentric vision of the world grounded in a sense of the absolute alterity of the non-Christian world as is often asserted, the author shows how the Devisement expounds a sense of the relative nature of difference, crucially positioning Marco uncannily between two worlds (East and West), just as he is positioned awkwardly between two languages, French and Italian, and (in modern reception at least) awkwardly between two literary histories. The author also calls into question traditional accounts of the use of French outside France in the Middle Ages and offers a re-assessment of Marco Polo's position in the evolution of European travel writing.SIMON GAUNT was Professor of French Language and Literature at King's College London.