DOCSLIB.ORG

JEWELL-DISSERTATION-2016.Pdf (913.8Kb)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
JEWELL-DISSERTATION-2016.Pdf (913.8Kb) Copyright by Brianna Carolyn Jewell 2016 The Dissertation Committee for Brianna Carolyn Jewell Certifies that this is the approved version of the following dissertation: To Cut the Past: Queer Touch, Medieval Materiality, and the Craft of Wonder Committee: Wayne Lesser, Co-Supervisor Ann Cvetkovich, Co-Supervisor Daniel Birkholz Michael Johnson To Cut the Past: Queer Touch, Medieval Materiality, and the Craft of Wonder by Brianna Carolyn Jewell, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2016 To my sisters, the ones who chase wonder fiercely, and the ones who make me believe that I can too. Acknowledgements I write these acknowledgments exactly two months to the day after defending my dissertation. The last two months have forced me to confront the past (my pre-dissertation past) in new and sometimes paralyzing ways. My before-Austin life crashes into my present moment and makes me feel loss and mourning. And amidst these heavy, darker feelings, I am also grateful because I meet whatever-comes-next with a keener clarity and confidence because I have stayed with this project. I learned a lot. And I am thankful – damn thankful – for so many of the people I have met along the way. I am happy to be able to honor them here. First, I thank my committee, which has to be among the warmest and smartest groups of people out there. To Wayne Lesser, who met with me week after week, and who read my roughest and most incomprehensible drafts, I give my thanks a thousand times over. Wayne, it was you who made my thoughts move again after they got snarled and stuck and stagnant. Without your sharp, capacious mind and continued belief in me, this project would not only have been much less interesting, it might not have been at all. And to Ann Cvetkovich, the scholar I most strive to emulate: you think as you write – poetically, associatively – and you encouraged me to do so too. Your insistence that I stay anchored to the “specificity of the medieval” and the literal challenged me personally, artistically and academically, and made me become better on all those fronts; thank you. v Dan Birkholz, for keeping me honest, giving me deadlines, and demonstrating the craft of excellent teaching, thank you. All of your students are lucky, and I’m happy to count myself among them. Thanks for believing in me when it counted most. And to Michael Johnson, my wise, kind, fellow-Piscean friend. Talking with you about ideas, food, and life is hands-down one of my most treasured experiences of grad school. I miss you in Austin but look forward to a lifelong friendship with you. I’ve been blessed to find kindred spirits outside of my committee, too. Chris Taylor, you were my first friend here. And in the years it took me to write this project, you listened to me patiently and lovingly over and over again, and reminded me what I was arguing when I reached panic mode. In many ways, the success of this dissertation is also yours. Thank you from the bottom of my heart. Infinite love and thanks go to my girlfriends, and especially to my Austin coven – Jenni Sapio, Laura Beerits, and Yvette DeChavez. Thank you, thank you, for reminding me of who I am, and for always having my back. Special thanks also to Sarah Frank, Sara Saylor, and Luisa Ladd – for answering the phone, for dancing with me, and for being inspiring souls. Thank you to Austin’s Feminist Drinking Club, for similar reasons. I am thankful for my dissertation group, who read drafts of each chapter: Cynthia Francica, Lisa Gulesserian, Emily Lederman, and Sarah Orem. And to Peter Hamilton, Abby Bristol, Tom Lindsay, Michael Roberts, Michael White, Aaron Mercier, Charlotte Nunes, Brad King, John DeStafney, Marina Flider, Andy Uzendoski, Raul Ariza-Barile, Neville Hoad, and Chris Bradley. You all make Austin colorful and homey. I am thankful for Eileen Joy and the BABEL Working Group. vi And I am thankful for my students at UT, who inspired the pedagogical approach in this dissertation, and who made teaching a joyful job and life feel like it would be okay. My Austin yoga community – thanks especially to BFree, Iva Drtina-Hall, and Shelby Autrey – grounded and challenged me in ways that made this project simultaneously more playful and confident. Iva’s mantra on the mat, “presence is in the details,” impacted my thinking and feeling in this project in ways that I continue to discover. And I am deeply grateful for my family at Justine’s Brasserie – for providing a home base for me outside of academia, for keeping me out of debt, and for promising to publish my book. Thanks, last of all, and so much love to all of my family. To my mom and dad. To my grandmas, Kris and Grandy. And to my sisters, Dana and Kendra. vii To Cut the Past: Queer Touch, Medieval Materiality, and the Craft of Wonder Brianna Carolyn Jewell, Ph.D. The University of Texas at Austin, 2016 Supervisors: Wayne Lesser and Ann Cvetkovich This dissertation emerges from a multivocal conversation in queer, affect, and medievalist scholarship, which privileges encounters with fragmentary details to create and describe connections between bodies separated in time and space. From Carolyn Dinshaw’s metaphorics of touch and “partial connection” across time to Roland Barthes’s punctum that joins disparate bodies, scholars invoke and rely on the fragmentary to describe and generate affective connections. This project makes that shared understanding explicit, literal, and literary – and also gives it a deeper history – by showing how medieval poets crafted and emphasized fragmentary tropes to enable connections that might not otherwise exist. Each chapter reads a medieval literary object – the bodily cut; stained glass; and, the grafted tree – as a fragmentary trope through which mutually exclusive entities (the dead and the living, the past and the present, and the earthly and the celestial) can be imagined as coming together and coexisting. Through graphic and sustained descriptions of the body and bodily sensations, both medieval and contemporary authors betray an interest in the visceral qualities of their fragmentary tropes, and rely on that viscerality to viii describe various forms of partial connection. To Cut the Past works to show that wonder, and specifically the openendedness and multiplicity that wonder generates, is the primary affect in establishing affective relationships between metaphysically disconnected entities. Encounters with the fragmentary objects I read create wonder, and that wonder in turn creates a portal or touchstone that allows access to perhaps otherwise unreachable worlds and things. The medieval texts I read show the process by which wonder connects. Ultimately, as I outline, this insight can be extended to pedagogy. By accepting an invitation from contemporary scholarship and medieval poets, we may encourage students to become alive to the fragments that stick out to them (the textual details to which they connect viscerally) in medieval and postmedieval texts, and to use those fragments as points of access to initiate their readings. This reading orientation works not only to make medieval literature relevant and interesting to students, and to offer a new way of understanding themselves and what matters to them; it also provides historically- enriched insight into the medieval past. ix Table of Contents Introduction / Feeling Medieval, Getting Fragmentary ........................................... 1 Chapter One / Cutting Connections: Wondrous Cuts in Sir Gawain and the Green Knight and Fun Home .................................................................................. 33 1. Medieval Marvel ...................................................................................... 33 2. Sir Gawain and the Green Knight’s Wondrous Cuts ................................ 44 3. Bryng Me to the Poynt ............................................................................. 52 4. Pass Me the Scissors ................................................................................. 58 4. Þe Forme to þe Fynisment Foldez Ful Selden ......................................... 66 Chapter Two / Dreaming with Stained Glass: Botched Encounters, Gothic Churches and the Book of the Duchess ......................................................................... 71 1. Stained glass dreamscape ......................................................................... 71 2. Gothic architecture’s botched history ....................................................... 78 3. Seeing Connections through the Book of the Duchess’s stained glass ..... 90 4. Stained glass: medieval dream vision’s trope .......................................... 98 5. When stained glass becomes story ......................................................... 106 6. William Morris’s architectural dream .................................................... 110 Chapter Three / Grafting Connectivity: Sir Orfeo, Grafted Trees, and the Queer Craft of Looking Back ......................................................................................... 116 1. Looking back .......................................................................................... 116 2. The medieval literary invention of the grafted tree ................................ 124 3. Sir Orfeo’s grafted tree ........................................................................... 140 4. Grafting together
Load more

Recommended publications
  • Epic and Romance Essays on Medieval Literature W
    EPIC AND ROMANCE ESSAYS ON MEDIEVAL LITERATURE W. P. KER PREFACE These essays are intended as a general description of some of the principal forms of narrative literature in the Middle Ages, and as a review of some of the more interesting works in each period. It is hardly necessary to say that the conclusion is one "in which nothing is concluded," and that whole tracts of literature have been barely touched on--the English metrical romances, the Middle High German poems, the ballads, Northern and Southern--which would require to be considered in any systematic treatment of this part of history. Many serious difficulties have been evaded (in Finnesburh, more particularly), and many things have been taken for granted, too easily. My apology must be that there seemed to be certain results available for criticism, apart from the more strict and scientific procedure which is required to solve the more difficult problems of Beowulf, or of the old Northern or the old French poetry. It is hoped that something may be gained by a less minute and exacting consideration of the whole field, and by an attempt to bring the more distant and dissociated parts of the subject into relation with one another, in one view. Some of these notes have been already used, in a course of three lectures at the Royal Institution, in March 1892, on "the Progress of Romance in the Middle Ages," and in lectures given at University College and elsewhere. The plot of the Dutch romance of Walewein was discussed in a paper submitted to the Folk-Lore Society two years ago, and published in the journal of the Society (Folk-Lore, vol.
    [Show full text]
  • Geoffrey of Monmouth's De Gestis Britonum and Twelfth-Century
    Chapter 8 Geoffrey of Monmouth’s De gestis Britonum and Twelfth-Century Romance Françoise Le Saux Geoffrey of Monmouth’s De gestis Britonum had a long and influential after- life. The work was exploited to endow Anglo-Norman Britain with a founda- tion myth on which to build a common (though not unproblematic) political identity, giving rise to a new historiographical tradition in Latin, French, and English. At the same time, the great deeds of past British kings form a treasure house of narratives, with the figure of King Arthur at the heart of a new literary phenomenon, the Arthurian romance. The entertainment potential of the DGB is flagged up by Geoffrey of Monmouth himself in his prologue, where he sketches a context of oral tradi- tion and popular story-telling “about Arthur and the many others who suc- ceeded after the Incarnation” related “by many people as if they had been entertainingly and memorably written down”.1 The exact nature of this pre-existing narrative tradition is not specified, though the archivolt of the Porta della Peschiera of Modena Cathedral, depicting a scene where Arthur and his knights appear to be attacking a castle to free the captive Winlogee (Guinevere?), is proof of the popularity of tales of Arthur in western Europe by 1120–40.2 The huge success of the DGB therefore reinforced and reshaped an already existing tradition, and as such was instrumental in the flowering of the courtly Arthurian romances of the latter 12th century. Geoffrey of Monmouth made King Arthur enter the Latinate cultural mainstream.
    [Show full text]
  • A History of English Literature MICHAEL ALEXANDER
    A History of English Literature MICHAEL ALEXANDER [p. iv] © Michael Alexander 2000 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W 1 P 0LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2000 by MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 6XS and London Companies and representatives throughout the world ISBN 0-333-91397-3 hardcover ISBN 0-333-67226-7 paperback A catalogue record for this book is available from the British Library. This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. 10 9 8 7 6 5 4 3 2 1 09 08 07 06 05 04 03 02 O1 00 Typeset by Footnote Graphics, Warminster, Wilts Printed in Great Britain by Antony Rowe Ltd, Chippenham, Wilts [p. v] Contents Acknowledgements The harvest of literacy Preface Further reading Abbreviations 2 Middle English Literature: 1066-1500 Introduction The new writing Literary history Handwriting
    [Show full text]
  • An Introduction to the Medieval English: the Historical and Literary Context, Traces of Church and Philosophical Movements in the Literature
    Advances in Language and Literary Studies ISSN: 2203-4714 Vol. 8 No. 1; February 2017 Australian International Academic Centre, Australia F l o u r is h i ng Cr ea ti v it y & L it e r ac y An Introduction to the Medieval English: The Historical and Literary Context, Traces of Church and Philosophical Movements in the Literature Esmail Zare Behtash English Language Department, Faculty of Management and Humanities, Chabahar Maritime University, Chabahar, Iran E-mail: [email protected] Seyyed Morteza Hashemi Toroujeni (Correspondence author) English Languages Department, Faculty of Management and Humanities, Chabahar Maritime University, Chabahar, Iran E-mail: [email protected] Farzane Safarzade Samani English Language Department, Faculty of Management and Humanities, Chabahar Maritime University, Chabahar, Iran E-mail: [email protected] Doi:10.7575/aiac.alls.v.8n.1p.143 Received: 19/10/2016 URL: http://dx.doi.org/10.7575/aiac.alls.v.8n.1p.143 Accepted: 23/01/2017 Abstract The Transition from Greek to medieval philosophy that speculated on religion, nature, metaphysics, human being and society was rather a rough transition in the history of English literature. Although the literature content of this age reflected more religious beliefs, the love and hate relationship of medieval philosophy that was mostly based on the Christianity with Greek civilization was exhibited clearly. The modern philosophical ideologies are the continuation of this period’s ideologies. Without a well understanding of the philosophical issues related to this age, it is not possible to understand the modern ones well. The catholic tradition as well as the religious reform against church called Protestantism was organized in this age.
    [Show full text]
  • The Matter of Britain
    The Matter of Britain The Mythological and Philosophical Significance of the British Legends by John J. Davenport Department of Philosophy Fordham University [email protected] In honor of Stephen R. Donaldson Originally composed in 1997 for relatives and friends from the UK, this work has been shared with others since. I make it available to all for any pleasure and insight it may bring. last revised November, 2004 Contents Introduction : The Mystery Part I: The Cycle of Britain 1. Historical Context 2. Archetypal Background 3. Brutus and the Founding of Britain 4. The Paradigmatic Language of Myth and Legend 5. The Development of Arthurian Legend 6. The British Cycle Part II: Themes of the British Legend 7. Spenser's Paean to Arthur 8. The Arthurian Vision 9. The Island Kingdom 10. Impregnable Wierd and the Human Will 11. The Tragic Poignance of Humanity 12. Poignance and the Mark of Mortality 13. The Phenomenology of Poignance Conclusion: Resentiment or Eucatastrophe -- 1 -- The Matter of Britain Introduction Oh England my Lionheart I'm in your garden fading fast in your arms The soldiers soften, the war is over. The air raid shelters are blooming clover; Flapping umbrellas fill the lanes, My London Bridge in rain again... This first stanza of Kate Bush's song, “Lionheart,” evokes a legendary image of ‘Britain' only to relate it to modern imagery, specifically the legacy of World War II. The nostalgic mood, as we learn in the last stanza, reflects a dying soldier’s last vision of the spirit of his country—the desires and symbols native to this land for which he would give his life.
    [Show full text]
  • The Haberdashers' Aske's Boys' School Occasional Papers Series In
    1 The Haberdashers’ Aske’s Boys’ School Occasional Papers Series in the Humanities Occasional Paper Number Thirty WHY DID ROME RISE? Christopher Joyce Teacher [email protected] April 2020 A Haberdashers’ Aske’s Occasional Paper. All rights reserved. 2 Haberdashers’ Aske’s Occasional Paper Number Thirty April 2020 All rights reserved WHY DID ROME RISE? Abstract: This essay explores the early centuries of Roman expansion when Rome became the dominant force within the Italian peninsula. It proceeds in four independent stages: 1) the source material; 2) pre-Roman Italy and the foundations of Rome as a political community; 3) Rome’s self- establishment as the head of an alliance in central Italy; and 4) Rome’s rise to become mistress of peninsular Italy. The period covered ranges chronologically over approximately four centuries, from the traditional foundation of Rome in c. 753 BCE on the banks of the river Tiber, to the conclusion of the Third Samnite War in 290 BCE. Its main argument is that Rome’s secret as a successful nascent imperial power lay in the fluidity of her political institutions and national self-awareness, which gave her a cutting-edge advantage over her local Italian rivals and, later, the Hellenistic kingdoms to the east. 1. Preliminaries Writing in the second century BCE, at a time when the cities, tribes and nations inhabiting the Mediterranean basin fell beneath the undisputed mastery of Rome, the Greek historian Polybius set about the formidable task of describing how, over a period of fifty-three years, the city of Rome had risen to become the mistress of the known world.1 Polybius himself was a political hostage from Achaea in southern Greece, private tutor to the young Roman aristocrat Scipio Aemilianus, and erstwhile orator, statesman and activist who had seen the fortunes of his fatherland dwarfed by a rising new power whose first language was not Greek, but Latin.
    [Show full text]
  • When a Knight Meets a Dragon Maiden: Human Identity and the Monstrous Animal Other
    When a Knight meets a Dragon Maiden: Human Identity and the Monstrous Animal Other (Detail of ‘Mélusine in the Bath’, illustration to Thüring von Ringoltingen’s Mélusine, 14771) Research Master Thesis Name: Lydia Zeldenrust Student Number: 3440346 Date: 11 July 2011 Supervisor: dr. Katell Lavéant Second Reader: dr. Jelle Koopmans 1 Taken from Françoise Clier-Colombani, La Fée Mélusine au Moyen Age: Images, Mythes et Symboles (Paris: Le Léopard d’Or, 1991), front page and image 15 of the appendix. Acknowledgements I would like to thank several people who have all played a different part in my process of writing this Thesis. Firstly, of course, I would like to thank my supervisor, dr. Katell Lavéant, for all she has done. I would like to express my gratitude and admiration for her daring to take on this topic with me, for her useful feedback, and for all the time she has bestowed upon me. I would naturally also like to thank the second reader, dr. Jelle Koopmans, for being so kind to take on the task. Secondly, I wish to thank dr. Bart Besamusca, not only for being my tutor, but also for being a constant source of support over the past two years. I am happy that he is always willing to listen to my passionate, though perhaps at times somewhat strange, plans and ideas. Finally, I would like to thank several people from outside Utrecht University; dr. Karen Olsen, prof. Simon Gaunt, prof. Karen Pratt, and dr. Sarah Salih, for having helped me with several queries into the world of (medieval) academia, and for allowing me to sit in on their wonderful classes.
    [Show full text]
  • The Republic of Turkey Ankara University Graduate School of Social Sciences Department of Western Languages and Literatures (English Language and Literature)
    THE REPUBLIC OF TURKEY ANKARA UNIVERSITY GRADUATE SCHOOL OF SOCIAL SCIENCES DEPARTMENT OF WESTERN LANGUAGES AND LITERATURES (ENGLISH LANGUAGE AND LITERATURE) TRANSCULTURALISM IN MEDIEVAL ROMANCE: ANONYMOUS THE QUEST FOR THE HOLY GRAIL, THE SONG OF ROLAND AND CHAUCER’S TROILUS AND CRISEYDE PhD Dissertation Funda HAY Ankara - 2019 THE REPUBLIC OF TURKEY ANKARA UNIVERSITY GRADUATE SCHOOL OF SOCIAL SCIENCES DEPARTMENT OF WESTERN LANGUAGES AND LITERATURES (ENGLISH LANGUAGE AND LITERATURE) TRANSCULTURALISM IN MEDIEVAL ROMANCE: ANONYMOUS THE QUEST FOR THE HOLY GRAIL, THE SONG OF ROLAND AND CHAUCER’S TROILUS AND CRISEYDE PhD Dissertation Funda HAY Supervisor Prof. Dr. Ufuk EGE UYGUR Ankara – 2019 ACKNOWLEDGEMENTS First of all, I would like to thank my advisor, Prof. Dr. Ufuk Ege Uygur for introducing me to the magical and unlimited world of medieval literature. Without her unique experience and knowledge, I would not have found my way. She always encouraged me to cross my boundaries and to study abroad. Without her courage, I would not have benefited from the unlimited resources of the University of Leeds. I would like to express my deepest gratitude to Prof. Emilia Jamroziak and Dr. Catherine Batt for sharing their wisdom with me, and for their guidance during my research at the Institute for Medieval Studies at the University of Leeds. I would also like to thank for their unique knowledge. I would like to thank TUBITAK (The Scientific and Technological Research Council of Turkey) for funding my research in the UK and for their generous support to the many who are able to pursue their studies thanks to their scholarships.
    [Show full text]
  • University of Alberta Representations of Identity
    UNIVERSITY OF ALBERTA REPRESENTATIONS OF IDENTITY IN THE MIDDLE ENGLISH ROMANCES A thesis submitted to the Faculty of Graduate Studies and Research in partial Mllment of the requirements for the degree of Doctor of Philosophy DEPARTMENT OF ENGLISH Edmonton, Alberta Spring 1997 Acquisitions and Acquisitions et BibliOgraphic sentics . services bibliogmphiques The author has gramed a non- L'auteur a accordé une licence non exclusive licence dowing the exclusive pennettant à la Natiod Library of Canada to Bibliothèque nationaie du Canada de reproduce, loan, distn'bute or seii reprodwre,p&er, àïsûibuaou copies of hismer thesis by any means vendre des copies de sa thèse de and in any form or format, making quelqpe manière et sous quelque this thesis adable to interested forme que ce soit pour mettre des persons. exemplaires de cette thèse à la disposition des personnes intéressées. The author retains ownership of the L'auteur conserve la propriété du copyright in merthesis. Neither &oit d'auteur qui protège sa thèse. Ni the thesis nor substantial extracts la ihèse ni des extraits substantiels de fiom it may be printed or otherwike celle-ci ne doivent être imprimés ou reproduced wïth the author's autrement reproduits sans son permission- autorisation. For my parents, with gratitude Scholars have long recognid that identity is a crucial issue in the Middle English verse romances. Most studies of identity in the romances, however, have essumed a mode1 of identity based on an autonomous, psychologized, individualized self separate fiom and opposecl to an extdworld; the few recent studies to have posited other models for identity have tended to focus on single te-, such as sir GreenKniphtin this study 1explore representations of identity in a broad swey of the Middle English romances of the thirteenth ind fourteenth centuries, defining identity as a within larger ideological spaces, or "recognitionsystems," rather than as an extension of personality.
    [Show full text]
  • RONSARD, DU BELLAY, and D'aubigné By
    POLITICS AND POETICS OF EPIC IN THE FRENCH RENAISSANCE: RONSARD, DU BELLAY, AND D’AUBIGNÉ by JESSICA J. APPLEBY B.A., University of Colorado 2006 M.A., University of Colorado 2008 Master, Université Paris 3 Sorbonne-Nouvelle 2012 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Department of French and Italian 2017 ii This thesis entitled: Politics and Poetics of Epic in the French Renaissance: Ronsard, Du Bellay, and d’Aubigné written by Jessica J. Appleby has been approved for the Department of French and Italian Christopher Braider Suzanne Magnanini Date The final copy of this thesis has been examined by the signatories, and we find that both the content and the form meet acceptable presentation standards of scholarly work in the above mentioned discipline. iii Abstract Appleby, Jessica J. (Ph.D., French) Politics and Poetics of Epic in the French Renaissance: Ronsard, Du Bellay, and d’Aubigné Thesis directed by Professor Christopher Braider This dissertation examines the epic genre and its mutations from poetic and political perspectives during the sixteenth century. Renaissance poetic treatises acknowledged epic as the highest poetic form and the greatest aspiration of poets. A French imitation of the Aeneid would be the mark of national greatness, a poem to confirm France as the literary, cultural, and political successor to ancient Rome. It would both capture and foster national sentiment for a nation with imperial ambitions. However, any attempts to compose such a work either produce mediocre poetry or are so mutated in form that they can barely be labeled epic.
    [Show full text]
  • In Medieval Use, Romance Referred to Episodic French and German Poetry
    ROMANCE, MEDIEVAL (also called a chivalric romance): In medieval use, romance referred to episodic French and German poetry dealing with chivalry and the adventures of knights in warfare as they rescue fair maidens and confront supernatural challenges. The medieval metrical romances resembled the earlier chansons de gestes and epics. However, unlike the Greek and Roman epics, medieval romances represent not a heroic age of tribal wars, but a courtly or chivalric period of history involving highly developed manners and civility, as M. H. Abrams notes. Their standard plot involves a single knight seeking to win a scornful lady's favor by undertaking a dangerous quest. Along the way, this knight encounters mysterious hermits, confronts evil blackguards and brigands, slays monsters and dragons, competes anonymously in tournaments, and suffers from wounds, starvation, deprivation, and exposure in the wilderness. He may incidentally save a few extra villages and pretty maidens along the way before finishing his primary task. (This is why scholars say romances are episodic--the plot can be stretched or contracted so the author can insert or remove any number of small, short adventures along the hero's way to the larger quest.) Medieval romances often focus on the supernatural. In the classical epic, supernatural events originate in the will and actions of the gods. However, in secular medieval romance, the supernatural originates in magic, spells, enchantments, and fairy trickery. Divine miracles are less frequent, but are always Christian in origin when they do occur, involving relics and angelic visitations. A secondary concern iscourtly love and the proprieties of aristocratic courtship--especially the consequnces of arranged marriage and adultery.
    [Show full text]
  • Gavin Douglas Translates the Animals of Aeneid 2*
    Wolf at the Gate: Gavin Douglas Translates the Animals of Aeneid 2* Newlin, Robert [Abstract] Gavin Douglas’ 16th century translation into Middle Scots of Virgil’s Aeneid provides insight into how a good translator works. Highly competent in the language, theory and commentary tradition surrounding Virgil’s canonical work, Douglas nevertheless produces a version that is at the same time accurate, deeply thoughtful, at times expansive, and recognizably Scottish. How he does this can be approached by focusing on his version of the Aeneid’s Book Two, and especially on what Douglas does with natural and animal imagery. This paper will consider Douglas’ small but significant changes in the original’s descriptions of, respectively, the deer, the wolf, the (wooden) horse, and the snake. Drawing on late-antique and medieval theories of animals in literature, especially the fable, as well as the “textual community” of Virgilian commentary and Greek and Roman reception in Douglas’ age, we will consider how the Scottish poet negotiates the sometime conflicting requirements of verisimilitude or “naturalness” and faithfulness to what he saw as Virgil’s “sentence” or full intended (or accrued) meaning. For Douglas, the Aeneid’s animal imagery provides miniature opportunities―often through a single word or two―to signal * Research for this paper was supported by the Hankuk University of Foreign Studies Research Fund for 2015-2016. 162 영미연구 제36집 or echo what he saw as larger patterns and themes in the poem. What results is a work that engages its source with sympathy and agency both: a living participant in a text’s history.
    [Show full text]