The Penn Commentary on Piers Plowman, Volume 2, by Ralph Hanna, deliberately addresses the question of the poem's perceived "difficulty," by indicating the legitimate areas of unresolved dilemmas, while offering often original explanations of a variety of textual loci.
The first full commentary on Piers Plowman since the late nineteenth century is inaugurated with the publication of the first two of its five projected volumes.
The first full commentary on Piers Plowman since the late nineteenth century is inaugurated with the publication of the first two of its five projected volumes.
Volume 4, by Traugott Lawler, creates a complete vade mecum for readers, identifying and translating all Latin quotations, uncovering allusions, providing full cross-reference to other parts of the poem, drawing in relevant scholarship, discussing all differences between the B and C texts, and unraveling difficult passages.
Playing the Canterbury Tales addresses the additions, continuations, and reordering of the Canterbury Tales found in the manuscripts and early printed editions of the Tales. Many modern editions present a specific set of tales in a specific order, and often leave out an entire corpus of continuations and additions. Andrew Higl makes a case for understanding the additions and changes to Chaucer's original open and fragmented work by thinking of them as distinct interactive moves in a game similar to the storytelling game the pilgrims play. Using examples and theories from new media studies, Higl demonstrates that the Tales are best viewed as an "interactive fiction," reshaped by active readers. Readers participated in the ongoing creation and production of the tales by adding new text and rearranging existing text, and through this textual transmission, they introduced new social and literary meaning to the work. This theoretical model and the boundaries between the canonical and apocryphal texts are explored in six case studies: the spurious prologues of the Wife of Bath's Tale, John Lydgate's influence on the Tales, the Northumberland manuscript, the ploughman character, and the Cook's Tale. The Canterbury Tales are a more dynamic and unstable literary work than usually encountered in a modern critical edition.
This four volume primary resource collection is the most comprehensive of its kind and includes a multitude of sources that allows the user to chart the squalor, the noise, the conflict, the aspiration and the diversity of the working-class experience up to the outbreak of the First World War.
The Remembered Dead explores the ways poets of the First World War - and later poets writing in the memory of that war - address the difficult question of how to remember, and commemorate, those killed in conflict. It looks closely at the way poets struggled to meaningfully represent dying, death, and the trauma of witness, while responding to the pressing need for commemoration. The authors pay close attention to specific poems while maintaining a strong awareness of literary and philosophical contexts. The poems are discussed in relation to modernism and myth, other forms of commemoration (photographs, memorials), and theories of cultural memory. There is fresh analysis of canonical poets which, at the same time, challenges the confines of the canon by integrating discussion of lesser-known figures, including non-combatants and poets of later decades. The final chapter reaches beyond the war's centenary in a discussion of one remarkable commemoration of Wilfred Owen.
A major new study piecing together the intriguing but fragmentary evidence surrounding the lives of minstrels to highlight how these seemingly peripheral figures were keenly involved with all aspects of late medieval communities. Minstrels were a common sight and sound in the late Middle Ages. Aristocrats, knights and ladies heard them on great occasions (such as Edward I's wedding feast for his daughter Elizabeth in 1296) and in quieter moments in their chambers; town-dwellers heard and saw them in civic processions (when their sound drew attention to the spectacle); and even in the countryside people heard them at weddings, church-ales and other parish celebrations. But who were the minstrels, and what did they do? How did they live, and how easily did they make a living? How did they perform, and in what conditions? The evidence is intriguing but fragmentary, including literary and iconographic sources and, most importantly, the financial records of royal and aristocratic households and of towns. These offer many insights, although they are often hard to fit into any coherent picture of the minstrels' lives and their place in society. It is easy to see the minstrels as peripheral figures, entertainers who had no central place in the medieval world. Yet they were full members of it, interacting with the ordinary people around them, as well as with the ruling classes: carrying letters and important verbal messages, some lending huge sums of money to the king (to finance Henry V's Agincourt campaign in 1415, for instance), some regular and necessary civic servants, some committing crimes or suffering the crimes of others. In this book Rastall and Taylor bring to bear the available evidence to enlarge and enrich our view of the minstrel in late medieval society.
This book explores the intimate relationship between literature and class in England (and later Britain) from the Peasants’ Revolt at the end of the fourteenth century to the impact of the French Revolution at the end of the eighteenth century and beginning of the nineteenth. The book argues throughout that class cannot be seen as a modern phenomenon that occurred after the Industrial revolution but that class divisions and relations have always structured societies and that it makes sense to assume a historical continuity. The book explores a number of themes relating to class: class consciousness; class conflict; commercialisation; servitude; rebellion; gender relations; and colonisation. After outlining the history of class relations, five chapters explore the ways in which social class consciously and unconsciously influenced a series of writers: Chaucer, Shakespeare, Behn, Rochester, Defoe, Duck, Richardson, Burney, Blake and Wordsworth.
Continuum's Introductions to British Literature and Culture series provide practical guides to key literary periods. Guides in the series help to orientate students as they begin a new module or area of study, providing concise information on the historical, cultural, literary and critical context and acting as an initial map of the knowledge needed to study the literature and culture of a specific period. Each guide includes an overview of the historical period, intellectual contexts, major genres, critical approaches and a guide to original research and resource materials in the area, enabling students to progress confidently to further study. The Guide to Medieval Literature and Culture provides students with the ideal introduction to literature and its context from the 7th to 15th centuries, including: - the historical, cultural and intellectual background including religion and philosophy; society and politics; art and culture - major works and genres including religious literature; history writing; drama; Chaucer; Langland - concise explanations of key terms needed to understand the literature and criticism - key critical approaches to medieval literature from the Renaissance to the present - a chronology mapping historical events and literary works and further reading including websites and electronic resources.
The horrors and tragedies of the First World War produced some of the finest literature of the century: including Memoirs of an Infantry Officer; Goodbye to All That; the poetry of Wilfred Owen and Edward Thomas; and the novels of Ford Madox Ford. Collectively detailing every campaign and action, together with the emotions and motives of the men on the ground, these 'war books' are the most important set of sources on the Great War that we have. Through looking at the war poems, memoirs and accounts published after the First World War, Ian Andrew Isherwood addresses the key issues of wartime historiography-patriotism, cowardice, publishers and their motives, readers and their motives, masculinity and propaganda. He also analyses the culture, society and politics of the world left behind. Remembering the Great War is a valuable, fascinating and stirring addition to our knowledge of the experiences of WWI.
In the last twenty five years, company law in the Commonwealth Caribbean has undergone dramatic changes, from a model influenced by English law to a new, harmonised collection of regional legislation based on the Caricom and CLI model Acts that vary substantially across Caricom member states. The variation within Caribbean company law presents an enormous challenge, both in terms of the breadth of the subject and in addressing the difference in provisions of one state’s Company Law Act as opposed to another. Using the Caricom model Act and CLI model Act as a basis for its structure, Commonwealth Caribbean Company Law examines and compares regional implementation of company law in an accessible and comprehensive manner that will be invaluable to students and practitioners in the region.
Modern readers and writers find it natural to contrast the agency of realistic fictional characters to the constrained range of action typical of literary personifications. Yet no commentator before the eighteenth century suggests that prosopopoeia signals a form of reduced agency. Andrew Escobedo argues that premodern writers, including Spenser, Marlowe, and Milton, understood personification as a literary expression of will, an essentially energetic figure that depicted passion or concept transforming into action. As the will emerged as an isolatable faculty in the Christian Middle Ages, it was seen not only as the instrument of human agency but also as perversely independent of other human capacities, for example, intellect and moral character. Renaissance accounts of the will conceived of volition both as the means to self-creation and the faculty by which we lose control of ourselves. After offering a brief history of the will that isolates the distinctive features of the faculty in medieval and Renaissance thought, Escobedo makes his case through an examination of several personified figures in Renaissance literature: Conscience in the Tudor interludes, Despair in Doctor Faustus and book I of The Faerie Queen, Love in books III and IV of The Faerie Queen, and Sin in Paradise Lost. These examples demonstrate that literary personification did not amount to a dim reflection of “realistic” fictional character, but rather that it provided a literary means to explore the numerous conundrums posed by the premodern notion of the human will. This book will be of great interest to faculty and graduate students interested in medieval studies and Renaissance literature.
This study aims to provide readers with a convenient source of reliable, scholarly, and accessible information on Chaucer's work, life, and times. Topics include Chaucer's works, major fictional characters, social, and political contexts, writers who influenced Chaucer or influenced by him, people and places of significance in Chaucer's life.
This book accounts for the previously inadequately explained transformation in the meaning of equity in sixteenth century England, a transformation which, intriguingly, first comes to light in literary texts rather than political or legal treatises. The book address the two principal literary works in which the transformation becomes apparent, Thomas More's Utopia and Edmund Spenser's Faerie Queene, and sketches the history of equity to its roots in the Greek concept of epieikeia, uncovering along the way both previously unexplained distinctions, and a long-obscured esoteric meaning. These rediscoveries, when brought to bear upon the Utopia and Faerie Queene, illuminate critical though relatively neglected textual passages that have long puzzled scholars.
Heavily revised and reorganized, the ninth edition of Measurement for Evaluation in Kinesiology helps students master the essential concepts and principles of measurement and evaluation and equips them with the tools needed to become a successful evaluator within Physical Education and Exercise Science. Using a student-centered approach, it presents tests and methods for evaluating aerobic fitness, body composition, skill achievement, youth fitness, and much more. The Ninth Edition highlights the practical skills and materials that readers need and clearly outlines each chapters objectives. It goes on to discuss the latest public health initiatives, computer-based evaluations, and Healthy People 2020.
A reconstruction of the life and works of a sixteenth-century minstrel, showing the tradition to be flourishing well into the Tudor period. Richard Sheale, a harper and balladeer from Tamworth, is virtually the only English minstrel whose life story is known to us in any detail. It had been thought that by the sixteenth century minstrels had generally been downgradedto the role of mere jesters. However, through a careful examination of the manuscript which Sheale almost certainly "wrote" (Bodleian Ashmole 48) and other records, the author argues that the oral tradition remained vibrant at this period, contrary to the common idea that print had by this stage destroyed traditional minstrelsy. The author shows that under the patronage of Edward Stanley, earl of Derby, and his son, from one of the most important aristocratic families in England, Sheale recited and collected ballads and travelled to and from London to market them. Amongst his repertoire was the famous Chevy Chase, which Sir Philip Sidney said moved his heart "more than witha trumpet". Sheale also composed his own verse, including a lament on being robbed of 60 on his way to London; the poem is reproduced in this volume. ANDREW TAYLOR lectures in the Department of English, University of Ottawa.
Exam Board: OCR Level: A-level Subject: History First Teaching: September 2015 First Exam: June 2016 This is an OCR endorsed resource Build strong subject knowledge and skills in A Level History using the in-depth analysis and structured support in this tailor-made series for OCR's British period studies and enquiries. - Develops the analytical skills required to succeed in the period study by organising the narrative content around the key issues for students to explore - Enhances understanding of the chosen historical period, supplying a wealth of extracts and sources that offer opportunities to practise the evaluative skills needed for the enquiry - Progressively improves study skills through developmental activities and advice on answering practice exam questions - Helps students to review, revise and reflect on the course material through chapter summaries and revision activities that consolidate topic knowledge - Equips students with transferable critical thinking skills, presenting contrasting academic opinions that encourage A Level historians to make informed judgements on major debates Each title in the OCR A Level History series contains one or two British period studies and its associated enquiry, providing complete support for every option in Unit Group 1. Late Medieval England 1199-1455 This title explores the reigns of the English Kings from John to Henry VI through two British period studies and two enquiries. It allows an in-depth understanding of the key historical knowledge, terms and concepts relevant to the period studied and encourages the critical use of evidence in investigating and assessing historical questions in the associated enquiries: 'King John 1199-1216' and 'Richard II 1377-1399'. This title covers the following period studies and enquiries: - King John 1199-1216 - England 1216-1272 - Richard II 1377-1399 - England 1399-1455
As people of the modern era were singularly prone to nervous disorders, the nervous system became a model for describing political and social organization. This volume untangles the mutual dependencies of scientific neurology and the cultural attitudes of the period 1800-1950, exploring how and why modernity was a fundamentally nervous state.
A biography of Sylvia Plath, a literary icon who continues to haunt, fascinate, and enthrall even now, fifty years after her death. On February 25 , 1956, twenty-three-year-old Sylvia Plath walked into a party and immediately spotted Ted Hughes. This encounter—now one of the most famous in all of literary history—was recorded by Plath in her journal, where she described Hughes as a “big, dark, hunky boy.” Sylvia viewed Ted as something of a colossus, and to this day his enormous shadow has obscured her life and work. The sensational aspects of the Plath-Hughes relationship have dominated the cultural landscape to such an extent that their story has taken on the resonance of a modern myth. Before she met Ted, Plath had lived a complex, creative, and disturbing life. Her father had died when she was only eight; she had gone out with literally hundreds of men, had been unofficially engaged, had tried to commit suicide, and had written more than two hundred poems. Mad Girl’s Love Song chronicles these early years, traces the sources of her mental instability, and examines how a range of personal, economic, and societal factors—the real disquieting muses—conspired against her. Drawing on exclusive interviews with friends and lovers who have never spoken openly about Plath before and using previously unavailable archives and papers, this is the first book to focus on the early life of the twentieth century’s most popular and enduring female poet. Mad Girl’s Love Song reclaims Sylvia Plath from the tangle of emotions associated with her relationship with Ted Hughes and reveals the origins of her unsettled and unsettling voice.
When the learned first gave serious attention to popular ballads, from the time of Percy to that of Scott, they laboured under certain disabilities. The Comparative Method was scarcely understood, and was little practised. Editors were content to study the ballads of their own countryside, or, at most, of Great Britain. Teutonic and Northern parallels to our ballads were then adduced, as by Scott and Jamieson. It was later that the ballads of Europe, from the Faroes to Modern Greece, were compared with our own, with EuropeanMärchen, or children’s tales, and with the popular songs, dances, and traditions of classical and savage peoples. The results of this more recent comparison may be briefly stated. Poetry begins, as Aristotle says, in improvisation. Every man is his own poet, and, in moments of stronge motion, expresses himself in song. A typical example is the Song of Lamech in Genesis—“I have slain a man to my wounding, And a young man to my hurt.” Instances perpetually occur in the Sagas: Grettir, Egil, Skarphedin, are always singing. In Kidnapped, Mr. Stevenson introduces “The Song of the Sword of Alan,” a fine example of Celtic practice: words and air are beaten out together, in the heat of victory. In the same way, the women sang improvised dirges, like Helen; lullabies, like the lullaby of Danae in Simonides, and flower songs, as in modern Italy. Every function of life, war, agriculture, the chase, had its appropriate magical and mimetic dance and song, as in Finland, among Red Indians, and among Australian blacks. “The deeds of men” were chanted by heroes, as by Achilles; stories were told in alternate verse and prose; girls, like Homer’s Nausicaa, accompanied dance and ball play, priests and medicine-men accompanied rites and magical ceremonies by songs. These practices are world-wide, and world-old. The thoroughly popular songs, thus evolved, became the rude material of a professional class of minstrels, when these arose, as in the heroic age of Greece. A minstrel might be attached to a Court, or a noble; or he might go wandering with song and harp among the people. In either case, this class of men developed more regular and ample measures. They evolved the hexameter; the laisse of the Chansons de Geste; the strange technicalities of Scandinavian poetry; the metres of Vedic hymns; the choral odes of Greece. The narrative popular chant became in their hands the Epic, or the mediaeval rhymed romance. The metre of improvised verse changed into the artistic lyric. These lyric forms were fixed, in many cases, by the art of writing. But poetry did not remain solely in professional and literary hands. The mediaeval minstrels and jongleurs (who may best be studied in Léon Gautier’s Introduction to his Epopées Françaises) sang in Court and Camp. The poorer, less regular brethren of the art, harped and played conjuring tricks, in farm and grange, or at street corners. The foreign newer metres took the place of the old alliterative English verse. But unprofessional men and women did not cease to make and sing.
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