This study seeks to define the medieval literary conventions governing allusions to certain Ovidian and Virgilian tales of love in the works of Boccaccio, Machaut, Froissart, and Chaucer. Using evidence from the Latin mythographers, it addresses several much-debated critical issues in medieval scholarship: questions of narrative voice, thematic unity, and purpose. Its principal contribution is to the discussion and evaluation of the French and Italian poems of love to which Chaucer was most heavily indebted. The author suggests that the love poems of Boccaccio, Machaut, and Froissart, rather than being ponderous didactic productions designed to instruct medieval audiences in the art of love, are true progeny of the Roman de la Rose,complex jeux d'esprit much closer in spirit and intention to the works of Chaucer than has been supposed.
This study seeks to define the medieval literary conventions governing allusions to certain Ovidian and Virgilian tales of love in the works of Boccaccio, Machaut, Froissart, and Chaucer. Using evidence from the Latin mythographers, it addresses several much-debated critical issues in medieval scholarship: questions of narrative voice, thematic unity, and purpose. Its principal contribution is to the discussion and evaluation of the French and Italian poems of love to which Chaucer was most heavily indebted. The author suggests that the love poems of Boccaccio, Machaut, and Froissart, rather than being ponderous didactic productions designed to instruct medieval audiences in the art of love, are true progeny of the Roman de la Rose,complex jeux d'esprit much closer in spirit and intention to the works of Chaucer than has been supposed.
This study seeks to define the medieval literary conventions governing allusions to certain Ovidian and Virgilian tales of love in the works of Boccaccio, Machaut, Froissart, and Chaucer. Using evidence from the Latin mythographers, it addresses several much-debated critical issues in medieval scholarship: questions of narrative voice, thematic unity, and purpose. Its principal contribution is to the discussion and evaluation of the French and Italian poems of love to which Chaucer was most heavily indebted. The author suggests that the love poems of Boccaccio, Machaut, and Froissart, rather than being ponderous didactic productions designed to instruct medieval audiences in the art of love, are true progeny of the Roman de la Rose,complex jeux d'esprit much closer in spirit and intention to the works of Chaucer than has been supposed.
The concept of the medieval city is fixed in the modern imagination, conjuring visions of fortified walls, towering churches, and winding streets. In Riemenschneider in Rothenburg, Katherine M. Boivin investigates how medieval urban planning and artistic programming worked together to form dynamic environments, demonstrating the agency of objects, styles, and spaces in mapping the late medieval city. Using altarpieces by the famed medieval artist Tilman Riemenschneider as touchstones for her argument, Boivin explores how artwork in Germany’s preeminent medieval city, Rothenburg ob der Tauber, deliberately propagated civic ideals. She argues that the numerous artistic pieces commissioned by the city’s elected council over the course of two centuries built upon one another, creating a cohesive structural network that attracted religious pilgrims and furthered the theological ideals of the parish church. By contextualizing some of Rothenburg’s most significant architectural and artistic works, such as St. James’s Church and Riemenschneider’s Altarpiece of the Holy Blood, Boivin shows how the city government employed these works to establish a local aesthetic that awed visitors, raising Rothenburg’s profile and putting it on the pilgrimage map of Europe. Carefully documented and convincingly argued, this book sheds important new light on the history of one of Germany’s major tourist destinations. It will be of considerable interest to medieval art historians and scholars working in the fields of cultural and urban history.
This study of a thirteenth-century dwelling on Egypt's Red Sea Coast draws on multiple lines of evidence--including texts excavated at the site--to reconstruct a history of the structure and the people who dwelt within. The inhabitants participated in Nile Valley-Red Sea-Indian Ocean trade, transported Ḥāǧǧ pilgrims, sent grain to Mecca and Medina, and wrote sermons and amulets for the local faithful. These activities are detailed in the documents and fleshed out in the botanical, faunal, artifact, and stratigraphic evidence from the University of Chicago's excavations (1978-82). This compound eventually consisted of two houses and a row of storerooms and became the center of mercantile activity at Quseir al-Qadim. Over time, as the number of named individuals who received shipping notes addressed to the "warehouse of Abū Mufarij" increased, living rooms and storerooms were added to accommodate this expansion of commerce. While most merchants were dealing in textiles, dates, and grains, additional commodities traded included perfumes, gemstone-decorated textiles, resist-dyed textiles, and porcelains. Specialist studies by Steven Goodman on the avian faunal remains and Wilma Wetterstrom on the macrobotanical finds reveal that the compound's occupants enjoyed a diet of chicken and Nile Valley produce such as grapes and watermelon, and they were supplemented by high-priced imports: nuts and fruits from around the Mediterranean, along with medicinal plants from as far away as India, indicate the wealth and status of this family of merchants. The evidence from this small portion of Quseir al-Qadim yields a rich local story that is a microcosm of Nile Valley-Red Sea-Indian Ocean trade under the last Ayyubid sultans of Egypt.
A collection of three classics, two of them Newbery Award Medal winners, and one a National Book Award winner by highly acclaimed author Katherine Paterson.
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