The Prophet of Islam in Old French gives the first English translation of the only medieval French narratives that present comprehensive accounts of Muhammad's prophethood: Alexandre du Pont's Romance of Muhammad from 1258 and the 1264 translation of a Muslim apocalypse, The Book of Muhammad's Ladder. The introduction addresses the problems of the romance's divergence from conventional Christian representations of Muhammad's confirmation as prophet and the absence of Christian commentary in the apocalypse. It discusses the traditions regarding Muhammad's prophethood, the conventions of the apocalyptic genre, and the propagandistic aims of both narratives in relation to the crusades and missionary activity at that time. These works are of particular interest because they are the first to present to a French lay audience the topic of Muhammad's prophethood, and scholars have long debated whether the apocalypse influenced Dante's Divine Comedy.
The selected texts under examination include, among others, hagiographies, works of Bernard of Clairvaux and Aelred of Rievaulx, The Quest of the Holy Grail, Thomas' Tristan, the Prose Lancelot, Ami and Amile, the Decameron, and L.B. Alberti's Dell' amicizia.
The Prophet of Islam in Old French gives the first English translation of the only medieval French narratives that present comprehensive accounts of Muhammad's prophethood: Alexandre du Pont's Romance of Muhammad from 1258 and the 1264 translation of a Muslim apocalypse, The Book of Muhammad's Ladder. The introduction addresses the problems of the romance's divergence from conventional Christian representations of Muhammad's confirmation as prophet and the absence of Christian commentary in the apocalypse. It discusses the traditions regarding Muhammad's prophethood, the conventions of the apocalyptic genre, and the propagandistic aims of both narratives in relation to the crusades and missionary activity at that time. These works are of particular interest because they are the first to present to a French lay audience the topic of Muhammad's prophethood, and scholars have long debated whether the apocalypse influenced Dante's Divine Comedy.
The Arts of Friendship focusses on literary representations of three categories of ideal friendship — Christian, chivalric, and humanistic — and the writers' strategies of establishing the ethical authority of their contemporary friends and codes on a par with antiquity's amicitia perfecta. The study identifies the extent to which writers acknowledged women as perfect friends. The selected texts under examination include, among others, hagiographies, works of Bernard of Clairvaux and Aelred of Rievaulx, The Quest of the Holy Grail, Thomas' Tristan, the Prose Lancelot, Ami and Amile, the Decameron, and L.B. Alberti's Dell'amicizia. Literary comparatists and historians, ethical historians, and students of rhetoric will find of interest the comparative study of the rhetorical topos of perfect friendship, the varied ethical criteria inherent there, and the writers' strategies for representing and authorizing an idea.
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