À la fin de l’époque médiévale, la production et l’importation d’une nouvelle vaisselle, d’une nouvelle mode vestimentaire et d’un nouveau mobilier s’accélèrent dans les villes d’Angleterre. L’acquisition, l’usage et l’entretien d’une gamme de plus en plus large de produits manufacturés n’a pas seulement rendu plus aisée la vie des marchands et des artisans, mais les a transformés eux-mêmes. Cependant l’usage et le sens des objets – les spécialistes de la culture matérielle l’ont bien montré – n’est pas stable. Selon certains (...) archéologues, la vaisselle qui commence à se répandre change peu à peu les habitudes de table avec des conséquences sur l’ordre de genre au sein du foyer. Cet article examine deux textes littéraires du Moyen Âge tardif qui décrivent des banquets exclusivement réservés aux femmes, pour évaluer l’effet de ces changements dans la culture matérielle sur les relations entre maris et femmes. (shrink)

Dans cet article nous examinons la syntaxe de l’anglo-normand tardif, en confrontant l’hypothèse d’une « différence fondamentale » entre l’anglo-normand (AN) et le français du continent (Kibbee (1991), à celle de Trotter (2003), selon qui l’AN aurait participé au « continuum dialectal » francophone du Moyen Age. Il est proposé par la même occasion de démontrer la capacité de textes non-littéraires, comme le sont la plupart des textes AN tardifs, à nous renseigner quant à la datation d’évolutions en syntaxe. Une (...) analyse de sources appartenant à la base de textes de l’Anglo-Norman Hub nous a permis de constater que la syntaxe du français insulaire s’est conformée à celle du français du continent sur les points étudiés, observant jusqu’en 1350 environ une distinction entre adverbes invertissants et non-invertissants, qui s’est ensuite perdue, et d’autre part en n’employant l’article partitif de qu’après point, plutôt qu’après mie ou pas. Ces résultats s’expliquent mieux si l’on suit l’hypothèse de l’adhésion de l’AN à l’aire francophone médiévale plutôt que celle d’une différence fondamentale entre le français insulaire et celui du continent. Il est proposé en outre que la base de textes de l’ Anglo-Norman Hub puisse servir de référence quant à la chronologie des changements syntaxiques survenus en français médiéval, en attendant d’être complétée par des sources continentales de genres comparables. (shrink)

In medieval Europe, knights were permitted to settle disputes through trial by combat. This was a practice whereby members of the noble class who were accused of a crime could defend themselves not...

The opposition of science and religion is a recent phenomenon; in the middle ages, and indeed until the middle of the nineteenth century, there was almost no conflict. In the Middle Ages the objective study of nature - the activity we now call science - was largely the province of religious men. This book looks at the origins of western science and the central role played by the Dominican and Franciscan friars. It explains why these two groups devoted so much (...) intellectual effort to the study of physical and biological phenomena, and distinguishes ’Natural Philosophy’ from ’science’ as presently understood. Though the friars were recognisably ’scientific’ in their approach their motives were religious - they wished to understand the mind of God and the beauty of God’s nature. Even so, as this study makes clear, the roots of western science lie in the monasteries and refuges of the medieval friars - the direct forebears of the anti-scientific Popes of the age of Copernicus and Galileo. Contents: Introduction 1. Philosophy and true philosophy 2. Town air 3. Sapienta and scientia: the cloister and the school 4. nature and the twelfth century 5. Heresy and Dominic 6. The evil and good world 7. Conquest and re-education 8. Dominican re-education 9. Fiat lux! Let there be light! 10. Et facta est lux! And there was light 11. Epilogue. (shrink)

Although generally philosophers have put a high valuation on reason, increasingly the role of emotions in motivating action is being recognized. The essays in this volume explore the emotions from a variety of perspectives, ranging from Aristotelian views of the passions to the new findings of cognitive science, and from such diverse starting points as medieval literature and psychological studies.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Crossing Borders: Love between Women in Medieval French and Arabic LiteraturesCary Howie (bio)Sahar Amer, Crossing Borders: Love between Women in Medieval French and Arabic Literatures. Philadelphia: U of Pennsylvania P, 2008, xii + 254 pp.Sahar Amer’s Crossing Borders adds to the expanding bibliography on medieval sexualities by showing the resonances between certain female same-sex relationships in medieval French literature and analogous, (...) though generally more explicit, relationships between women in the medieval Arabic tradition. In the process, sexuality becomes a way of talking about the porous boundaries that constitute the field of Old French, and perhaps even Western, literature as such.Amer’s book couldn’t have arrived at a better time, as Sarkozy’s French government once again, in the name of French values, intervenes in the debates around religion and clothing in the public sphere, debates in which the old divides between France and its constitutive others—in this case, certain kinds of Islam and certain kinds of women— have once again come to the fore. By proposing that “medieval French writing is essentially a hybrid, cross-cultural project” (163), Amer contributes not just to the emerging sense of the Middle Ages’ postcoloniality (as articulated by Jeffrey Jerome Cohen and Sharon Kinoshita, among others) but also to the work being done by intellectual historians and cultural theorists such as Joan Scott and Diane Rubenstein on the fantastic investments that take place within and around French universalism (which could be said to inform the idea of the literary no less than the idea of the citizen).Crossing Borders begins with the notion of borders as “fluid spaces of cultural exchange, adaptation, and collaboration” (ix), and it is the emphasis on a more general sense of cultural exchange, more than the fact of borders per se, that will permeate the chapters that follow. (In fact, the border, like “the lesbian,” Amer’s polemical term of choice for the women she describes, may be important for her argument precisely insofar as it resists visibility, as it remains to some extent difficult to locate.) Amer’s reading of Old French texts, in dialogue with a handful of medieval Arabic narratives and erotic compilations, proceeds from an understanding of medieval culture in which there is “a continuity rather than a rupture between medieval and modern conceptions of alternative [End Page 156] sexualities” (9), and in which it is possible to argue for influences that are tough, if not impossible, to trace empirically. According to this logic, ideas and stories may have circulated “next to” more tangible material goods taken to and from the Arab Islamicate world (13), and French authors may have “culled some elements from Arabic material and wove[n] them into a literary fabric to suit their audience’s sensibilities” (163). This attentiveness to what “may have” happened (e.g., 44, 110) is one of the signature gestures of Amer’s critical poetics, which I am tempted to describe as an imaginative historicism, committed at once to the explanatory power of historical context and to what Amer will repeatedly call the “imagination of the audience” (e.g., 79).After an initial chapter outlining this “cross-cultural” poetics of contextualization and imaginative investment, chapter 2, “Crossing Linguistic Borders,” is dedicated to seven stanzas of a late twelfth-century poem, Étienne de Fougères’s Livre des manières, in which a long description is given of women who go “against Nature” by “join[ing] shield to shield without a lance” (32). Amer reads these military metaphors for female homoeroticism in light of Arabic sources including, for example, al-Jurjani’s eleventh-century Anthology of Metonymic Devices, in which one of the cited commonplaces observes, “They [lesbians] manifest a war in which there is no spear-thrusting” (36). Most provocatively, Amer argues for the Arabic provenance of two otherwise untranslatable words in Étienne’s text, “trutennes,” which she traces to an Arabic root meaning “the mons of the beloved” (40), and “eu,” which she interprets as an orgasmic onomatopoeia. From mons to moans, the “medieval French literary lesbian” is a condensation of forms and fantasies—and noises—that come from before and beyond medieval France. In fact, the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Medieval Troubadour Mobilized in the French Resistance *Roy RosensteinIntroduction: The Place of Poetry under VichyRien ne semblait plus anachronique que d’interroger, inter arma, le silence des Muses médiévales....Frank 1In Chantons sous l’occupation André Halimi details how raucously the band played on in wartime Paris. 2 If Vercors in 1941 advocated the practice of silence and Sartre in 1945 maintained that Paris had been dead for the (...) four years of the Nazi occupation, Halimi and others have shown that Parisians [End Page 499] sang, danced, and laughed during the Occupation as never before. 3 Rarely had so many plays been staged, so many movies been produced. 4 While in other Nazi-occupied countries the theaters and restaurants remained closed, thus preserving a modicum of national dignity in defeat, in France the arts thrived and la vie mondaine accelerated its pace. Journalist Henri Amouroux rightly explains how cinema and theater provided more than entertainment and why they were periodically the target of curfews. In these wartime performances a seemingly insignificant phrase could take on a rich contemporary context. Thus a line like “toute la fleur du royaume se trouve en prison” in Montherlant’s La reine morte invariably provoked applause. Whether the text was classical or contemporary in origin, the audience “seized upon all the passages that could be linked to the current situation.” 5 In this broad sense, Resistance literature came to include any “poetry written and/or distributed in France during the Occupation, and which the reader sees as implicitly or explicitly conveying hostility to Nazism and Collaboration.” 6Between 1940 and 1944 French audiences escaped their national misfortunes more through literature than through film and drama combined. “Never, perhaps, had literature played such a momentous part in the daily life of French readers,” wrote the late Henri Peyre in 1945. 7 As is often noted, the intellectual Resistance “fut surtout poétique.” 8 Every page of poetry, past or present, seemed to remind wartime readers of their current circumstances. One young poète résistant is categorical: “Never before had poetry played such a decisive role in history.” 9 Pierre Brunel of the Sorbonne is just as emphatic in confirming [End Page 500] the judgment of contemporary scholars and Resistance fighters alike: “During the war years, French poetry found a singleness of purpose and an audience that it had never enjoyed before.” 10In anticipation of more comprehensive treatments of French Resistance poetry sens large, the present study proposes a necessarily modest and certainly partial approach to the role of poetry in the French Resistance. Following the general groundwork of Seghers, Gaucheron, Higgins, and others, it undertakes to track, if only schematically, the reaction to France’s fall as polarized across three territories—in American exile, in Vichy France, and in German camps—through a focus on one exemplary twelfth-century troubadour. Concurrently with the “nouvelle floraison poétique” hailed by André Rousseaux in 1941, 11 Jaufre Rudel was one earlier poet who enjoyed a resurgence of interest during the war. With respect to this troubadour, to date only Dietmar Rieger has mentioned in passing an oblique reference to Rudel’s trademark distant love in Aragon’s “Pour un chant (national)”: “Jaufre’s love from afar is set against a love for France.” 12 This particular troubadour’s legend and lyrics assumed new dimensions through their immediate relevance not only for Aragon but for all French nationals, both imprisoned at home and exiled abroad. Literary historian René Dumesnil observed as early as 1941 with respect to pre-war French classics: “Present circumstances give them new depth and extend their range.” 13 Regarding France’s medieval literature, a modern critic has noted how “the troubadours, just as much as Tristan, Roland, Lancelot, Perceval, or even Yseult..., emerge as agents of unity, even of unanimity, around whom it is still possible to muster the French people in 1940.” 14 [End Page 501]As has been observed for centuries, “Frenchmen abroad seldom wholly give up the idea of going back to France some time or other.” 15 All French patriots and expatriates, wherever they found themselves after the Armistice in June 1940, whether... (shrink)

Essays and accompanying bibliographies survey recent (to 1990) studies of Boethius' 6th-century Latin work as it was translated into Old English (primarily King Alfred), medieval German, medieval French, and Middle English (primarily Chaucer). Each of the four chapters is an independent treatment, b.

In this article, we reconsider the syntactical analysis as well as the categorial status of two Medieval French elements, et and ne. In this connection, we illustrate and compare various approaches which principally differ with regard to the assignment of a unique category or of various categories to these elements. In the context of this comparison, we address some of the questions pertaining to their motivations and the evidence which has been offered in their favor, showing that approaches (...) which assign a unique category to et and ne, respectively, prove to be empirically more adequate. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The French Tradition and the Literature of Medieval EnglandEdward E. FosterThe French Tradition and the Literature of Medieval England, by William Calin; xvi & 587pp. Toronto: University of Toronto Press, 1994, $75.00 cloth, $29.95 paper.Probably not many people will read all of this book, because it is very long. That is too bad, because it is also very good and its length is necessary (...) for its double purpose: to reconceptualize the connections between French and English literature in the Middle Ages and to provide sensitive interpretations both of familiar and of ignored Medieval narratives. The doubleness is neatly reciprocal: the readings grow into the revisionist definition of influence, and the notion of influence informs the individual readings.The innovative and persuasive argument that orders the whole book is that the impact of the French tradition has been too narrowly defined. Rather than simply retracing the influence of the classics of French fin amour, like Chrétien, on the corpus of Middle English literature, Calin sinuously argues the influence of Anglo-Norman and thirteenth and fourteenth century Central French works on the literature of the high English Middle Ages. From Anglo-Norman, Calin draws, predictably, on the lais of Marie de France. Less predictably, he draws on Beroul and Thomas of England and on romances like Ipomedon, Amadas et Ydione, and Gui de Warewic. Least predictably, he draws on the tradition of saints’ lives as formative of later Medieval moral narrative. From Central French, he draws, predictably, on the Roman de la Rose. Less predictably, but very convincingly, he draws on material frequently slighted even by French critics: Guillaume de Digulleville, the Prose Lancelot, Machaut, Froissart, and Chartier. But even more than influence, in the traditional sense, Calin persuasively demonstrates an enlivening intertextuality. He rescues Anglo-Norman classics from their stodgy reputation and late Central French texts from inattention and makes both relevant to the development of the English narrative tradition in court poetry and in popular romance.The power of Calin’s overarching argument depends heavily on the critiques of individual works. Without forgetting Chrétien and the earlier French tradition, he traces in Marie, Beroul, and Thomas, the formation and complication of fin amour which were present and available to English writers. He describes the narrative force of Anglo-Norman saints’ lives on the fictional techniques of English romance. His acute treatment of interlace in the Prose Lancelot reveals the treasure trove that English romancers could draw on, for technique as well as themes. In addition, he shows both how de Digulleville served up the “dream vision” and Machaut and Froissart served up the limited, even bumbling, narrator for fourteenth-century England.It could be argued that Calin’s method of doing very modern or postmodern analyses of early French poetry and prose is misleading. And it is true that some of the readings of French texts seem eccentric. For example, the relentless imposition of Freud on Marie is perplexing even when plausible. One wonders [End Page 400] whether this is the best way to approach the Lais. And Calin moves on to feminist, and old and new historicist readings of other texts. Each is well done, but it is sometimes hard to tell which way the winds of theory are blowing and why. While it must be granted that the interpretations of Middle English romances, like Ywain and Gawain, Amis and Amiloun, and William of Palerne, are not profoundly different from what other scholars have come to, there is no denying that embedding them in their French contexts gives them a richness they ordinarily lack. Even more laudable is the way in which influence is elaborated not just as a matter of themes but as a transformation of techniques and even sensibility.My greatest reservation is the treatment of Chaucer, especially “The Franklin’s Tale.” Calin does recognize Chaucer’s debts to the classics (though mostly through the Ovid Moralisé) and to the Italians. Yet Chaucer is the one author for whom the weight of French intertextuality seems less a determinant than a stimulant. In “The Franklin’s Tale,” the French burden leads to a reading that too easily dismisses both ironic... (shrink)