The Medieval <i>Opus</i>: Imitation, Rewriting and Transmission in the French Tradition

Proceedings of the Colloquium The Institute for Research in the Humanities 5-7 October 1995 The University of Wisconsin-Madison
Erscheinungsjahr 1996
ISBN: 978-90-420-0125-1
Verlag: Brill | Rodopi

Buch, Englisch, Band 116, 427 Seiten, Format (B × H): 155 mm x 230 mm

Reihe: Faux Titre

The Medieval Opus is a broad but detailed study of the art of imitation as rewriting that was practiced in medieval French texts and in texts in other languages influenced by French models. It contains the proceedings of a symposium on this topic. The volume will be of interest to scholars and students of medieval French as well as other medieval literatures influenced by French models. The range of texts is broad: from epic to romance and from lyric to late medieval lyrico-narrative genres. The authors teach in a number of countries in Europe and North America, and they represent a variety of approaches, ages, and critical perspectives on medieval rewriting.
Two major concepts inform the papers: the bridge work and the specimen text. The bridge work (Tony Hunt's term) refers here two works that have identifiable links to others and that, by those links, reveals something of the art of writing for both works. Specimen texts are works representative of the art of imitation illustrated by the bridge works. The proceedings move beyond the analysis of a general art of composition to investigate original rewriting in specific works that serve as specimen texts. The goal of the proceedings has been to appreciate originality within the framework of the medieval art of literary writing.

Autoren/Hrsg.

Weitere Mitwirkende

Kelly, Douglas

Inhaltsverzeichnis

REWRITING LATIN. Emmanuèle BAUMGARTNER: Benoît de Sainte-Maure et l'oeuvre de Troie. Michel ZINK: Traduire Saint Bernard: Quand la Parabole Devient Roman. CATEGORIES OF AUTHORS: PATRON, WRITER, AND SCRIBE. C. Stephen JAEGER: Patrons and the Beginnings of Courtly Romance. Laurence HARF-LANCNER: De la Biographie au Roman d'Alexandre: Alexandre de Paris et l'Art de la Conjointure. Marc-René JUNG: Ovide, texte, translateur et gloses dans les manuscrits de l'Ovide moralisé. REWRITING AS AN ART. Donald MADDOX: Inventing the Unknown: Rewriting in Le Bel inconnu. Sara STURM-MADDOX: Configuring Alterity: Rewriting the Fairy Other. Jane H.M. TAYLOR: Grosse Margot and Sotte Chanson: François Villon's Art of Adaptation. REPRISE IN TRANSMISSION. Norris J. LACY: Motif Transfer in Arthurian Literature. Elspeth KENNEDY: Who Is to Be Believed? Conflicting Presentations of Events in the Lancelot-Grail Cycle. Michelle SZKILNIK: Le Restor d'Alexandre dans Ysaÿe le triste. Friedrich WOLFZETTEL: La Fortune, le Moi et l'oeuvre: Remarques sur la Fonction Poétologique de Fortune au Moyen-Age Tardif. THE SCRIBE'S ART. Matilda T. BRUCKNER: Rewriting Chrétien's Conte du graal — Mothers and Sons: Questions, Contradictions, and Connections. Frank BRANDSMA: The Presentation of Direct Discourse in Arthurian Romance: Changing Modes of Performance and Reception? Lori WALTERS: Gui de Mori's Rewriting of Faux Semblant in the Tournai Roman de la rose. GENERIC PERMUTATIONS. Elizabeth W. POE: E potz seguir las rimas contrasemblantz: Imitators of the Master Troubadour Giraut de Bornelh. William D. PADEN: Flight from Authority in the Pastourelle. William W. KIBLER: From Epic to Romance: The Case of Lion de Bourges. Charity CANNON WILLARD: Gilles de Chin in History, Literature, and Folklore. TRANSLATION. Alois WOLF: Rewriting Chansons de geste for a Middle High German Public. Bart BESAMUSCA: Rewriting the Roman de Renart: The Middle Dutch Beast Epic Van den vos Reynaerde. Dhira MAHONEY: Middle English Regenderings of Christine de Pizan.