Listing 1 - 10 of 21 | << page >> |
Sort by
|
Choose an application
Thematically and as a narrative technique, interlace, the complex weaving together of many different story-telling strands, comes to its full development in the intriguing conclusion of the Prose Lancelot. The Grail appears on the horizon and although Lancelot's love for Guenevere still makes him the best knight in the world, it becomes clear that this very love disqualifies him from the Grail Quest. Meanwhile, the adventures of a myriad Arthurian knights continue to be followed.This study explains how the interlace works and shows that it is the perfect vehicle for the relation of the events. It discusses the division of the narrative into threads, their interweaving, convergence and divergence, the gradual introduction of the Grail theme and its first climax (the begetting of Galahad), the distribution of information to the audience, the use of dramatic irony and emotions, and many other aspects of this major innovation in story-telling technique.
Choose an application
Choose an application
Thematically and as a narrative technique, interlace, the complex weaving together of many different story-telling strands, comes to its full development in the intriguing conclusion of the Prose Lancelot. The Grail appears on the horizon and although Lancelot's love for Guenevere still makes him the best knight in the world, it becomes clear that this very love disqualifies him from the Grail Quest. Meanwhile, the adventures of a myriad Arthurian knights continue to be followed. This study explains how the interlace works and shows that it is the perfect vehicle for the relation of the events. It discusses the division of the narrative into threads, their interweaving, convergence and divergence, the gradual introduction of the Grail theme and its first climax (the begetting of Galahad), the distribution of information to the audience, the use of dramatic irony and emotions, and many other aspects of this major innovation in story-telling technique.
Lancelot (Legendary character) --- Arthurian romances --- French prose literature --- Romances --- History and criticism. --- Lancelot --- Lancelot (Prose romance) --- French literature --- Lancelot, --- Launcelot --- Launcelot, --- Lannzilet --- Lanzelet --- Ланселот --- Lanselot --- Lanselod --- Lawnslot --- Λάνσελοτ --- Lanzarote, --- Lanceloto --- Lantzelot, --- Lancillotto --- Lancillotto, --- Lancelotto --- Lancellotto --- לנסלוט, --- ランスロット --- Ransurotto --- Lancelote --- Lançarote --- Ланселот, --- Lanselot, --- Lancelot (Prose cycle). --- Lancelot du Lac (Prose romance) --- Lancelot del Lac (Prose romance) --- Lancelot propre (Prose romance) --- Lancelot en prose (Romance) --- Prose Lancelot (Romance)
Choose an application
Choose an application
Choose an application
Poetry --- Medieval Dutch literature --- Lanseloet van Denemarken --- 839.3 "12" LANCELOT --- Arthurian romances --- -Dutch literature --- -Grail --- -Knights and knighthood in literature --- Lancelot (Legendary character) --- -Civilization, Medieval, in literature --- Graal --- Gral --- Gréal --- Holy Grail --- Sangraal --- Sangreal --- Chalices --- Folklore --- Flemish literature --- Romances --- Nederlandse literatuur--?"12"--LANCELOT --- History and criticism --- -History and criticism --- Dutch literature --- Grail --- History and criticism. --- Legends --- 839.3 "12" LANCELOT Nederlandse literatuur--?"12"--LANCELOT --- Legends&delete& --- Romances&delete& --- Lancelot (Prose romance) --- Lancelot (Prose cycle). --- Lancelot du Lac (Prose romance) --- Lancelot del Lac (Prose romance) --- Lancelot propre (Prose romance) --- Lancelot en prose (Romance) --- Prose Lancelot (Romance) --- Congresses --- Lancelot - (Legendary character)
Choose an application
In the medieval Low Countries (modern-day Belgium and the Netherlands), Arthurian romance flourished in the thirteenth and fourteenth centuries. The Middle Dutch poets translated French material (like Chrétien?s Conte du Graal and the Prose Lancelot), but also created romances of their own, like Walewein. This book provides a current overview of the Dutch Arthurian material and the research that it has provoked. Geographically, the region is a crossroads between the French and Germanic spheres of influence, and the movement of texts and manuscripts (West to East) reflects its position, as revealed by chapters on the historical context, the French material and the Germanic Arthuriana of the Rhinelands. Three chapters on the translations of French verse texts, the translations of French prose texts, and on the indigenous romances form the core of the book, augmented by chapters on the manuscripts, on Arthur in the chronicles, and on the post-medieval Arthurian material
Arthurian romances --- Arthurian romances. --- Dutch poetry --- Dutch poetry. --- Epic poetry, Dutch --- Epic poetry, Dutch. --- French poetry --- Literature. --- History and criticism. --- History and criticism --- Translations into Dutch --- Arthur, --- In literature. --- To 1500. --- French literature --- Dutch epic poetry --- Flemish poetry --- Dutch literature --- Translations into Dutch&delete& --- Arturus, --- Artur, --- Arturo, --- Artus, --- Artù, --- Artús, --- Артур, --- Arzhur, --- Artuš, --- Αρθούρος, --- Arthouros, --- Arthur Pendragon --- Pendragon, Arthur --- Adha, --- 아서, --- 아서 왕 --- Asŏ, --- Asŏ Wang --- ארתור, --- Arthur Gernow --- Arthurus, --- Arturius, --- Arturs, --- Artūras, --- Artúr, --- アーサー, --- アーサー王 --- Āsā-ō --- Āsā, --- Èrthu, --- Arthwys, --- Thematology --- Medieval Dutch literature --- King Arthur [Fictitious character]
Choose an application
Choose an application
Choose an application
Literary texts complicate our understanding of medieval emotions; they not only represent characters experiencing emotion and reaction emotionally to the behaviour of others within the text, but also evoke and play upon emotion in the audiences which heard these texts performed or read. The presentation and depiction of emotion in the single most prominent and influential story matter of the Middle Ages, the Arthurian legend, is the subject of this volume. Covering texts written in English, French, Dutch, German, Latin and Norwegian, the essays presented here explore notions of embodiment, the affective quality of the construction of mind, and the intermediary role of the voice as both an embodied and consciously articulating emotion.
Frank Brandsma teaches Comparative Literature (Middle Ages) at Utrecht University; Carolyne Larrington is a Fellow in medieval English at St John's College, Oxford; Corinne Saunders is Professor of Medieval Literature in the Department of English Studies and Co-Director of the Centre for Medical Humanities at the University of Durham.
Contributors: Anne Baden-Daintree, Frank Brandsma, Helen Cooper, Anatole Pierre Fuksas, Jane Gilbert, Carolyne Larrington, Andrew Lynch, Raluca Radulescu, Sif Rikhardsdottir, Corinne Saunders,
Arthurian romances --- English literature --- Emotions in literature --- History and criticism --- Emotions in literature. --- History and criticism. --- Thematology --- Old English literature --- Affective Quality. --- Arthurian Literature. --- Arthurian legend. --- Audiences. --- Carolyne Larrington. --- Characters. --- Corinne Saunders. --- Embodiment. --- Emotions. --- Frank Brandsma. --- Literary Texts. --- Medieval. --- Middle Ages. --- Mind. --- Voice. --- affective quality. --- embodiment. --- emotion. --- literary analysis. --- literary texts. --- medieval literature. --- voice.
Listing 1 - 10 of 21 | << page >> |
Sort by
|