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Le cycle de Guiron le Courtois, composé sans doute à partir de 1230 et en plusieurs étapes, est le dernier grand roman arthurien en prose française à rester inédit. Guiron le Courtois consiste en effet en plusieurs œuvres caractérisée par une tradition textuelle complexe : le Meliadus, le Roman de Guiron et la Suite Guiron. Le Meliadus et le Guiron ont été conçus indépendamment l’un de l’autre ; en outre, dans leur état initial, ils n’ont sans doute jamais été achevés, ce qui explique la tradition textuelle assez éclatée et, en particulier, la multitude de « raccords » et de « suites » destinés à combler les interstices. Une édition critique de l’ensemble du cycle est actuellement en cours. Ceci est le premier volume du Roman de Guiron propre, qui en comportera trois. Le texte est précédé d’une introduction, comportant la description des manuscrits, une analyse de la tradition textuelle, une étude littéraire, un examen de la langue du manuscrit. Il est suivi de notes, d’un glossaire et d’un index des noms propres.

Romance Philology --- Medieval French Literature --- Medieval Italian Literature --- Arthurian Romance

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Le cycle de Guiron le Courtois, composé sans doute à partir de 1230 et en plusieurs étapes, est le dernier grand roman arthurien en prose française à rester inédit. Guiron le Courtois consiste en effet en plusieurs œuvres caractérisée par une tradition textuelle complexe : le Meliadus, le Roman de Guiron et la Suite Guiron. Le Meliadus et le Guiron ont été conçus indépendamment l’un de l’autre ; en outre, dans leur état initial, ils n’ont sans doute jamais été achevés, ce qui explique la tradition textuelle assez éclatée et, en particulier, la multitude de « raccords » et de « suites » destinés à combler les interstices. Une édition critique de l’ensemble du cycle est actuellement en cours. Ceci est le premier volume du Roman de Guiron propre, qui en comportera trois. Le texte est précédé d’une introduction, comportant la description des manuscrits, une analyse de la tradition textuelle, une étude littéraire, un examen de la langue du manuscrit. Il est suivi de notes, d’un glossaire et d’un index des noms propres.

Historical & comparative linguistics --- Romance Philology --- Medieval French Literature --- Medieval Italian Literature --- Arthurian Romance

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The texts analyzed underline the wide dissemination of the Arthurian story in medieval and post-medieval Europe, from Scotland to Italy, while the various analyses of the manifestations of comedy refute the notion of romance as a humourless genre. Indeed, the comic treatment of conventional themes and motifs appears to be not only characteristic of later romance but an essential element of the genre from its beginnings and from its earliest development. Authors of Arthurian romance, from Chrétien de Troyes to Malory, writing in French, Italian, Middle Dutch, and Middle English, and the creators of an Irish prose-tale, all question the fundamental assumptions of romance and romance values through the medium of comedy. The theme of comedy in Arthurian romance has been developed from the orignal session at the Arthurian Congress in Toulouse. Contributors: ELIZABETH ARCHIBALD, FRANK BRANDSMA, CHRISTINE FERLAMPIN-ACHER, LINDA GOWANS, DONALD L. HOFFMAN, MARGOLEIN HOGENBIRK, NORRIS J. LACY, MARILYN LAWRENCE, BENEDICTE MILLAND-BOVE, PETER S. NOBLE, KAREN PRATT, ANGELICA RIEGER, ELIZABETH S. SKLAR, FRANCESCO ZAMBON.

Arthurian romances. --- Arthur, --- Arthurian romances --- Comedy --- History and criticism. --- Arthurian Romance. --- Comedy. --- Dutch. --- English. --- French. --- Italian. --- Scottish.

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Medieval books that survive today have been through a lot: singed by fire, mottled by mold, eaten by insects, annotated by readers, cut into fragments, or damaged through well-intentioned preservation efforts. In this book, Michelle Warren tells the story of one such manuscript—an Arthurian romance with textual origins in twelfth-century England now diffused across the twenty-first century internet. This trajectory has been propelled by a succession of technologies—from paper manufacture to printing to computers. Together, they have made literary history itself a cultural technology indebted to colonial capitalism. Bringing to bear media theory, medieval literary studies, and book history, Warren shows how digital infrastructures change texts and books, even very old ones. In the process, she uncovers a practice of "tech medievalism" that weaves through the history of computing since the mid-twentieth century; metaphors indebted to King Arthur and the Holy Grail are integral to some of the technologies that now sustain medieval books on the internet. This infrastructural approach to book history illuminates how the meaning of literature is made by many people besides canonical authors: translators, scribes, patrons, readers, collectors, librarians, cataloguers, editors, photographers, software programmers, and many more. Situated at the intersections of the digital humanities, library sciences, literary history, and book history, Holy Digital Grail offers new ways to conceptualize authorship, canon formation, and the definition of a "book." --Stanford University Press

Arthurian romances --- Codicology --- Digital humanities. --- Literature and technology. --- Manuscripts, Medieval --- Manuscripts --- Digitization. --- Technological innovations. --- Arthurian romance. --- book history. --- digital humanities. --- libraries. --- media studies. --- medieval literature. --- medievalism. --- technology.

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First translation of two vivid accounts of French thirteenth-century tournaments, rich in detail and an impassioned defence of tournaments aand their importancee.

Tournaments, Medieval --- Ring jousting --- Jousting, Ring --- Riding at the rings --- Medieval tournaments --- Tournaments --- Civilization, Medieval --- History --- France --- Social life and customs --- Arthurian romance. --- French history. --- festivities. --- jousting. --- martial sport. --- medieval chivalry. --- performance. --- thirteenth-century tournaments.