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This ambitious study of all proper names in the Chanson de Roland is based for the first time on a systematic survey of the whole geographical and historical literature from antiquity to after 1100 for the Geographica, and on working through (almost) the entire documentary tradition of France and its neighbouring regions from 778 to the early 12th century for the personal names. The overall result is clear: the surviving song is more tightly and profoundly structured, even in smaller scenes, than generally assumed, it is also richer in depicting reality, and it has a very long prehistory, which can be traced in outline, albeit with decreasing certainty, (almost) back to the Frankish defeat of 778. Here are some individual results: for the first time, a detailed (and ultimately simple!) explanation not only of the 'pagan' catalogue of peoples, but also of the overarching structure of Baligant's empire, the organisation of North Africa, the corpus of the Twelve Anti-Pairs as well as the 'pagan' gods are given, and individual names such as Bramimunde and Jurfaret, toponyms such as Marbrise and Marbrose are explained. From Roland's Spanish conquests (v. 196-200), the course of the elapsed set anz toz pleins is reconstructed. Even the names of the weapons prove to be a small structured group, in that they are very discreetly adapted to their respective 'pagan' or Christian owner. On the Christian side, the small list of relics in Roland's sword is also carefully devised, not least in what is left out: a relic of the Lord; this is reserved for Charlemagne's Joiuse. The author explains for example, why from the archangel triad only Michael and Gabriel descend to the dying Roland, whereas 'the' angel Cherubin descends in Rafael's place. Munjoie requires extensive discussion, because here a (hitherto insufficiently recorded) toponym has been secondarily charged by the poet with traditional theological associations. The term Ter(e) major is attested for the first time in reality, namely in the late 11th century in Norman usage. For the core of France, the fourth cornerstone - along with Besançon, Wissant and Mont-Saint-Michel - is Xanten, and its centre is Aachen. The poet's artful equilibration of Charles's ten eschieles and their leaders is traced. The "Capetian barrier" emerges as a basic fact of epic geography. Approximatively, the last quarter of the study is devoted to the prehistory of the song, going backwards in time: still quite clearly visible is an Angevin Song of Roland from around 1050, in which Marsilĭe, Olivier, Roland, Ganelon, Turpin and Naimes already have roles similar to those in the preserved Song. Behind it, between about 970 and shortly after 1000, is the Girart de Vienne from the Middle Rhône, already recognised by Aebischer, with the newly invented Olivier contra Roland. Finally, in faint outlines, an oldest attainable, also Middle Rhône adaptation of the Roland material from shortly after 870 emerges. For the Chanson de Roland, Gaston Paris and Joseph Bédier were thus each right on the main point that was close to their hearts: the surviving song has both the thoroughly sophisticated structure of great art that Bédier recognised in it, and the imposingly long prehistory that Paris conjectured.

FOREIGN LANGUAGE STUDY / French. --- Chanson de Roland. --- Epic Poem. --- Medieval French Literature. --- Onomastics.

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Middle Ages - Dictionaries --- Civilization, Medieval - Dictionaries --- Middle Ages - French --- Civilization, Medieval - French --- Moyen âge, 476-1492 --- Acqui 2006 --- Middle Ages --- Civilization, Medieval

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Collection examining the Anglo-Norman language in a variety of texts and contexts, in military, legal, literary and other forms. The question of the development of Anglo-Norman (the variety of medieval French used in the British Isles), and the role it played in the life of the medieval English kingdom, is currently a major topic of scholarly debate. The essays in this volume examine it from a variety of different perspectives and contexts, though with a concentration on the theme of linguistic contact between Anglo-Norman and English, seeking to situate it more precisely in space and time than has hitherto been the case. Overall they show how Anglo-Norman retained a strong presence in the linguistic life of England until a strikingly late date, and how it constitutes a rich and highly valuable record of theFrench language in the middle ages. Contributors: Richard Ingham, Anthony Lodge, William Rothwell, David Trotter, Mark Chambers, Louise Sylvester, Anne Curry, Adrian Bell, Adam Chapman, Andy King, David Simpkin, Paul Brand, Jean-Pascal Pouzet, Laura Wright, Eric Haeberli.

Anglo-Norman dialect --- Anglo-French dialect --- Anglo-Norman French dialect --- Law French --- Norman-French dialect --- French language --- Anglo-Norman. --- English. --- language history. --- linguistic contact. --- linguistic life. --- medieval French.

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Who am I when I am dead? Several late-medieval French writers used literary representation of the dead as a springboard for exploring the nature of human being. Death is a critical moment for identity definition: one is remembered, forgotten or, worse, misremembered. Works in prose and verse by authors from Alain Chartier to Jean Bouchet record characters' deaths, but what distinguishes them as epitaph fictions is not their commemoration of the deceased, so much as their interrogation of how, by whom, and to what purpose posthumous identity is constituted. Far from rigidly memorialising the dead, they exhibit a productive messiness in the processes by which identity is composed in the moment of its decomposition as a complex interplay between body, voice and text. The cemeteries, hospitals, temples and testaments of fifteenth- and early-sixteenth-century literature, from the "Belle Dame sans mercy" querelle to Le Jugement poetic de l'honneur femenin, present a wealth of ambulant corpses, disembodied voices, animated effigies, martyrs for love and material echoes of the past which invite readers to approach epitaphic identity as a challenging question: here lies who, exactly? In its broadest context, this study casts fresh light on ideas of selfhood in medieval culture as well as on contemporary conceptions of the capacities and purposes of literary representationitself. Helen Swift is Associate Professor of Medieval French at St Hilda's College, Oxford.

Death in literature --- Death in art --- Death --- Early works to 1800. --- French history. --- French language studies. --- death in literature. --- death. --- humanism. --- life and death in literature. --- linguistics. --- literary analysis. --- manuscript studies. --- medieval France. --- medieval French studies. --- medieval history. --- medieval studies.

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The relationship between song quotation and the elevation of French as a literary language that could challenge the cultural authority of Latin is the focus of this book. It approaches this phenomenon through a close examination of the refrain, a short phrase of music and text quoted intertextually across thirteenth- and early fourteenth-century musical and poetic genres. The author draws on a wide range of case studies, from motets, trouvère song, plays, romance, vernacular translations, and proverb collections, to show that medieval composers quoted refrains as vernacular auctoritates; she argues that their appropriation of scholastic, Latinate writing techniques worked to authorize Old French music and poetry as media suitable for the transmission of knowledge. Beginning with an exploration of the quasi-scholastic usage of refrains in anonymous and less familiar clerical contexts, the book goes on to articulate a new framework for understanding the emergence of the first two named authors of vernacular polyphonic music, the cleric-trouvères Adam de la Halle and Guillaume de Machaut. It shows how, by blending their craft with the writing practices of the universities, composers could use refrain quotation to assert their status as authors with a new self-consciousness, and to position works in the vernacular as worthy of study and interpretation. Jennifer Saltzstein is Assistant Professor of Musicology at the University of Oklahoma.

French language. --- Langue d'oïl --- Romance languages --- Refrain. --- Music --- French poetry --- French language --- History and criticism. --- Middle French language --- Old French language --- Franco-Venetian language --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Poetry --- Old French --- Auctoritates. --- Authors. --- Literature. --- Medieval French Music. --- Old French. --- Poetry. --- Scholastic Writing. --- Vernacular.