РОЛЬ АНДАЛУЗЬКОЇ ПОЕЗІЇ У ПРОЦЕСІ СТАНОВЛЕННЯ ТА РОЗВИТКУ ЛІРИКИ ПРОВАНСАЛЬСЬКИХ ТРУБАДУРІВ

ARTHURIANA Huston and Allen seem at least to be having fun with their parts. Huston maintains a gyno-sacerdotal demeanor appropriate to the Lady ofthe Lake, and Allen plays the vamp as heavy in a throwback to an acting style that seems inspired by Theda Bara. Margulies, try as she might, simply lacks gravitas—her still-intact-television ER midwestern accent making an already tinny dialogue sound only worse. Present in the miniseries is the battle between pagan/feminine/nurturing and Christian/masculine/destructive, with the Saxons thrown in for good measure as enemies to all. The time frame is correct, and some of the costuming and sets are close enough, but overall a great deal oftalent, time, money, and effort seems to have been for naught. It is encouraging that interest in movies and telefilms set in some version of the Middle Ages continues (cf. this Summer's A Knight's Tale which, for all its anachronisms, is still a better reimagining of the medieval). One only wishes that this interest provided us with something better to watch—and to write about. KEVIN J. HARTY 1.a Salle University w. H. Jackson and s. a. ranawake, eds., The Arthur ofthe Germans. The Arthurian Legendin Medieval German andDutch Literature. Arthurian Literature in the Middle Ages, III. Cardiff: University ofWales Press, 2000. Pp. xii, 337. isbn: o—7083-1595-x. $65. Volume III ofthe series Arthurian Literature in the Middle Ages, like the two previous volumes on Welsh (1991) and English (1999) Arthurian literature, was published in cooperation with the Vinaver Trust, established by the British Branch of the International Arthurian Society to commemorate the distinguished scholar Eugène Vinaver. The volumes in this series are intended to be successors to the now classic Arthurian Literature in the Middle Ages (1959). In his Preface, W R. J. Barron notes that the volumes are 'primarily addressed to students of the individual culture in question, but also to those of other cultures who, for the appreciation of their own Arthurian literature, need to be aware ofthe various expressions ofthe legend' (p. ix). Therefore, 'the volumes aim to present the present state of knowledge as individual contributors see it' and who 'also address the needs ofspecialist scholars by discussing current academic controversies, and themselves treating open questions of research' (p. ix). The volume is divided into five parts: 1. 'Reception and Appropriation: The German Verse Romances, Twelfth Century to 1300'; 2. Continuity and Change in the Later Middle Ages'; 3. The Medieval Dutch Arthurian Material'; 4. Other Literary, Pictorial and Social Manifestations of Arthurian Culture'; 5. 'The Legacy' The Arthur ofthe Germans encompasses more than the subtitle would suggest, for the volume also contains a chapter on 'King Arthur and his Round Table in the Culture of Medieval Bohemia and in Medieval Czech Literature' by Alfred Thomas (pp. 249-56). In the Introduction (pp. 1-18), W. H. Jackson and Silvia Ranawake remark that 'the volume must be understood in the medieval, integrative sense ofthe words dietsch and tiutsch' REVIEWS123 (p. 1), that is, Middle High German and Middle Dutch respectively, which were just beginning to separate out as distinct languages. FIence also the inclusion of Czech literature, which shows 'a further eastward spread of Arthurian literature into the Slav world through the medium ofGerman' (p. 2). The first chapter, 'The Western Background' by Ingrid Kasten, sketches 'the early history of the Arthurian legend, which preceded its reception in German literature' (p. 21). And this is followed, as one would expect, by chapters on FIartmann von Aue, Ulrich von Zatzikhoven, Wolfram von Eschenbach, Heinrich von dem Türlin, Der Stricker, Der Pleier, and the late thirteenth-century anonymous Wigamur, Gauriel, Lohengrin, as well as fragments of Arthurian romances. Gottfried von Strassburg is saved for Part Two, where Mark Chinea discusses the entire German Tristan tradition in 'Tristan Narratives from the High to the Later Middle Ages' (pp. 117-34), to which chapter Volker Mertens has contributed an appendix on 'Arthur in the Tristan Tradition' (pp. 135-41). The second part also contains chapters on the Wigalois narratives, the Prosa-Lancelot, late medieval summations, such as Ulrich Fiietrer's Buch der Abenteuer, and Lorengel. Parts...

Reviewed by: Crisis and Form in the Later Writing of Ingeborg Bachmann by Áine McMurtry Karl Ivan Solibakke Áine McMurtry, Crisis and Form in the Later Writing of Ingeborg Bachmann. London: Modern Humanities Research Association, 2012. 250 pp. Incorporating multidimensional modes of perception that are superimposed onto the archaeology of Western culture, Ingeborg Bachmann’s later prose works resemble semiotic webs in which contradictory messages and conflicting meanings are allowed to circulate freely. As a result, her Todesarten narratives mirror the uncertainties of modern European existence and focus on shattered memories, ghosts, and traumas, which, in many instances, enter the collective order via the written or spoken word. Lamenting the state of the arts, fashion, politics, media, mass entertainment, and sexuality as well as the [End Page 129] injustices underlying commodification and industrialization, the celebrated Austrian author also succeeds in projecting the deficiencies of the postwar era onto a textual screen that is a montage of images originating from the collective unconscious. Located in a hybrid space between the past and the present, her prose can be compared to archives in which collective debris is accumulated and multi-faceted sign systems are folded into each other. In juxtaposition to post-Freudian reflections on the healing power of myths, Bachmann’s aesthetic strategies sharpen the crises besetting European societies in the 1960s and trace barbarism back to one of its most plausible origins: language. “Taking into account Bachmann’s heightening disillusion with her contemporary social order during the 1960s,” Áine McMurtry provides evidence of the author’s “radical project to develop a viable linguistic mode through which to express an inextricable condition of subjective and cultural crisis intimately bound up with the recent experience of historical atrocity” (31). The five chapters of McMurtry’s volume pay tribute to the areas of discourse that give Ingeborg Bachmann’s mature prose their cultural, intellectual, and theoretical momentum: the disintegration of collective ethics and mores, the effects of cultural disorientation on transmissibility, the enduring legacy of gender violence, and the fragility of creative expression. Examining poetic drafts that were released long after Bachmann’s premature death in 1973, Letzte, unveröffentlichte Gedichte (1998) and Ich weiß keine bessere Welt, unveröffentlichte Gedichte (2000), McMurtry analyzes to what extent Bachmann folded the lyric remnants and embryonic metaphors of her unfinished poems into the semantics of her Todesarten narratives. Her claim is that the “examination of the poetic drafts of the early 1960s permits new insights into the defining impact of subjective crisis on Bachmann’s aesthetic practice” (8), suggesting as well that the author’s generational and gender conflicts were embedded in increasingly complex layers of verbal, historical, and visual signifiers. McMurtry demonstrates in her final chapter, which is devoted to the musical motifs in Bachmann’s unpublished lyrics, that a comprehensive analysis of Ingeborg Bachmann’s Todesarten necessitates an interdisciplinary investigation into music as the basis for an intricate network of sociocultural discourses and as a compositional principle that helps amalgamate her complex stylistic range. Designated as the overture to the Todesarten complex, the novel Malina weaves a fabric of literary and musical references that harken back to philosophical and aesthetic roots in European literary traditions. Prevalent in German literature around 1800, musical discourse forms the basis on [End Page 130] which homologies between compositional and textual configurations can be verified. Deriving literary compositions from poetic drafts, in which music and random sounds play an increasingly important role, Bachmann opts for a fragmentation of aesthetic expression that deconstructs timbre and melody, signifier and meaning, subject and object. Likewise, emancipation from natural frames of perception is intimately related to a concept of “aisthesis” as a reflexive perception that suffers irreparable damage when mass communication threatens traditional forms of collective discourse. If the “I” in Malina becomes the personification of the female voice, at once a symbol for obsolete melodies and the primordial, then her aphasia at the end of the novel equates to a loss of the ideals motivating the musical myth in German literary traditions. By the same token, Bachmann’s narratives depict a semiotic order in which, among other influences, women as the “suffering female subject” capitulate to the irrationality of the operatic...

Reviewed by: English in the Middle Ages by Tim William Machan David Matthews English in the Middle Ages. By Tim William Machan. Oxford: Oxford University Press, 2003. Pp. x, 205. ISBN 0199262683. $29.95. In Textual criticism and Middle English texts, Tim William Machan argued that ‘crediting Middle English literature with modern textual criticism’s conception of texts and works’ is unfeasible, in that it ‘supplies [Middle English literature] with a quality whose absence was one of its conditions of existence’ (1994:176). Rather than offering readings of this or that manuscript or the codicological situation of a given text, this was a book about the whole field of Middle English with ramifications that altered the way we could perceive it. Broadly, M argued that the entire history of Middle English textual criticism since the Middle Ages has performed a set of operations alien to most of Middle English textuality. In his new book, similarly, M disavows close reading of individual Middle English texts, instead examining a whole discursive field—the sociolinguistic status of English in the Middle Ages—in order to realign, according to medieval norms, what has more often been forced into line with a set of essentially modern assumptions. Like the earlier book, this one has an unadorned title, the bluntness of which is accurate. Specifically, the book ‘explores the social meanings, functions, and status of the English language in the late-medieval period’ (ix). Its ‘particular approach’ is ‘a sociolinguistic inquiry into the status of English in the late-medieval period: the meanings, reputation, and purposes of both the language in general and some of its varieties in [End Page 659] particular’ (8). While ‘political, literary, and religious issues’ are important, M writes, the primary interest is always the ‘sociolinguistic practices [that] underwrote the language’s status irrespective of their use of it’ (8–9). M disavows, then, any literary-critical purpose, offering critical readings of literary texts ‘only as platforms to talk about larger issues of social practice and the semiotics of language’ (19). This is slightly overmodest, as the readings of the temptation scenes in Sir Gawain and the green knight and the language of the clerks in the Reeve’s tale will I think have to be taken into account in future literary-critical consideration of these works. The basis of this sociolinguistic investigation is the ‘ecology’ of Middle English, a key concept drawn from Einar Haugen’s The ecology of language (1972) and explored in detail in the first chapter. This transfers the more usual sense of ecology to ‘the structured, learned, and analysable sociolinguistic relationships that obtain between speakers and the linguistic varieties they use—whether channels, registers, dialects, or distinct languages—in sustaining particular social and even natural environments’ (10). The resulting account of Middle English, ‘by describing who uses what linguistic varieties under which circumstances and with what social effects, characterizes the relations between a speech community’s linguistic repertoire … and social practices. These ecological practices, in turn, emerge from and enact the overarching status of a language’ (10). Four chapters follow, the last of them an extended epilogue entitled ‘After Middle English’. M first looks at the English letters, supposedly the work of Henry III, circulated in support of the Provisions of Oxford in October 1258. These two letters are the only such official documents extant in English since the time of the Conqueror. There is nothing like them again until a proclamation of Henry V in 1416, to which M turns in the final chapter: these two vernacular moments, therefore, bookend his argument. In the third chapter, ‘Language, dialect, nation’, M examines the many statements made about English in relation to French and Latin in the Middle Ages, and this leads on to ‘What’s a dialect before it’s a dialect?’ which turns to the Reeve’s tale and Sir Gawain. In recent years there has been a marked turn among both historians and literary critics toward the idea of emergent nationhood in the English Middle Ages. Even as the modern concept of nationhood undergoes a crisis there is ever more interest in its (possible) origins in the Middle Ages, most clearly suggested by Thorlac Turville...

This article explores the use of objective observation, descriptive narrative, and physiological analysis in the prose of Vasile Alecsandri, highlighting the rich typology and characterological depth of his works. Alecsandri’s narrative style, rooted in realism and influenced by both Romanian and European literary traditions, captures a transformative period in Romanian society in the mid -19th century. His prose, often characterized as a “record of lives” in line with Balzac’s typological approach, serves as both a literary and historical document, reflecting a diverse range of human experiences and social realities. Through the analysis of Alecsandri's detailed character portraits and the exploration of the social milieu, the article emphasizes how the prose of the time blends artistic narrative with documentary value, offering insightful observations on human nature and societal evolution. The study argues that Alecsandri’s literary approach, blending historical reflection with emotional sensitivity, enriches the understanding of 19th century Romanian and European intellectual circles. His memoirs serve as acts of love and cognition, integrating personal experience with broader cultural narratives, while offering insight into Alecsandri’s own literary style, shaped by spontaneity, humour, and a deep connection to both folklore and European literary traditions.

The article defines and examines the connection between the disguise/imitation motifs and the categories of comic and tragic within European literary tradition (from Antiquity to the Eighteenth century). The authors of this research explain the factors that make these motifs popular means of creating comic effect or tragic pathos and highlight the trends in their functioning. Disguise/imitation motifs are shown to be mostly related to situations that violate the usual norms of conformity, hierarchical relations, behavioural canons, and for this precise reason, they have a powerful affective potential, i.e. become capable of evoking strong emotions. The disguise/imitation motifs are appropriate for comic effect due to their archaic genetic links with ritual-laughter culture and their conformity to the very nature of the comic, which is based on contradictions. Tragic pathos arises as a result of tragic consequences of one’s identity loss within disguise/imitation situations, it prompts awareness of the injustice of society and the “cruelty” of fate, which are the cause of the forced rejection of one’s self. The article indicates the prospects of researching disguise/imitation motifs in modern art, where they are often employed in adventurous narratives to increase the plot’s dynamism, heighten dramatic tension, and intensify intrigue.

In colonial Taiwan, much of the early literary and research activities were launched by professors and the many lectures held at the Taipei Imperial University, all of which embodied the authority of knowledge. During the half of Nishikawa Mitsuru's lifetime spent in Taiwan, Nishikawa founded and edited eighteen journals and published many novels, collections of short stories, and poetry. The distinctive feature of Nishikawa's early poetry was a balance of various artistic elements: flamboyant colours, along with subtly lyrical and illusive characteristics. Similar to the use of colours and images, Nishikawa's use of language, mostly for artistic effect, also demonstrated a mosaic feature. Nishikawa carried out the pursuit of developing national literature in a unique way. Modern ways of artistic expressions such as decadence and exoticism, which were largely derived from European literary traditions, seemed to have permeated much of Nishikawa's writing.Keywords: colonial Taiwan; European literary traditions; Japanese national literature; Japanese poetry; Nishikawa Mitsuru; Taipei Imperial University

This study meticulously examines the influence of Arab literary traditions on the troubadour poetry of medieval Europe, particularly within the regions of Occitania and Southern France. Employing a Comparative Cultural Analysis, the research highlights the thematic and stylistic intersections between these two distinct yet interconnected literary traditions. Central to the findings is the profound impact of Arab poetry's thematic depth, stylistic innovations, and conceptual contributions on the evolution of troubadour poetry. The analysis, enriched by the scholarly insights of Maria Rosa Menocal and the poetic compilations of Abdullah Al-Udhari, underscores the shared motifs of love, longing, and human experience, illustrating a transcultural literary kinship. Key texts and scholarly contributions illuminate the nuanced ways Arab poetic forms and emotional expressiveness have permeated and enriched European troubadour poetry. This paper addresses scholarly debates surrounding the recognition of Arab influences, advocating for a broader acknowledgment of this cultural confluence within literary history. The findings advocate for an inclusive approach to literary studies, recognizing the diversity of influences that shape artistic expressions. Ultimately, this research not only sheds light on the Arab contributions to European literary traditions but also affirms the role of poetry in bridging cultural divides, enriching the interconnected narrative of the medieval Mediterranean world.

The focus of this article is on interaction in Middle English and Early Modern English herbals. In the Middle Ages, herbals were mainly instructive aids for producing medicines of the plants described in the text. Later, in the Early Modern English period, the herbal genre split into two, retaining the genre called herbals and giving birth to systematic botanical texts. The interaction established in texts can be studied through the use of pronouns (involvement markers) and the use of imperatives. This study shows that the strategies employed in the Middle English period are very different from the strategies in the Early Modern English period: the use of second-person pronouns and imperatives prevails in the Middle English period, whereas the use of first-person pronouns was preferred in the Early Modern English period. In addition to this, another division, irrespective of the time of writing, is observed in the material: the first group includes handbooks and practical herbals, and the other group learned and empirical herbals. Factors which explain these differences in interaction strategies are the purposes for writing and the education of the intended audience.

At the opening of Chaucer's early dream vision, the Book of the Duchess, the narrator describes his insomnia and his general idle malaise: I have so many an ydel thoghtPurely for defaute of slepThat, by my trouthe, I take no kepOf nothing, how hyt cometh or gooth,Ne me nys nothyng leef nor looth.All is ylyche good to me—Joye or sorowe, wherso hyt be—For I have felyng in nothyng.(4–11)1 The relentless negations in these lines—denials of action, thought, being, and feeling—emphasize the narrator's lack of productive intellectual or social influence and his emotional void. Yet “nothing” takes on an allegorical force as it “cometh or gooth” and as the narrator describes his “felyng in nothyng.” This allegory illogically suggests that the Dreamer finds something—a feeling—in nothing, a paradoxical notion that anticipates a deep preoccupation throughout the poem with a making something from nothing, valuing passive as active, and finding productivity in idleness.2Idleness is an important though little-studied aspect of medieval culture, as James Simpson has argued.3 Simpson articulates a literary principle of “idling” based on the repeated echoing of prior sources. In doing so, he suggests, a poem “enacts yet somehow resists the possibility of literary waste; it recycles even as it appears to waste.”4 In her book on medieval gossip, Susan Phillips takes up the issue of idleness much more extensively, making a case for the productive capacity of idle talk.5 Like both of these scholars, I am interested in idleness and its productive potential. I will integrate and expand on their work by approaching the subject of idleness with a particular focus on gender and sexuality. In doing so, I hope to illuminate a queer dimension to the notion of productive idleness by articulating a poetics of idling in Chaucer's first dream vision.The apparent passivity of the melancholic narrator has been a focus for many scholarly treatments of the poem influenced by queer theory and gender studies.6 Most notably, for my purposes, Steven Kruger argues that the Dreamer's melancholia at the beginning of the poem works as a queering force, rendering him passive and effeminate. Kruger further suggests that it is through the Dreamer's homosocial interaction with the Black Knight within his dream that his melancholic state is corrected.7 While such treatments of the poem are valuable, I wonder why we must locate the poem's queer dynamic within a gender inversion, insisting on the equation of a male character's “passivity” with “femininity.” I would like to move beyond this correlation by suggesting that neither “femininity” nor “queerness” must be passive. The Dreamer and the Black Knight mobilize their unproductive physical and mental states—their idleness—toward emotional and creative production. Instead of “being idle,” they are “idling.” This active participial form inscribes a measure of activity into the apparent stagnancy of their idleness.The Book of the Duchess emphasizes idleness at three levels. First, Chaucer thematizes it by highlighting how the Dreamer's melancholia prevents him from writing poetry, rendering his languor akin to a particularly humanist brand of melancholy: accedia, or intellectual and creative torpor. Yet at the end of the poem, as the Dreamer returns to his pen, prompted by his marvelous dream, the melancholic state that has produced his dream is reinscribed as productive. In the figure of the Black Knight, the Dreamer's idleness is extended and magnified, as the Knight's despair at the loss of his wife approaches a kind of spiritual sloth, or acedia. The Dreamer's intervention into the Black Knight's melancholy introduces another idle mode in the poem—one that emerges at the level of narrative and discourse. As R. A. Shoaf has demonstrated, the Dreamer acts as a kind of secular confessor to the Black Knight, probing him about his dead lover in a strategy that resembles the questions of a priest taking confession.8 However, several scholars have pointed out that the intimate personal detail required for confession renders it dangerously close to that most maligned form of “idle talk”—gossip.9 At the same time that the Dreamer acts as a secular confessor to the Black Knight, their conversation also resembles gossip. Yet their idle talk is not passive or unproductive. The confessional, gabby, discursive resonances of the men's verbal exchange elevate the intimacy between the Dreamer and the Black Knight, allowing for the partial consolation of an intimate or queer friendship. This dynamic undermines Kruger's point that their homosocial interaction acts as a corrective force.10 Finally, Chaucer's poetics of idling emerges at the level of poetic form, as the poem ends by rearticulating its own origin. Despite this regressive movement, which imitates an idle mechanism in its deceptive lack of progression or movement forward, the poem gestures outward to Chaucer's future poetic corpus in a way that renders the poem's idle circular structure an active force.The Book of the Duchess offers an early example in an English literary tradition of texts that depict men being idle in an intimate or homoerotic way.11 Such an association highlights the lack of social productivity—and biological reproductivity—in queer relationships, a point that has recently become the focus of a particular strand of queer theory espoused by Lee Edelman and others, known as the “antisocial thesis.”12 Edelman points to the violence of “reproductive futurism,” that is, the social and political emphasis on reproduction, the child, and the future.13 In making this important claim, Edelman nihilistically identifies the “death drive” as a queer imperative. In contrast, I would like to show how the queer friendship in the Book of the Duchess is invested, in its emotional and poetic productivity, in the future. My reading renders queer idleness an active, productive force, and so aligns with queer theorists like Eve Sedgwick, who sees queer as “a continuing moment, movement, motive—recurrent, eddying, troublant.”14 The Book of the Duchess is doubly queer as the intimacy cultivated between men is heightened and as the poem renders idleness into idling—an irrepressible cycle of production.The Book of the Duchess's focus on illness and grief highlights both the Dreamer's and the Black Knight's idle or unproductive conditions and enables their conversation to function as recuperative idle talk. The Dreamer's complicated gender is evident from the outset of the poem, as are the physical and spiritual conditions that inform his dream. Chaucer's narrator emphasizes the Dreamer's physical and psychological infirmity, telling us, “I may nat slepe wel nygh noght;/I have so many an ydel thoght” (3–4). He stresses his overactive imagination, asserting that his dazed languor is a result of “sorwful ymagynacioun” (14) and specifying that he suffers from “melancolye” (23). Moreover, the narrator's illness renders him “a mased thyng” (12), passive and impotent. The narrator tells us that his sickness and insomnia are “agaynes kynde” (16), a phrase that, as Kruger points out, would strongly resonate with moralizing rhetoric focused on sexual behavior contra naturam.15The nuance contained in the notion of the “ydel thoghts” that the Dreamer identifies in line 4 is worth examining in greater detail. The word idel and its variants in Middle English carry associations of laziness, worthlessness, emptiness, and lack of productivity.16 The Dreamer's idle thoughts underscore his overactive imagination. This emphasis on idleness hints at the nature of the Dreamer's melancholic condition. The word suggests that the Dreamer has no outlet for his lively fantasies. His transgression is not the medieval sin of acedia, a temptation that incites flight from spiritual exercises and ultimately produces alienation from God and despair. This spiritual condition emerges later when the Black Knight's malady begins to resemble religious despondency. Instead, the Dreamer's melancholy bears a likeness to the more broadly philosophical Petrarchan concept of accidia: the melancholic inhibition of creative production brought on by despair in the human condition.17 Furthermore, Middle English notions of idleness shifted semantically between intellectual production and biological reproduction. In his Confessio Amantis, for example, John Gower uses the word to refer to fallow land: “And ek the lond is so honeste/That it is plentevous and plein,/Ther is non ydel ground in vein” (7.930–32).18 Though many of the references to idleness denoting physical reproduction refer to land, the word's association with stopped or blocked fertility gives us greater insight into the nature of the Dreamer's ailment. Combining with his melancholic physicality, the Dreamer's idleness separates him from the imperative norm of production.19The Black Knight's depleted vitality echoes that of the Dreamer. Reflecting the narrator's assertion that he is “Alway in poynt to falle a-doun” (13), the Black Knight feels “Hys sorwful hert gan faste faynte” (488). Chaucer zeroes in with minute precision on the physiology of the Knight's swoon: The blood was fled for pure dredeDoun to hys herte, to make hym warm—For wel hyt feled the herte had harm—To wite eke why hyt was adradBy kynde, and for to make hyt glad,For hyt ys membre principalOf the body; and that made alHys hewe chaunge and wexe greneAnd pale, for ther noo blood ys seneIn no maner lym of hys.(490–99) Chaucer's detailed attention to the internal flux of the Black Knight's body reinforces the moist humoral associations accompanying melancholia and ties his experience to the Dreamer's.20 His interior currents seem to feed into his flood of words, as if his “complaynte” (487) were merely another form of fluid in his body's fungible economy of humors.21 The precise description of anatomy recalls Chaucer's account of the death of Arcite in the Knight's Tale, positioning the Black Knight almost at the point of death. Chaucer's assertion that the Black Knight's face is “Ful pitous pale and nothyng red” (470) anticipates an earlier description of the dead body of Seys “That lyeth ful pale and nothyng rody” (143), increasing the urgency of his predicament. The Dreamer's physical infirmity pales—so to speak—in comparison to the Black Knight's sickness.It soon becomes clear that in spiritual terms, too, the Black Knight is in peril. As we recall Chaucer's characterization of the Dreamer's malady as non-creative humanist melancholia, we may begin to read the Black Knight's illness as another form of melancholia—one spiritual rather than intellectual in nature. While the Dreamer's melancholia is Petrarchan, the Black Knight's malady is more elusive. To be sure, it is easily characterized as lovesickness, yet other clues provide a more nuanced reading. Though the “compleynt” the Black Knight utters just before he meets the Dreamer is short and uninspired, its existence suggests that he does not suffer from stunted creativity in the way the Dreamer does. Instead, the Black Knight's grief has reached the point of despair: he fails to imagine solace from anyone or anything. Without hope, the Black Knight laments, “No man may my sorwe glade,That maketh my hewe to falle and fade,And hath myn understondynge lornThat me ys wo that I was born!May noght make my sorwes slyde,Nought al the remedyes of Ovide,Ne Orpheus, god of melodye,Ne Dedalus with his playes slye;Ne hele me may no phisicien,Noght Ypocras ne Galyen;Me ys wo that I lyve houres twelve.”(563–73) Reflecting the Dreamer's negating lament at the poem's start, the Black Knight's list of failed sources for consolation includes ancient authors, mythical figures, and physicians. Nowhere does he imagine spiritual comfort from God or pastoral care from a priest through the sacrament of confession. In this, the Black Knight is guilty of acedia. The Dreamer's cryptic remark to the Black Knight later in the poem, “Me thynketh ye have such a chaunce/As shryfte wythoute repentaunce” (1113–14), reflects the latter's failure to understand the gravity of his spiritual circumstances. His inability to imagine comfort from God suggests a refusal of orthodox religiosity. Physically and spiritually, the Black Knight is in worse condition than the Dreamer. This imbalance requires the Dreamer to adopt the role of intercessory caretaker, spiritual physician, and confessor for the Black Knight.22By introducing confession as a discursive mode, Chaucer engages with one of the central spiritual concerns of the Middle Ages. Indeed, the practice of confession rose in influence in the late Middle Ages, beginning in 1215 with the Fourth Lateran Council's Canon twenty-one, Omnis utriusque sexus. By the late fourteenth century, the courtly culture of which Chaucer was a part stressed the fundamental importance of personal confession.23 Further, the practice and discourse of confession powerfully influenced both the structure and content of late medieval vernacular literature in works by Chaucer and his contemporaries.24As Shoaf has demonstrated, the Dreamer's questioning of the Black Knight illustrates the circumstantiae peccati model of confessional questioning. This model is concerned with eliciting a broad picture of the circumstances surrounding a sin so that the penitent might achieve a more thorough confession. The seven interrogatives designed to promote the more perfect confession were “Quis, quid, ubi, quibus auxiliis, cur, quamodo, quando” (who, what, where, with whose help, why, in what manner, when). After the Black Knight's diatribe against Fortune, the Dreamer probes him for more information, saying, “Good sir, telle me al hoolyIn what wyse, how, why, and wherforeThat ye have thus youre blysse lore.”(746–48) Though the Black Knight's monologues dominate the interaction between the two men, the Dreamer subtly prods the Black Knight for more detail. After the Black Knight has waxed on for over three hundred lines about his first encounter with Lady Whyte, the Dreamer gently urges him to continue with his story, adding more pointed and probing questions in order to achieve a more complete confession: “Ye han wel told me herebefore;Hyt ys no need to reherse it more,How ye sawe hir first, and where.But wolde ye tel me the manereTo hire which was your firste speche—Therof I wolde yow beseche—And how she knewe first your thoght,Whether ye loved hir or noght?”(1127–34; emphasis added) The Dreamer's command to the Black Knight—“telle me alle” (1143)—demonstrates one facet of a confessional rhetorical model underlying the discourse between them.Extending this confessional model, the Dreamer fashions himself a healer of the Black Knight's bruised soul. The concept of confession as psycho-somatic “cure” for sin was commonplace after the Fourth Lateran Council, and certainly was known by Chaucer's contemporaries.25 As spiritual physician, the confessor's responsibility was to heal the sinner's soul rather than expose the sickness and punish the sinner.26 The Book of the Duchess invokes the confessor-physician in a suggestive manner. After apologizing for interrupting the Black Knight's solitude, the Dreamer invites the Knight to speak at greater length about his sorrows, saying, “Me thynketh in gret sorowe I yow see;But certes, sire, yif that yeeWolde ought discure me youre woo,I wolde, as wys God helpe me soo,Amende hyt, yif I kan or may.Ye mowe preve hyt be assay;For, by my trouthe, to make yow hoolI wol do al my power hool.”(547–54) Chaucer's rime riche with the word hool in variant modes—adjectivally as “healthy” to describe the Black Knight in recovery, adverbially as “wholly” to describe the of the Dreamer's the two men from the outset in intimate association with confessional between the Dreamer and the Black Knight underscore the intimacy of their of throughout most of from the in words, the Fourth Lateran the the notion of This the intimacy between confessor and Indeed, as the in of confession was a form of In his have a kind of in the of the of that of and the of it and telling of and by of it in of it out in the of the discourse on has the of the Middle as a time of and sexual confessional discourse had its way with Yet as we have confession was a practice in Chaucer's on the of confession are to the confessional discourse in the Book of the the poem invites us to point as it us of the between the of confessor and lover as two of The of the as for the lover was commonplace in the medieval rhetoric of courtly as the Black Knight when he to as The between and to a of the two adding a to the Dreamer's as By himself as a the Dreamer to the Black Knight's of his and as physician, and to himself in her a with This reading reinforces the queer of his friendship with the Black Knight, Kruger's that the Dreamer a physical and as a result of his dream The confessional associations in the men's conversation and the intimacy between the same the level of intimate emotional detail in the Black Knight's confession is suggestive of another mechanism of one that also works to their queer gossip. As I am suggesting with several scholars, confession and are of discourse are outward and even as they on and line between and may easily and dangerously into the As Phillips the detailed of in their are to idle talk. Like the confessor and the the or in was as a healer of spiritual and emotional was a was a practice by of social and political in the Middle Ages. was a the end of his lament for Whyte, the Black Knight to about the idle and unproductive nature of his his for his he to the I The in Middle English to speak or much like the medieval denoting and The Black Knight's of in this suggests that it is to talk of his she the word points to a on his part that his monologues and interaction with the Dreamer is or in other Despite this the Black Knight for over two hundred more The of his suggests that the Black Knight his and idle of their interaction the intimacy and queer of the between the Dreamer and the Black conversation with the of and to the by as about in a by the Dreamer's and probing the Black Knight's monologues and against are him to his To be sure, the Black Knight about Fortune, her and ys and and that other He on to her to a that Yet his discourse also from a more that reinforces the Dreamer's of the associations surrounding in the Middle and its The Middle English like its English highlights this the Black Knight's of are from he the of his time his In his discourse with if in to his Fortune, the Black Knight the of his and the intimacy of the he with the is a intimate form of gossip. to it about or concerns in a the Dreamer of his own at is an of and exchange in the Dreamer's and rendering the conversation between the two men close to the that emphasizes this of particular attention to in Such when a is telling a story, and a with a or to the first stresses that, from being a to as other have be characterized as an these verbal take in of is a strategy for of the this form of is way in which work to As I have the Dreamer and questions into the Black Knight's to him out and promote a more thorough confession of his thoughts and characterization of and to underscore the intimacy of the discourse between the Dreamer and the Black also assertion that the of on their to men as and that to and in to a male to talk about The for the Black Knight's and his for to the Dreamer is his Indeed, the word and its variants in the of the first lines by the Black Knight to the Dreamer. such as wo and also adding to of the Knight's preoccupation with The word sorwe in in this within the seven lines and with the Black Knight's assertion that am sorwe and sorwe ys the Black Knight is so with his sorwe that, to he has his own to “a of The Black Knight's emphasis on his and later on his Whyte, points a form of discourse that is with the mode of the both and provide of gossip, their introduces a notion that is The that the Dreamer and the Black Knight are in or a discourse that resembles does not or to their by rendering Despite the of that has as a discourse of that was in the Middle Ages, men and Yet to that, of this it is not a form of discourse is was and unproductive by than the Dreamer and the Black Knight by as does its queer work through its associations with idleness and through the intimacy it between the two Despite their this intimacy suggests the productive of idle talk. points to the way that their queer friendship and resists consolation or for their melancholic is, after is into the human confession is The Dreamer's to the Knight's wythoute repentaunce” emphasis added) his to confession. too, is and While their friendship is these of circular and to the of idleness and in the Black Knight and the end of the poem this paradoxical condition as it offers an partial consolation for the Black the he has throughout the poem to his for Whyte, the Black Knight ys to which the Dreamer offers hyt ys This exchange the end of the Knight's conversation with the Dreamer. He his with The phrase also the Black Knight's rhetoric from a courtly to a more vernacular In this the Black Knight's as if his its Yet it is to imagine how the Dreamer's might solace to the Black This apparent of consolation for the Knight suggests an idle lack of in the poem as a the poem's apparent failure to move is at the level of in the from the dream narrative into the the Dreamer on his marvelous ys so a I be of to this in I kan and that was my ys lines to the rearticulating the of the Chaucer's of word that was the late fourteenth as it shifted from an of or the English to the future points to a of so that Chaucer might three in the future and The Dreamer's characterization of his dream as reinforces the circular movement in these The Middle English word or the of the word in this Yet the word also of or The of or and made or Chaucer himself uses the word several in his corpus to and The of is its too, are In the Tale, the word of ful and ful in the to the by To his dream as with Chaucer's of to that the dream he has just has been The circular at the end of the poem to the Black Knight, the and the to an of this of melancholy and its idling the poem a suggesting the productive of queer As his dream his poetry, the Dreamer's idle melancholia is productive Without the dream produced by the Dreamer's melancholic state of the poem would not have into In this of the poem anticipates Chaucer's future literary positioning the Book of the Duchess in a within his body of for his of the the Book of the Duchess was Chaucer's first work in To the poem may of earlier work by courtly such as the and as as and Yet Chaucer made and in the Book of the Duchess that the beginning of his and creative poetic of the first to elevate the English to an level of as the at Despite its the poem gestures outward in a way that with notion of as In their the lines of Chaucer's early poem complete and his poetics of his preoccupation with making something from and with the productive of idleness.The role of idle Chaucer's literary production in the Book of the Duchess anticipates the in discourse in his dream poem, the of This in which the to the of and might be to be concerned with making something from nothing, as it stresses the physical of and the in of and has attention to the influence of on Chaucer's literary production the of Chaucer's first vernacular poem in to these The Book of the Duchess that Chaucer's preoccupation with and further than scholars have and it reinforces the role of and other idle in Chaucer's poetic While this emphasis on the of even the paradoxical that make up Chaucer's poetics of idling passive into active, idle into a queer way to make something from

in his article "European Literary Tradition in Roth's Kepesh Trilogy" Gustavo Sánchez-Canales discusses the significance of European literature in Philip Roth's novels. Sánchez-Canales analyses the influence of Nikolai Gogol's "The Nose" and Franz Kafka's "The Metamorphosis" on Roth's The Breast and in Roth's The Professor of Desire of Anton Chekhov's tales and Franz Kafka's "A Hunger Artist" and The Castle. Further, Sánchez-Canales elaborates on the impact of Thomas Mann's Death in Venice and W.B. Yeats's poem "Sailing to Byzantium" on Roth's The Dying Animal.

For the first time in Russian literary criticism, the article explores the success phenomenon of Shaun Bythell’s debut book, “The Diary of a Bookseller”. The explanation of enchanting popularity is made through an appeal to the poetics of the work. The author’s original intention, which launched the creative process, is analyzed, attention is drawn to the connection between the Bookstore Diary and the national and European literary tradition – the genres of the physiological essay and production novel. The correspondence of the ideological provisions of the narrative to modern public attitudes is shown: the development of private initiative in entrepreneurship, the cultivation of the image of a free personality in a person. Special attention is paid to the author’s behavior in the text, his assessments and self-esteem, his hidden convergence with the reader’s figure. In addition, the transformation of the book into a modern “literary project” is revealed – a phenomenon associated with filling a certain niche in publishing.

Lamed. O vos omnes qui transitis per viam, attendite, et videte si est dolor sicut dolor meus! quoniam vindemiavit me, ut locutus est Dominus, in die irae furoris sui. Lamed. O all ye that pass by t...

Creation of cultural and poetic conditions in German cultural and political centers suitable for the reception of folk poetry in general, and thus also of a Serbian poetry; conceptualization and textualization of the image of Serbs, especially on the basis of Talfja's translations of Serbian folk poetry in German literature and nonfiction in the 20s and 30s of 19th century. Formation of literature circles in Berlin led by Goethe, Brothers Grimm, Kopitar, Stieglitz and Varnhagen. Description of the trip in the book Visit to Montenegro, with Stieglitz's special interest in folklore, legends and epic folk poetry in Njegos's Grlica. Stieglitz's importance as a cultural mediator and one of Talfja's best followers is also mentioned.

How Soon Is Now? Medieval Texts, Amateur Readers, and the Queerness of Time and Opening Up Middle English Manuscripts: Literary and Visual Approaches

“New Books across the Disciplines” is a bibliographic resource that facilitates a cross-disciplinary survey of recent publications. Its scope ranges from late antiquity to the seventeenth century. Coverage is comprehensive for the large majority of North American and British publishers. Other European titles are included whenever received. Books are classified under variable topical headings and listed alphabetically by author's name. Entries include complete bibliographical data and annotations. Unless designated for paperback editions, prices given are for cloth editions. For paperback reprint editions, original publication dates are given in parentheses. With few exceptions, books appearing here have been published within the previous two years. Many will be presented here before they are ordered and shelved by libraries. Thanks go to David Aers and Sarah Beckwith for their collegial editorial contribution.The topics for this issue include: Editions and translationsManuscripts and printed booksChurch, reform, and devotionScience and medicineThe natural worldThe everydayAstell, Ann W., and Joseph Wawrykow, eds. Three Pseudo-Bernadine Works. With the assistance of Thomas Clemmons. Translated by members of the Catena Scholarium at the University of Notre Dame. Introduction by Dom Elias Dietz, OCSO. Cistercian Studies Series, vol. 273. Athens, Ohio: Cistercian Publications; Collegeville, Minn.: Liturgical Press, 2018. xv, 160 pp. Paper $29.95. [Translations of Formula honestae vitae, Instructio sacerdotalis, and Tractatus de statu virtutum humilitatis, obedientiae, tomoris, et charitatis.]Bernard, of Clairvaux. Various Sermons. Translated by Grace Remington, OCSO. Introduction by Alice Chapman. Cistercian Fathers Series, vol. 84. Athens, Ohio: Cistercian Publications; Collegeville, Minn.: Liturgical Press, 2020. xlix, 99 pp. Paperback $24.95. [Ten sermons on feast days.]Black, Joseph L., ed. The Martin Marprelate Press: A Documentary History. Publications of the Centre for Reformation and Renaissance Studies. Tudor and Stuart Texts, vol. 5. Toronto: Centre for Reformation and Renaissance Studies, 2020. 170 pp. Paper $21.95. [Collection of twenty edited documents, mainly from manuscript and archival sources, connected with the underground press that produced the anti-episcopal Martin Marprelate tracts (1588–89).]Böckerman, Robin Wahlsten, ed. and trans. The Bavarian Commentary and Ovid: Clm 4610, the Earliest Documented Commentary on the “Metamorphoses.” Cambridge: Open Book Publishers, 2020. 386 pp., 4 color illus. Gbp 33.95, paper Gbp 23.95. [First critical edition of Munich, Bayerische Staatsbibliothek, clm 4610, which dates to ca. 1100 and is the earliest systematic study of Ovid's Metamorphoses. Latin text with facing-page English translation.]Bokenham, Osbern. Lives of Saints, vol. 1. Edited by Simon Horobin. Early English Text Society, o.s., vol. 356. Oxford: Oxford University Press for the Early English Text Society, 2020. xi, 417 pp., 1 plate. $85.00. [Bokenham's translation of Jacobus de Voragine's Legenda aurea, complemented by lives of various British saints, is the first edition of a major work by the fifteenth-century English poet and translator. Vol. 1 of the projected three-volume edition contains the introduction and 65 of the 180 lives.]Caxton, William. Caxton's “Golden Legend,” Volume 1: Temporale. Edited by Mayumi Taguchi, John Scahill, and Satoko Tokunaga. Early English Text Society, o.s., vol. 355. Oxford: Oxford University Press for the Early English Text Society, 2020. lxxxviii, 236 pp., 4 illus. $85.00. [First scholarly edition of Caxton's English translation of the Jacobus de Voragine's Legenda aurea printed in 1483–84.]Cudworth, Ralph. Origenes Cantabrigiensis: Ralph Cudworth, “Predigt vor dem Unterhaus” un adnere Schriften. Edited and translated by Alfons Fürst and Christian Hengstermann. Adamantiana, vol. 11. Münster: Aschendorff Verlag, 2018. 311 pp. eur 54.00. [Editions of the letters, poems, and sermons by the Anglican clergyman and theologian, Ralph Cudworth, accompanied by six articles on his writings. English and Latin texts with facing-page German translations.]Da Vinci, Leonardo. Leonardo da Vinci's Codex Leicester: A New Edition. Edited and translated by Domenico Laurenza and Martin Kemp. 4 vols. Oxford: Oxford University Press, 2020. Vol. 1 (83 pp.) contains a facsimile reproduction of the codex; vol. 2 (xv, 242 pp., 74 figs.) presents the history of the codex with interpretive essays; vol. 3 (x, 322 pp.) presents a transcription and English translation; vol. 4 (310 pp.) presents a modern English paraphrase and page-by-page commentary on the text. $390.00. [The four-volume edition of Leonardo's scientific notebook (36 folios) offers the first serious reconstruction of his legacy as a scientist.]Daniel, Henry. Liber Uricrisiarum: A Reading Edition. Edited by E. Ruth Harvey, M. Teresa Tavormina, and Sarah Star, eds. Toronto: University of Toronto Press, 2020. xix, 511 pp., 1 illus. $100.00. [Edition of the earliest known work of academic medicine written in Middle English (1370s).]Erasmus, Desiderius. Erasmus on the New Testament: Selections from the “Paraphrases,” the “Annotations,” and the Writings on Biblical Interpretation. Edited and translated by Robert D. Sider. Erasmus Studies. Toronto: University of Toronto Press, 2020. xvi, 331 pp. $94.00, paper $47.95. [Translation of selections from Erasmus's voluminous writings on the New Testament.]Gallucci, Giovanni Paolo. Gallucci's Commentary on Dürer's “Four Books on Human Proportion”: Renaissance Proportion Theory. Translated and edited by James Hutson. Cambridge: Open Book Publishers, 2020. xiii, 208 pp., 18 figs. Gbp 37.95, paper Gbp 22.95. [The first English translation of Gallucci's Della simmetria dei corpi humani, an Italian translation of Dürer's treatise.]Gerhard Zerbolt, von Zutphen. Was dürfen Laien lesen? De libris teutonicalibus / Een verclaringhe vanden duytshcen boeken. Edited by Nikolaus Staubach and Rudolf Suntrup. Münster: Aschendorff Verlag, 2019. 214 pp., 1 fig. eur 48.00. [Latin text of a tract by the learned priest and librarian in the house of the Brothers of the Common Life in Deventer, which defended the right of laypeople to read the Bible in the vernacular, followed by a contemporary Dutch translation from the author's circle.]Gottfried, von Strassburg. “Tristan and Isolde” with Ulrich von Türheim's “Continuation.” Translated and edited by William T. Whobrey. Indianapolis, Ind.: Hackett, 2020. xxxiii, 321 pp. $49.00, paper $18.00. [English prose translation of Gottfried's Middle High German verse romance and Ulrich's Continuation.]Guillaume, de Machaut. The Complete Poetry and Music, Volume 2: The Boethian Poems; “Le Remede de Fortune,” “Le Confort d'Ami.” Edited and translated by R. Barton Palmer. Music edited by Uri Smilansky. Art historical commentary by Domenic Leo. TEAMS Middle English Texts Series. Kalamazoo, Mich.: Medieval Institute Publications for TEAMS in association with the University of Rochester, 2019. ix, 607 pp., 39 figs., 16 musical examples. Paper $39.95. [Old French verse texts with facing-page English verse translations, with accompanying music and art program of the base manuscript.]Hexter, Ralph, Laura Pfundter, and Justin Haynes, eds. and trans. Appendix Ovidiana: Latin Poems Ascribed to Ovid in the Middle Ages. Dumbarton Oaks Medieval Library, vol. 62. Cambridge, Mass.: Harvard University Press, 2020. xxxiv, 510 pp. $35.00. [The first comprehensive collection of Latin “medieval Ovid” verse texts with facing-page English prose translations.]John, of Garland. John of Garland's “De triumphis Ecclesie”: A New Critical Edition with Introduction and Translation. Edited and translated by Martin Hall. Studia Artistarum, vol. 44. Turnhout, Belg.: Brepols, 2019. 417 pp., 10 color illus. $111.00. [Latin verse text with facing-page English prose translation.]Jones, Catherine M., William W. Kibler, and Logan E. Whalen, trans. An Old French Trilogy: Texts from the William of Orange Cycle. Gainesville: University Press of Florida, 2020. ix, 214 pp., 1 map, 1 genealogy. $85.00. [Modern English verse translations of The Coronation of Louis, The Convoy to Nîmes, and The Conquest of Orange.]Kaufman, Alexander L., ed. The Jack Cade Rebellion of 1450: A Sourcebook. Lanham, Md.: Lexington Books, 2020. xii, 257 pp. $95.00. [Thirty-two medieval and early modern primary source documents on the Jack Cade rebellion.]Kramer, Johanna, Hugh Magennis, and Robin Norris, eds. and trans. Anonymous Old English Lives of Saints. Dumbarton Oaks Medieval Library, vol. 63. Cambridge, Mass.: Harvard University Press, 2020. xxxix, 764 pp. $35.00. [Twenty-two unattributed Anglo-Saxon prose texts of the eleventh and twelfth centuries with facing-page English translations.]Laurence, of Březová. Origins of the Hussite Uprising: The Chronicle of Laurence of Březová (1414–1421). Translated and edited by Thomas A. Fudge. Routledge Medieval Translations. London: Routledge, 2020. xiv, 284 pp., 4 figs., 3 maps. $160.00. [First English-language translation of the most important source on the early Hussite movement, De gestis et variis accidentibus regni Bohemiae.]Luft, Diana, ed. and trans. Medieval Welsh Medical Texts, Volume 1: The Recipes. Cardiff: University of Wales Press, 2020. xii, 611 pp. Paper $60.00. [First critical edition of the corpus of late medieval Welsh medical recipes traditionally ascribed to the Physicians of Myddfai. Welsh texts with facing-page English translations.]Lydgate, John. John Lydgate's “Dance of Death” and Related Works. Edited by Megan L. Cook and Elzaveta Strakhov. TEAMS Middle English Texts Series. Kalamazoo, Mich.: Medieval Institute Publications for TEAMS in association with the University of Rochester, 2019. vii, 195 pp. Paper $19.95. [Includes both versions of Lydgate's Dance of Death, his French source, the Danse macabre (with English translation), and related Middle English verse.]Melick, Elizabeth, Susanna Fein, and David Raybin, eds. The Roland and Otuel Romances and the Anglo-French “Otinel.” TEAMS Middle English Texts Series. Kalamazoo, Mich.: Medieval Institute Publications for the Rossell Hope Robbins Research Library, in collaboration with the University of Rochester Department of English and the Teaching Association for Medieval Studies, 2019. viii, 377 pp. Paper $24.95.Metochites, Theodoros. On Morals or Concerning Education [Ēthikos ē Peri paideias]. Translated and edited by Sophia Xenophontos. Dumbarton Oaks Medieval Library, vol. 61. Cambridge, Mass.: Harvard University Press, 2020. xxvi, 285 pp. $35.00. [Byzantine Greek text with facing-page English translation.]Meyer, Johannes. Women's History in the Age of Reformation: Johannes Meyer's “Chronicle of the Dominican Observance” [Buch der Reformacio Predigerordens]. Translated and edited by Claire Taylor Jones. Saint Michael's College Mediaeval Translations. Medieval Sources in Translation, vol. 58. Toronto: Pontifical Institute of Mediaeval Studies, 2019. vi, 306 pp., 2 maps. Paper $35.00.Miles, Joanna, ed. The Devil's Mortal Weapons: An Anthology of Late Medieval and Protestant Vernacular Theology and Popular Culture. Toronto: Pontifical Institute of Mediaeval Studies, 2018. xvi, 400 pp. Paperback $35.00. [Original transcriptions of source selections organized around the topics of soul, emotion, spiritual health, body, mind, and physical health.]Moreau-Guibert, Kerine, ed. Pore Caitif: A Middle English Manual of Religion and Devotion. Textes Vernaculaires du Moyen Age, vol. 24. Turnhout, Belg.: Brepols, 2019. 293 pp. Paper $111.00.Peter, the Venerable. Les écrits anti-sarrasins de Pierre le Vénérable: Cultures de combat et combat de cultures; “Summa totius haeresis Sarracenorum,” “Epistola de translatione sua,” “Contra sectam sive haeresim Sarracenorum.” Edited and translated by Alain Galonnier. Preface by Dominique Iogna-Prat. Philosophes Médiévaux, vol. 67. Leuven, Belg.: Peeters for Éditions de l'Institut Supérieur de Philosophie, Louvain-la-Neuve, 2020. vii, 386 pp. Paperback $128.00. [Latin texts followed by French translations.]Robins, William, ed. Historia Apollonii regis Tyri: A Fourteenth-Century Version of a Late Antique Romance. Toronto Medieval Latin Texts, vol. 36. Toronto: Pontifical Institute of Mediaeval Studies for the Centre for Medieval Studies, University of Toronto, 2019. xi, 123 pp. Paperback $17.95. [Edited from Vatican City, Biblioteca Apostolica Vaticana, MS Vaticanus latinus 1961.]Rypon, Robert. Selected Sermons, Volume 1: Feast Days and Saints’ Days. Edited and translated by Holly Johnson. Dallas Medieval Texts and Translations, vol. 24.1. Leuven, Belg.: Peeters, 2019. 375 pp. Paper $84.00. [Latin texts with facing-page English translations.]Schieberle, Misty, ed. Christine de Pizan's Advice for Princes in Middle English Translation: Stephen Scrope's “The Epistle of Othea” and the Anonymous “Litel Bibell of Knyghthod.” TEAMS Middle English Texts Series. Kalamazoo, Mich.: Medieval Institute Publications for the Rossell Hope Robbins Research Library, in collaboration with the University of Rochester Department of English and the Teaching Association for Medieval Studies, 2020. viii, 491 pp. $99.00, paper $39.95.Short, Ian, trans. and ed. Three Anglo-Norman Kings: “The Lives of William the Conqueror and Sons” by Benoît de Sainte-Maure [Histoire des ducs de Normandie]. Mediaeval Sources in Translation, vol. 57. Toronto: Pontifical Institute of Mediaeval Studies, 2018. viii, 228 pp. Paperback $25.00. [Prose translation of the last quarter of Benoît's epic verse chronicle.]Solopova, Elizabeth, Jeremy Catto, and Anne Hudson, eds. From the Vulgate to the Vernacular: Four Debates on an English Question c. 1400. British Writers of the Middle Ages and the Early Modern Period, vol. 7. Toronto: Pontifical Institute of Mediaeval Studies; Oxford: Bodleian Library, 2020. cxliv, 216 pp., 8 plates. $150.00. [Four texts on the legitimacy, for and against, of using the vernacular language for scriptural citation, including Latin works by the Franciscan William Butler, the Dominican Thomas Palmer, and the secular priest Richard Ullerston (edited for the first time), and an English Wycliffite adaptation of Ullerston's Latin. The Latin texts include facing-page English translations.]Bourne, Claire M. L. Typographies of Performance in Early Modern England. Oxford: Oxford University Press, 2020. xviii, 328 pp., 73 illus. $90.00. [Considers how the theatricality of early modern English drama is conveyed creatively through printed playbook typography and page design.]Bousmanne, Bernard, and Elena Savini, eds. The Library of the Dukes of Burgundy. London: Harvey Miller Publishers, 2020. 205 pp., 165 color plates. eur 75.00. [Anthology of articles with a catalogue of the library's collection of 280 surviving manuscripts housed in the Royal Library of Belgium.]Calhoun, Joshua. The Nature of the Page: Poetry, Papermaking, and the Ecology of Texts in Renaissance England. Material Texts. Philadelphia: University of Pennsylvania Press, 2020. xii, 212 pp., 30 illus. $55.00.Chenoweth, Katie. The Prosthetic Tongue: Printing Technology and the Rise of the French Language. Material Texts. Philadelphia: University of Pennsylvania Press, 2019. 350 pp. $69.95.Connolly, Margaret, and Raluca Radulescu, eds. Editing and Interpretation of Middle English Texts: Essays in Honour of William Marx. Texts and Transitions, vol. 12. Turnhout, Belg.: Brepols, 2018. xix, 351 pp., 30 black-and-white and 2 color illus., 6 tables. eur 95.00. [Essays treating various types of manuscript evidence in relation to editing as an act of textual interpretation.]Fox, Adam. The Press and the People: Cheap Print and Society in Scotland, 1500–1785. Oxford: Oxford University Press, 2020. ix, 449 pp., 60 illus. $100.00.Hirschler, Konrad. A Monument to Medieval Syrian Book Culture: The Library of Ibn ’Abd Al-Hādī. Edinburgh Studies in Classical Islamic History and Culture. Edinburgh: University of Edinburgh Press, 2020. x, 612 pp., 20 black-and-white and 79 color illus. Gbp 85.00. [On the largest private book collection from the pre-Ottoman Arabic Middle East for which the corpus of manuscripts and a documentary paper trail survives.]Kwakkel, Erik, ed. Vernacular Manuscript Culture, 1000–1500. Studies in Medieval and Renaissance Book Culture. Leiden: Leiden University Press, 2018. 278 pp., 23 figs., 22 plates. eur 40.50.Rouse, Richard H., and Mary A. Rouse. Renaissance Illuminators in Paris: Artists and Artisans, 1500–1715. London: Harvey Miller Publishers, 2019. 280 pp., 56 color and black-and-white plates. eur 125.00. [Study of the commercial manuscript book trade in Paris, including a biographical register of more than five hundred named illuminators.]Rudy, Kathryn M. Image, Knife, and Gluepot: Early Assemblage in Manuscript and Print. Cambridge: Open Book Publishers, 2019. xvi, 356 pp., 137 color illus. Gbp 59.95, paper Gbp 22.95.Sawyer, Daniel. Reading English Verse in Manuscript, c. 1350–c. 1500. Oxford English Monographs. Oxford: Oxford University Press, 2020. xiii, 208 pp., 9 figs. $80.00. [Investigates how the reading of poetry happened in the material context of and Text A History. Text University Press, 2020. xii, pp., black-and-white and color plates. Paper and Jeremy Catto, eds. Books and in Early Modern Essays to James in Mediaeval Studies, vol. Toronto: Pontifical Institute of Mediaeval Studies, 2018. 449 pp., 10 figs. Les des de vol. et de de 2 vols. Turnhout, Belg.: Brepols, 2019. pp., 1 color plate. eur survey of of books and by that are in the or in for from to and Theology of the Old Toronto Old and Series. Toronto: University of Toronto Press, xix, pp., 2 6 illus. “The of The of Saints’ on the of the Studies in the History of Medieval vol. Press, 2018. pp., illus. in Late Medieval New Books, 2020. pp., illus. and eds. and in the Late Middle Ages. 2019. pp., 30 color illus. eur in Medieval and Early Modern From to Oxford Studies in Medieval and Culture. Oxford: Oxford University Press, 2020. xv, pp., 9 illus. and David eds. A History of an Toronto: University of Toronto Press, 2019. pp. and eds. Late Medieval in England. Medieval Studies, vol. Turnhout, Belg.: Brepols, 2020. xii, pp., 3 color illus. eur Middle English in Late Medieval England. Religion and in the Middle Ages. Cardiff: University of Wales Press, 2019. xvi, pp., 2 tables. Gbp Mary The and in Medieval University Press, 2019. viii, pp., 9 illus. [On the of and in the of and and eds. des vol. Münster: Aschendorff Verlag, 2019. vi, pp. eur and eds. Cultures of in Early Modern Oxford: Oxford University Press, 2019. vii, pp., color plates. The and in England. University Press, 2019. xviii, pp., illus. [On how of the of of of Poems in of the University of Press, 2020. xi, pp., color 1 The of the in Early Modern Toronto vol. Toronto: University of Toronto Press, 2019. xii, pp., illus. and Religion in Late Medieval Royal Society Studies in New Series. Press for the Royal Society, xiii, pp., 1 map, 20 illus. Paper and and in the Late Medieval Studies in the and Its Medieval Studies, vol. Turnhout, Belg.: Brepols, 2020. x, pp., 9 figs., 6 color tables. eur James M., and eds. Sources of the Christian A History of Christian Mich.: 2018. pp. and eds. and in Late Medieval and Early Modern and in the Middle vol. 1. 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