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This paper is a study and a critical edition of particular version Y of the Cantare di Giusto Paladino (based on manuscript Y), a religious cantare composed in the first half of the 15th century by an anonymous author.

Copyright of Journal of the International Arthurian Society is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of International Journal of Arabic-English Studies (IJAES) is the property of International Journal of Arabic-English Studies (IJAES) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Pearl is a Middle English dream-poem in London, British Library, ms Cotton Nero A.x, of about 1400. It is attributed to the same author as the scriptural poems Patience and Cleanness and the romance Sir Gawain and the Green Knight also found in this manuscript. The four texts provide abundant information on fourteenth-century social life, including religion, particularly for devotion to the Blessed Virgin. Analysis of Marian imagery in Pearl and its related poems thus tells us much on the attitudes to Christ's mother of a high-ranking provincial layman of about 1390, especially for her as ‘Queen of Heaven’ and ‘Queen of Courtesy’, the latter term denoting the values of court society. Such analysis also tends to confirm attribution on other grounds of the four poems to Sir John Stanley (d. 1414), a magnate and courtier who in the last thirty years of his life dominated the politics of the Lancashire-Cheshire region of north-west England.

Copyright of Memoria y Civilizacion is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The present article conducts a comparative analysis of the images of women in Thomas Malory's Le Morte d’Arthur and the epic part of Ferdowsi's Shahnameh, addressing two key questions: how does Hillman’s concept of archetypal images illustrate the major images of women presented in Le Morte d’Arthur and Shahnameh? And, how are these images treated in their respective contexts? Using James Hillman’s Post-Jungian theory of archetypal images, which emphasizes preserving the individual details of the images, in contrast to Jungian archetypes that are reductionist and imprecise, this study explores the images of the women in Le Morte d’Arthur and Shahnameh both individually and in relation to one another. Based on a detailed examination of the unique characteristics of their images, collected from textual evidences, each of these women are categorized under the archetypal images of the daughter, the lover/wife, and the mother. The results of this study propose a comprehensive pattern, supported by various examples, for further detailed analyses of such archetypal images, as they open up new horizons for feminist studies by illuminating women’s multidimensional personalities. In addition, the major diversions from this pattern under the archetypal images of the sorceress and the warrior are discussed according to their respective contexts and societies as well. [ABSTRACT FROM AUTHOR]

The purpose of this paper is to prove that the ideal of sumptuous feasting popularized by court writers in the twelfth and thirteenth centuries was a significant part of court culture, acting as a practical means of spreading sophisticated social standards. It is assumed that literature from that era was used to raise aristocratic circles to a higher civilization level and to impose a particular cultural paradigm on courtly society. Both poets and court chroniclers extolled the lavishness of the royal feasts, creating a cultural template that the English nobility gradually adopted. Feasts played a significant role in the early Plantagenet culture because they acted as powerful symbol of the splendour, magnificence and power of the royal court. What is more, by the elegant design of the dining hall, the sophistication of dishes and the observance of court ceremonial at the table, the court circles expressed their separation from other strata of society who were lower in the feudal system and were not familiar with court etiquette. The descriptions of lavish feasts documented in Arthurian literature greatly appealed to popular imagination and filled in the gaps in historical records of the time. Therefore, they may help to gain insight into the magnificence of material culture and a new understanding of intricate social standards introduced in the early Plantagenet period. [ABSTRACT FROM AUTHOR]

This paper presents the study and critical edition of the Cantare di Giusto Paladino transmitted by ms Philadelphia, University of Pennsylcania Library, ms Codex 270, named Ph. One of the two extrastemmatic variants of this text. It is a religious cantare composed in the first half of the 15th century by an anonymous author from the Northern Italian region.

The novels of Kazuo Ishiguro span a variety of literary genres but are unified by a profound interest in the workings of memory. Guided by recent scholarship in the field of cultural memory studies, this essay analyses Ishiguro's seventh novel, The Buried Giant, in the context of the Middle English romance traditions which it echoes both formally and thematically. In doing so, it argues that the novel's use of Arthurian myth is a technique by which to illuminate and explore the role of literature in the formation of collective memory and cultural identity. [ABSTRACT FROM AUTHOR]

Copyright of Letras (0326-3363) is the property of Pontificia Universidad Catolica Argentina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Letras (0326-3363) is the property of Pontificia Universidad Catolica Argentina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Letras (0326-3363) is the property of Pontificia Universidad Catolica Argentina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Scripta is the property of Scripta and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The "Sacro Catino", an exotic object that arrived in Genoa around 1100, receives various identifications between the 12th and 13th centuries: from a marvelous artefact to the Holy Grail, a relic of the Passion. Analyzing the identifications of the basin in the light of the dialogue with the literary world, this essay investigates the transformation of exclusive and complex themes into elements of the city's memory. The article first focuses on the appropriation of the Grail motif, and shows how the visual treatment that the theme receives in Arthurian novels makes this literature the ideal vehicle for identifying the basin with the Grail and thus displaying Eucharistic dogmas and mysteries. The second part examines the place where the basin-Graal association is established, the Chronica of the archbishop of Genoa Jacopo da Varagine, and describes how this work is at the origin of the construction of a monumental scenography dedicated to the myths of Genoese foundation which is located in the cathedral and in which the basin also participates. The basin is therefore involved in a relationship of circularity between literature traditionally intended for a few and the monumentalization of literary themes and at the same time it is a visual and tangible testimony of strategies that exploit the gradation of high and low cultural plans for the construction of collective memory. [ABSTRACT FROM AUTHOR]

Copyright of Revista de Poética Medieval is the property of Instituto Universitario de Investigacion en Estudios Medievales and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Librosdelacorte.es is the property of Instituto Universitario "La Corte en Europa" - IULCE and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The present research intends to investigate the links between the institutional activity of the famous medievalist, Michel Zink, and three of his less well-known novels (at least in Italy): the novel about the grail “Déodat ou la transparence” (2002); the volume in the investigative series “Arsène Lupin et l’affaire d'Arsonval” (2004) and the satirical novel “Un portefeuille toulousain” (2007). Beyond differences in the literary genre, many more or less evident cases of intertextuality reveal surprising contacts between the Romance literature of the Middle Ages, the savants who practise it by profession, and the novels which, the fruit of the same author, borrow many scholarly themes.

One of the pervading threads in fandom studies is the metadiscursive tendency within fan works through which audience members engage with media in creative ways that frequently challenge the limited scope of the available canon. However, the challenge presented by active audiences whose desire to interpret and transform texts to accommodate their own desires is not a creation of the internet age, and the struggle over figurative ownership of genres, texts, and characters is a recurrent theme in Sir Gawain and the Green Knight. This romance explores the tensions arising from audience investment and participation in a canon that they demand suit their social, political, and emotional ends. Throughout the text, the romance pits Gawain against his canonical textual exploits, the romances read in both courts, and even the narrator's (and by extension the audience's) own heroic and epic expectations. Itself a text working within an existing corpus and reliant on audience familiarity with Arthurian canon for much of its humor and logic, Sir Gawain and the Green Knight highlights a familiar struggle over canonicity and legitimacy, suggesting the potential for interpretive frames arising from fandom studies to illuminate texts often excluded from its purview.

The name of Fata Morgana is given to an optical phenomenon which simulates the appearance of fantastic castles and cities. It is observed in many places throughout the world, but is connected especially to the Strait of Messina, in Italy. The article examines the origin of the name, which derives from the literature brought by the Normans during their occupation of Sicily in the Middle Ages. [ABSTRACT FROM AUTHOR]

Copyright of Revista de Literatura Medieval is the property of Instituto Universitario de Investigacion en Estudios Medievales and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Synergies Espagne is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Historically and socially the medieval city has been described as the place where merchants and bankers prospered, while the castle of the city has often been perceived as an administrative centre, supervising urban activities. However, in medieval romances a city is only an appendix of a castle, and is always supported by and reliant on it. In La Queste del Saint Graal the most important cities are Camelot, Corbenic and Sarras, as the sites where the Grail is seen, only to be taken away afterwards. In this article the author wants to discuss these cities, and she will focus on the way these urban spaces are structured in order to favour knightly, as well as spiritual, pursuits. The importance of the castle and of its chapel will be underlined, as these castles are places where significant events, in connection with the Quest, occur. The author starts from the 21st chapter of the Revelation when analysing the physical structure of the Heavenly City, and from Saint Augustine’s work De Civitate Dei, when highlighting the spiritual features of the City of God. Norman John Greville Pounds’ insightful study on the life in The Medieval City will be used to discuss the medieval realities and to see their importance for the highly spiritualised events illustrated in La Queste. Although, all these cities are blessed by divine grace – since Camelot is the place where the Holy Grail feeds all the knights, Sarras is repeatedly called the “spiritual palace”, and Jesus Christ shows Himself in the Holy Grail at Corbenic – it will be argued that none of these places can attain the flawlessness and the brilliance to emblematize the Heavenly City. Searching for an alternative location, which would fulfil better the requirements entailed by such a deeply religious image, the author suggests the wilderness, which is a complementary material space, where Jesus Christ can also be physically encountered.

Abstract: In this article the author intends to analyze to what extent the Holy Grail, which may be regarded as a symbol for the Holy Communion, can be considered the basis for creating and preserving a community in the Quest of the Holy Grail (La Queste del Saint Graal), as rendered in the Vulgate Cycle. One starting point is to identify the elements which determine and define a community, and the author tries to apply these characteristics to the gatherings presented in the Queste. There are several moments when the Holy Grail appears in front of a group of people, and it affects those assemblies in different ways. Starting from the well-known fact that a Christian community is created around the Holy Communion, or the Holy Eucharist, celebrated with the Holy Chalice, it is to be expected that the Holy Grail, used in a similar situation, also gathers a community of knights around it and elevates them spiritually. However, the author will show that these expectations are not achieved, as neither the Quest, nor the mystical Grail, can establish a community. The text of the Queste does not introduce any sort of community either terrestrial or celestial, which could include most of the knights involved in the Quest

As a mystical text, La Queste del Saint Graal abounds in events with ambiguous meanings which can only be deciphered by a person who understands God's visions, namely a priest, a hermit or a nun. Some of these events are actually "visions", which can differ in form, and the most common are those defined by Thomas Aquinas' phrase: imaginarias visiones. The significance of these "imaginary visions" may often be multi-layered, and in La Queste the anticipation of their meaning creates the suspense which is part of the appeal of the story. However, the ambiguity of an interpretation might be disturbing and this is the case of Bors' vision of the two birds, one white and one black, which is explained in two completely different ways. I will study this senefiance - which is the original French term used to designate these visions - in La Queste del Saint Graal and in Mallory's text Le Morte Dartur, and I will try to ascertain the difference in the two presentations and the significance of these alterations. [ABSTRACT FROM AUTHOR]

In order to participate in intercultural discourse, one way for medieval literary criticism could be to work on intersections between historical intercultural exchanges and the way these exchanges are reflected in the today's image of medieval times and literature. This article works on the example of adoptions and exclusions of foreign cultural elements in the Welsh text Breuddwyd Rhonabwy (Rhonabwy's Dream). In the multilayered structure of this medieval text, ›dream‹ and ›game‹ work as systems of intercultural exchange. The final question is: Can these systems nowadays still be functionalized to convey the otherness of medieval Welsh culture? [ABSTRACT FROM AUTHOR]

The Catalan chivalresque literature has been preserved in very few testimonies, most of them just excerpts. The same situation happens with other texts written or spread in other romance languages. This work affords a revision of the well-known data of this Hispanic chivalresque tradition from the perspective of the «ecdotic critic». This tool observes the texts not just as closed linguistic and significant objects but also from the material nature of their transmission ways, the data that can be extracted from the preserved codex or pages, as well as from some of their codicological characteristics that allow specifying, in some cases, their textual nature.

The issue of martyrdom in La Queste del Saint Graal can be approached from different perspectives, and one starting point can be the meaning of the concept and how it can be construed in this text. Although in the first Christian centuries the word was usually understood in relation with sufferance and persecution, it was not originally connected necessarily with death. As the meaning shifted, death became a prerequisite of martyrdom, but confessing the Christian faith did not seem to be a condition anymore. This understanding of the term can be used when discussing various events in this 13th-century text. The term "martyr" does not appear many times in La Queste, and it often has negative connotations; however, the concept of sacrificing one's life for others can be encountered several times. Moreover, the characters are aware that such a sacrifice has deep spiritual consequences and it is directly connected with salvation. Although the main protagonists do not suffer martyrdom, they all witnessed Perceval's sister's sacrifice, undertaken in order to cure the leprous lady, and they show great respect for her actions and reverence for her body, which is treated as if it were relics. The author uses Thomas Aquinas' theology as a reference point for defining martyrdom, which is analysed in connection with the practice of mystical contemplation. Although martyrdom (defined as a person's death for a charitable cause) is highly esteemed, the text promotes mystical contemplation as the most suitable path towards salvation. [ABSTRACT FROM AUTHOR]

David Lodge’s novel Small World (1984) builds on a wide range of literary allusions, most notably on allusions to medieval and modern versions of the Grail quest and Arthurian literature. Using the methodology of historically informed literary criticism, the present paper showcases Lodge’s employment of key medieval topoi, especially of the Grail quest, in portraying the academic community of Small World.

In consonance with masculinist paradigms present in Arthurian romances, the knight is, generally, the doer, the agent, or the acting partner while the lady is fragile, passive and, therefore, does not engage in any action. This gendered reading, however, cannot be applied to the chivalresque novel Historia de los invictos y magnánimos caballeros don Cristalián de España, Príncipe de Trapisonda, y del Infante Lucescanio su hermano, hijos del famosísimo Emperador Lindedel de Trapisonda, published by Beatriz Bernal in Valladolid in 1545. This article explores the strategies used by the autor of this text to effect a refashioning of the chivalresque genre and to defy its generic roles.

Copyright of Vox Romanica: Annales Helvetici Explorandis Linguis Romanicis Destinati is the property of Narr Francke Attempto Verlag GmbH & Co.KG and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)