Sir Bevis Of Hampton In Literary Tradition

First comprehensive collection to be devoted to Sir Bevis, the most popular Middle English romance.

Sir Bevis of Hampton' is arguably one of the most important non-Arthurian romances in Middle English, but it is only comparatively recently that it has received much scholarly or critical attention. Originating in England, the story of Bevis was immensely popular and influential during the late medieval and early modern periods, both in the British Isles and in continental Europe. The Middle English Bevis was translated around 1300 from an Anglo-Norman original, which spawned versions, both written and oral, in a dozen or so languages; these range in date from the beginning of the fourteenth century to within living memory, when a version of the story was still being performed by Sicilian puppeteers. The printing-history of Bevis, as well as references to the romance in the works of such writers as Shakespeare, Spenser, Bunyan, Drayton and Steele, indicates that it was still being widely read in English until well into the early modern period. This parallel-text edition is designed to complement rather than to supplant earlier editions of Bevis, such as that produced by Eugen Kolbing and published for the Early English Text Society in 1885-1894. A substantial introduction and extensive annotation place the Middle English romance in its literary and cultural contexts, from the fourteenth century down to the present day. The principal aims of the edition are to indicate the variety and complexity of the textual tradition of Bevis and to provide material for further, more nuanced approaches to a significant cultural phenomenon.

Popular romance was one of the most wide-spread forms of literature in the Middle Ages, yet despite its cultural centrality, and its fundamental importance for later literary developments, the genre has defied precise definition, its subject matter ranging from tales of chivalric adventure, to saintly women, and monsters that become human. The essays in this collection provide contexts, definitions, and explanations for the genre, particularly in an English context. Topics covered include genre and literary classification; race and ethnicity; gender; orality and performance; the romance and young readers; metre and form; printing culture; and reception.

Edmund Spenser's vast epic poem The Faerie Queene is the most challenging masterpiece in early modern literature and is praised as the work most representative of the Elizabethan age. In it he fused traditions of medieval romance and classical epic, his religious and political allegory creating a Protestant alternative to the Catholic romances rejected by humanists and Puritans. The poem was later made over as children's literature, retold in lavish volumes and schoolbooks and appreciated in pedagogical studies and literary histories. Distinguished writers for children simplified the stories and noted artists illustrated them. Children were less encouraged to consider the allegory than to be inspired to the moral virtues. This book studies The Faerie Queene's many adaptations for a young audience in order to provide a richer understanding of both the original and adapted texts.

The study of medieval literature has experienced a revolution in the last two decades, which has reinvigorated many parts of the discipline and changed the shape of the subject in relation to the scholarship of the previous generation. 'New' texts (laws and penitentials, women's writing, drama records), innovative fields and objects of study (the history of the book, the study of space and the body, medieval masculinities), and original ways of studying them (the Sociology of the Text, performance studies) have emerged. This has brought fresh vigour and impetus to medieval studies, and impacted significantly on cognate periods and areas. The Oxford Handbook of Medieval Literature in English brings together the insights of these new fields and approaches with those of more familiar texts and methods of study, to provide a comprehensive overview of the state of medieval literature today. It also returns to first principles in posing fundamental questions about the nature, scope, and significance of the discipline, and the directions that it might take in the next decade. The Handbook contains 44 newly commissioned essays from both world-leading scholars and exciting new scholarly voices. Topics covered range from the canonical genres of Saints' lives, sermons, romance, lyric poetry, and heroic poetry; major themes including monstrosity and marginality, patronage and literary politics, manuscript studies and vernacularity are investigated; and there are close readings of key texts, such as Beowulf, Wulf and Eadwacer, and Ancrene Wisse and key authors from Ælfric to Geoffrey Chaucer, Langland, and the Gawain Poet.

Christian-Muslim Relations, a Bibliographical History 5 (CMR 5), covering the period 1350-1500, is a continuing volume in a general history of relations between the two faiths from the seventh century to 1900. It comprises a series of introductory essays and also the main body of detailed entries which treat all the works, surviving or lost, that have been recorded. These entries provide biographical details of the authors, descriptions and assessments of the works themselves, and complete accounts of manuscripts, editions, translations and studies. The result of collaboration between numerous leading scholars, CMR 5, along with the other volumes in this series, is intended as an indispensable tool for research in Christian-Muslim relations.

An examination of how regional identities are reflected in texts from medieval England.

This book, the first full-length cross-period comparison of medieval and modern literature, offers cutting edge research into the textual and cultural legacy of the Middle Ages: a significant and growing area of scholarship. At the juncture of literary, cultural and gender studies, and capitalizing on a renewed interest in popular western representations of the Islamic east, this book proffers innovative case studies on representations of cross-religious and cross-cultural romantic relationships in a selection of late medieval and twenty-first century Orientalist popular romances. Comparing the tropes, characterization and settings of these literary phenomena, and focusing on gender, religion, and ethnicity, the study exposes the historical roots of current romance representations of the east, advancing research in Orientalism, (neo)medievalism and medieval cultural studies. Fundamentally, Representing Difference invites a closer look at medieval and modern popular attitudes towards the east, as represented in romance, and the kinds of solutions proposed for its apparent problems.