Helen Barr

Fur die kunsthistorische Forschung liefern Textquellen wichtige Indizien zur Erschlieaung von Artefakten und ihren Entstehungskontexten. Aussagen der Kunstler*innen gelten dabei traditionell als hochgradig authentisch: Wer sollte ihr Werk besser kennen und erklaren konnen als sie selbst? Die Beitrage machen Vorschlage fur einen quellenkritischen Umgang mit Kunstlerzeugnissen, um diesen methodisch zu reflektieren und zu erweitern. Rhetorische Strategien, Konventionen der jeweiligen Textgattung, Sprech- und Schreibmotivationen sowie die Entstehungskontexte sind relevante Aspekte. Mit dem einleitenden Abriss uber Textgattungen und Genres, in denen Kunstler*innen seit dem Fruhmittelalter gesprochen und geschrieben haben, liegt erstmalig ein chronologischer Uberblick von Kunstlerselbstaussagen vor.

Drawing on the work of British sculptor Antony Gormley, alongside more traditional literary scholarship, this book argues for new relationships between Chaucer’s poetry and works by others. Chaucer’s playfulness with textual history and chronology anticipates how his own work is figured in later – and earlier – texts. Responding to this, the book presents innovative readings of the relationships between medieval texts and early modern drama, literary texts and material culture. It re-energises conventional models of source and analogue study to reveal unexpected – and sometimes unsettling – literary cohabitations. At the same time, it exposes how associations between architecture, pilgrim practice, manuscript illustration and the soundscapes of dramatic performance reposition how we read Chaucer’s oeuvre and what gets made of it. An invaluable resource for scholars and students of all levels with an interest in medieval English literary studies and early modern drama, Transporting Chaucer offers a new approach to how we encounter texts through time.

Drawing on the work of British sculptor Antony Gormley, alongside more traditional literary scholarship, this book argues for new relationships between Chaucer’s poetry and works by others. Chaucer’s playfulness with textual history and chronology anticipates how his own work is figured in later – and earlier – texts. Responding to this, the book presents innovative readings of the relationships between medieval texts and early modern drama, literary texts and material culture. It re-energises conventional models of source and analogue study to reveal unexpected – and sometimes unsettling – literary cohabitations. At the same time, it exposes how associations between architecture, pilgrim practice, manuscript illustration and the soundscapes of dramatic performance reposition how we read Chaucer’s oeuvre and what gets made of it. An invaluable resource for scholars and students of all levels with an interest in medieval English literary studies and early modern drama, Transporting Chaucer offers a new approach to how we encounter texts through time.

Socioliterary Practice in Late Medieval England bridges the disciplines of literature and history by examining various kinds of literary language as examples of social practice. Readings of both English and Latin texts from the late fourteenth and early fifteenth centuries are grounded in close textual study which reveals the social positioning of these works and the kinds of ideological work they can be seen to perform. Distinctive new readings of texts emerge which challenge received interpretations of literary history and late medieval culture. Canonical authors and texts such as Chaucer, Gower, and Pearl are discussed alongside the less familiar: Clanvowe, anonymous alliterative verse, and Wycliffite prose tracts.