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A Troubadour Reader, a supplement to William D. Paden's Introduction to Old Occitan, provides a diverse selection of thirty medieval lyric poems in Occitan for language learners. Featuring poems by women, poems composed especially early or especially late in the language's literary use, and poems that feature Occitan in contact with other languages, the book highlights the range and wealth of medieval Occitan lyric poetry. Each poem is presented with a brief introduction, glosses on the text, and notes after each stanza. The volume also includes a section on basic Occitan grammar, a list of manuscripts, bibliographical references, and an index.
The Thousand and One Nights, composed in Arabic from the eighth to the fourteenth centuries, is one of the world's most widely circulated and influential collections of stories. To help instructors introduce the tales to students, this volume provides historical context and discusses the many transformations of the stories in a variety of cultures. Among the topics covered are the numerous translations and their impact on the tales' reception; various genres represented by the tales; gender, race, and slavery; and adaptations of the stories in films, graphic novels, and other media across the world and under conditions of both imperialism and postcolonialism. The essays serve instructors in subjects such as medieval literature, world literature, and Middle and Near Eastern studies and make a case for teaching the Thousand and One Nights in courses on identity and race.
One of the most influential texts of its time, the Romance of the Rose offers readers a window into the world view of the late Middle Ages in Europe, including notions of moral philosophy and courtly love. Yet the Rose also explores topics that remain relevant to readers today, such as gender, desire, and the power of speech. Students, however, can find the work challenging because of its dual authorship by Guillaume de Lorris and Jean de Meun, its structure as an allegorical dream vision, and its encyclopedic length and scope.
The essays in this volume offer strategies for teaching the poem with confidence and enjoyment. Part 1, "Materials," suggests helpful background resources. Part 2, "Approaches," presents contexts, critical approaches, and strategies for teaching the work and its classical and medieval sources, illustrations, and adaptations as well as the intellectual debates that surrounded it.
While globalization is a modern phenomenon, premodern people were also interconnected in early forms of globalism, sharing merchandise, technology, languages, and stories over long distances. Looking across civilizations, this volume takes a broad view of the Middle Ages in order to foster new habits of thinking and develop a multilayered, critical sense of the past.
The essays in this volume reach across disciplinary lines to bring insights from music, theater, religion, ecology, museums, and the history of disease into the literature classroom. The contributors provide guidance on texts such as the Thousand and One Nights, Sunjata, Benjamin of Tudela's Book of Travels, and the Malay Annals and on topics such as hotels, maps, and camels. They propose syllabus recommendations, present numerous digital resources, and offer engaging class activities and discussion questions. Ultimately, they provide tools that will help students evaluate popular representations of the Middle Ages and engage with the dynamics of past, present, and future world relationships.
As a young woman from a wealthy family, Eufrosine was expected to marry a nobleman. Instead, she wanted to serve God. So she cut her hair, dressed as a man, and traveled to a monastery, becoming a monk named Emerald.
Adapted from a Latin source, this saint’s life dates to about 1200 CE. Devout yet erotic, lyrical yet didactic, it blends hagiography with romance and epic in order to engage and inspire a broad audience. The tale invites readers to rethink preconceived notions of the Middle Ages, the relation between spiritual and secular values, and ideas about the history of sexuality, identity, and family.
Only fragments of the poem have been previously translated. This edition includes the first full translation alongside the Old French original as well as a glossary and other supporting material.
Dante’s Divine Comedy can compel and shock readers: it combines intense emotion and psychological insight with medieval theology and philosophy. This volume will help instructors lead their students through the many dimensions—historical, literary, religious, and ethical—that make the work so rewarding and enduringly relevant yet so difficult.
Part 1, “Materials,” gives instructors an overview of the important scholarship on the Divine Comedy. The essays of part 2, “Approaches,” describe ways to teach the work in the light of its contemporary culture and ours. Various teaching situations (a first-year seminar, a creative writing class, high school, a prison) are considered, and the many available translations are discussed.
A series of dream visions, Piers Plowman is a moral reckoning of the whole of medieval England, in which every part of society—from church and king to every sort of “folk”—is considered in the light of the narrator’s interpretation of Christian revelation. The Middle English poem, rich and beautiful, is a particular challenge to teach: it exists in three versions, lacks a continuous narrative, is written in a West Midlands dialect, weaves a complex allegory, and treats complicated social and political issues, such as labor, Lollardy, and popular uprising.
Part 1 of this volume, “Materials,” discusses the different versions, critical and classroom editions, and translations of the poem, as well as the many secondary sources. Part 2, “Approaches,” helps students engage with the poem’s versification, understand its protagonist and its treatment of poverty and equity, and discern connections to the work of other medieval poets, such as Dante and Chaucer.
The moving, richly allegorical poem Pearl was likely written by the anonymous poet who also penned Sir Gawain and the Green Knight. In it, a man in a garden, grieving the loss of a beloved pearl, dreams of the Pearl-Maiden, who appears across a stream. She teaches him the nature of innocence, God’s grace, meekness, and purity. Though granted a vision of the New Jerusalem by the Pearl-Maiden, the dreamer is pained to discover that he cannot cross the stream himself and join her in bliss—at least not yet. This extraordinary poem is a door into late medieval poetics and Catholic piety.
Part 1 of this volume, “Materials,” introduces instructors to the many resources available for teaching the canonical yet challenging Pearl, including editions, translations, and scholarship on the poem as well as its historical context. The essays in part 2, “Approaches,” offer instructors tools for introducing students to critical issues associated with the poem, such as its authorship, sources and analogues, structure and language, and relation to other works of its time. Contributors draw on interdisciplinary approaches to outline ways of teaching Pearl in a variety of classroom contexts.
One of the most important authors of the Middle Ages, Petrarch occupies a complex position: historically, he is a medieval author, but, philosophically, he heralds humanism and the Renaissance. Teachers of Petrarch’s Canzoniere and his formative influence on the canon of Western European poetry face particular challenges. Petrarch’s poetic style brings together the classical tradition, Christianity, an exalted sense of poetic vocation, and an obsessive love for Laura during her life and after her death in ways that can seem at once very strange and—because of his style’s immense influence—very familiar to students. This volume aims to meet the varied needs of instructors, whether they teach Petrarch in Italian or in translation, in surveys or in specialized courses, by providing a wealth of pedagogical approaches to Petrarch and his legacy.
Part 1, “Materials,” reviews the extensive bibliography on Petrarch and Petrarchism, covering editions and translations of the Canzoniere, secondary works, and music and other audiovisual and electronic resources. Part 2, “Approaches,” opens with essays on teaching the Canzoniere and continues with essays on teaching the Petrarchan tradition. Some contributors use the design and structure of the Canzoniere as entryways into the work; others approach it through discussion of Petrarch’s literary influences and subject matter or through the context of medieval Christianity and culture. The essays on Petrarchism map the poet’s influence on the Italian lyric tradition as well as on other national literatures, including Spanish, French, English, and Russian.
Chaucer’s Canterbury Tales was the subject of the first volume in the Approaches to Teaching series, published in 1980. But in the past thirty years, Chaucer scholarship has evolved dramatically, teaching styles have changed, and new technologies have created extraordinary opportunities for studying Chaucer. This second edition of Approaches to Teaching Chaucer’s Canterbury Tales reflects the wide variety of contexts in which students encounter the poem and the diversity of perspectives and methods instructors bring to it. Perennial topics such as class, medieval marriage, genre, and tale order rub shoulders with considerations of violence, postcoloniality, masculinities, race, and food in the tales.
The first section, “Materials,” reviews available editions, scholarship, and audiovisual and electronic resources for studying The Canterbury Tales. In the second section, “Approaches,” thirty-six essays discuss strategies for teaching Chaucer’s language, for introducing theory in the classroom, for focusing on individual tales, and for using digital resources in the classroom. The multiplicity of approaches reflects the richness of Chaucer’s work and the continuing excitement of each new generation’s encounter with it.
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