"The rise of literary fiction in medieval Europe has been a hotly debated topic among scholars for at least two decades, but until now that debate has come with severe limitations, focusing on ‘modern’ French and German romances of the twelfth and thirteenth centuries. Attempting to find common ground among scholars from various disciplines and regions, Medieval Narratives between History and Fiction seeks to clarify the subject by including a wide range of medieval narratives irrespective of their modern label and affiliation to certain disciplines. The chapters collected here broaden the discussion by moving beyond the canonical French and German romances, focusing mainly on texts in Greek, Latin and Old Norse (and also some in Serbian), and by opting for a ‘peripheral’ and a long-term view of the subject. The chapters take us from Graeco-Roman antiquity to medieval France, then to the Scandinavian lands and from there to south-eastern Europe and Byzantium as the link back to the Graeco-Roman world. This disposition also follows a spiral motion in time, leading us from antiquity to late antiquity and from the eleventh to the fifteenth century. By expanding the linguistic as well as the geographical and chronological scope of the debate, the book shows that we should not think of a ‘rise of fiction’ per se; rather, we should see fiction as a potential always imbued in and related to historical narratives – and recognize that non-fictional and non-vernacular writing are important for a modern understanding of medieval fiction."--

This book provides the first comprehensive study of the performance of medieval narrative, using examples from England and the Continent and a variety of genres to examine the crucial question of whether - and how - medieval narratives were indeed intended for performance. Moving beyond the familiar dichotomy between oral and written literature, the various contributions emphasize the range and power of medieval performance traditions, and demonstrate that knowledge of the modes and means of performance is crucial for appreciating medieval narratives. The book is divided into four main parts, with each essay engaging with a specific issue or work, relating it to larger questions about performance. It first focuses on representations of the art of medieval performers of narrative. It then examines relationships between narrative performances and the material books that inspired, recorded, or represented them. The next section studies performance features inscribed in texts and the significance of considering performability. The volume concludes with contributions by present-day professional performers who bring medieval narratives to life for contemporary audiences. Topics covered include orality, performance, storytelling, music, drama, the material book, public reading, and court life.

An original study of the political, religious and literary uses of representations of the holy city in the fourteenth century.

This volume offers an overview of the rich narrative material circulating in the medieval Mediterranean. As a multilingual and multicultural zone, the Eastern Mediterranean offered a broad market for tales in both oral and written form and longer works of fiction, which were translated and reworked in order to meet the tastes and cultural expectations of new audiences, thus becoming common intellectual property of all the peoples around the Mediterranean shores. Among others, the volume examines for the first time popular eastern tales, such as Kalila and Dimna, Sindbad, Barlaam and Joasaph, and Arabic epics together with their Byzantine adaptations. Original Byzantine love romances, both learned and vernacular, are discussed together with their Persian counterparts and with later adaptations of western stories. This combination of such disparate narrative material aims to highlight both the wealth of medieval storytelling and the fundamental unity of the medieval Mediterranean world. Contributors are Carolina Cupane, Faustina Doufikar-Aerts, Massimo Fusillo, Corinne Jouanno, Grammatiki A. Karla, Bettina Krönung, Renata Lavagnini, Ulrich Moennig, Ingela Nilsson, Claudia Ott, Oliver Overwien, Panagiotis Roilos, Julia Rubanovich, Ida Toth, Robert Volk and Kostas Yiavis.

In Medieval Autographies, A. C. Spearing develops a new engagement of narrative theory with medieval English first-person writing, focusing on the roles and functions of the “I” as a shifting textual phenomenon, not to be defined either as autobiographical or as the label of a fictional speaker or narrator. Spearing identifies and explores a previously unrecognized category of medieval English poetry, calling it "autography.” He describes this form as emerging in the mid-fourteenth century and consisting of extended nonlyrical writings in the first person, embracing prologues, authorial interventions in and commentaries on third-person narratives, and descendants of the dit, a genre of French medieval poetry. He argues that autography arose as a means of liberation from the requirement to tell stories with preordained conclusions and as a way of achieving a closer relation to lived experience, with all its unpredictability and inconsistencies. Autographies, he claims, are marked by a cluster of characteristics including a correspondence to the texture of life as it is experienced, a montage-like unpredictability of structure, and a concern with writing and textuality. Beginning with what may be the earliest extended first-person narrative in Middle English, Winner and Waster, the book examines instances of the dit as discussed by French scholars, analyzes Chaucer’s Wife of Bath’s Prologue as a textual performance, and devotes separate chapters to detailed readings of Hoccleve’s Regement of Princes prologue, his Complaint and Dialogue, and the witty first-person elements in Osbern Bokenham’s legends of saints. An afterword suggests possible further applications of the concept of autography, including discussion of the intermittent autographic commentaries on the narrative in Troilus and Criseyde and Capgrave’s Life of Saint Katherine.

This practical guide aims to facilitate the discovery of narrative sources (chronicles, annals, saints' lives) for a given area and time period. It lists editions, modern translations and, as far as possible, internet sites for texts. Nine introductory essays discuss genres of historical narrative and the methods of medieval history writing, and also highlight the special character of Byzantine, Muslim, and Eastern Christian narrative sources.

An introduction to the variety of medieval narrative, intended both for students and more general readers who already know some of the classics of the Middle Ages, such as Beowulf, the Decameron and The Canterbury Tales,, and who wish to venture further. Medieval definitions and theories of narrative are considered in relation to modern narratology and the major medieval types of narrative are discussed. The perspective in this book is mainly English, with Chaucer as a central figure, but it refers to a range of well-known European texts and writers, such as Marie de France, Cretien de Troyes, the Niebelungenlied, the Poem of the Cid, Dante and Boccaccio.

The papers gathered in this volume were all given in 1999 - at the International Congress on Medieval Studies in Kalamazoo, at the International Medieval Congress in Leeds and during a day conference held at York. They agree that looking at the wide range of narrative forms available provides new ways of viewing the Middle Ages.

"The different cultures from which the middle ages drew its inspiration are represented: Cu Cuchulainn from the Celtic world, Apollonius of Tyre from Greek romance, Attila the Hun and Theodoric the Ostrogoth from the struggle of the Roman empire against the Barbarians. Each entry gives an outline of the story, how it spread through Europe, its modern retelling and appearances in art, and a selective bibliography."--Jacket.