Walter Cohen argues that the history of European literature and each of its standard periods can be illuminated by comparative consideration of the different literary languages within Europe and by the ties of European literature to world literature. World literature is marked by recurrent, systematic features, outcomes of the way that language and literature are at once the products of major change and its agents. Cohen tracks these features from ancient times to the present, distinguishing five main overlapping stages. Within that framework, he shows that European literatures ongoing internal and external relationships are most visible at the level of form rather than of thematic statement or mimetic representation. European literature emerges from world literature before the birth of Europe — during antiquity, whose Classical languages are the heirs to the complex heritage of Afro-Eurasia. This legacy is later transmitted by Latin to the various vernaculars. The uniqueness of the process lies in the gradual displacement of the learned language by the vernacular, long dominated by Romance literatures. That development subsequently informs the second crucial differentiating dimension of European literature: the multicontinental expansion of its languages and characteristic genres, especially the novel, beginning in the Renaissance. This expansion ultimately results in the reintegration of European literature into world literature and thus in the creation of todays global literary system. The distinctiveness of European literature is to be found in these interrelated trajectories.

"The beauty and levity that Perry and Gabriele have captured in this book are what I think will help it to become a standard text for general audiences for years to come….The Bright Ages is a rare thing—a nuanced historical work that almost anyone can enjoy reading.”—Slate "Incandescent and ultimately intoxicating." —The Boston Globe A lively and magisterial popular history that refutes common misperceptions of the European Middle Ages, showing the beauty and communion that flourished alongside the dark brutality—a brilliant reflection of humanity itself. The word “medieval” conjures images of the “Dark Ages”—centuries of ignorance, superstition, stasis, savagery, and poor hygiene. But the myth of darkness obscures the truth; this was a remarkable period in human history. The Bright Ages recasts the European Middle Ages for what it was, capturing this 1,000-year era in all its complexity and fundamental humanity, bringing to light both its beauty and its horrors. The Bright Ages takes us through ten centuries and crisscrosses Europe and the Mediterranean, Asia and Africa, revisiting familiar people and events with new light cast upon them. We look with fresh eyes on the Fall of Rome, Charlemagne, the Vikings, the Crusades, and the Black Death, but also to the multi-religious experience of Iberia, the rise of Byzantium, and the genius of Hildegard and the power of queens. We begin under a blanket of golden stars constructed by an empress with Germanic, Roman, Spanish, Byzantine, and Christian bloodlines and end nearly 1,000 years later with the poet Dante—inspired by that same twinkling celestial canopy—writing an epic saga of heaven and hell that endures as a masterpiece of literature today. The Bright Ages reminds us just how permeable our manmade borders have always been and of what possible worlds the past has always made available to us. The Middle Ages may have been a world “lit only by fire” but it was one whose torches illuminated the magnificent rose windows of cathedrals, even as they stoked the pyres of accused heretics. The Bright Ages contains an 8-page color insert.

A "lively and engaging" history of the Middle Ages (Dallas Morning News) from the acclaimed historian William Manchester, author of The Last Lion. From tales of chivalrous knights to the barbarity of trial by ordeal, no era has been a greater source of awe, horror, and wonder than the Middle Ages. In handsomely crafted prose, and with the grace and authority of his extraordinary gift for narrative history, William Manchester leads us from a civilization tottering on the brink of collapse to the grandeur of its rebirth: the dense explosion of energy that spawned some of history's greatest poets, philosophers, painters, adventurers, and reformers, as well as some of its most spectacular villains. "Manchester provides easy access to a fascinating age when our modern mentality was just being born." --Chicago Tribune

Published just after the Second World War, European Literature and the Latin Middle Ages is a sweeping exploration of the remarkable continuity of European literature across time and place, from the classical era up to the early nineteenth century, and from the Italian peninsula to the British Isles. In what T. S. Eliot called a "magnificent" book, Ernst Robert Curtius establishes medieval Latin literature as the vital transition between the literature of antiquity and the vernacular literatures of later centuries. The result is nothing less than a masterful synthesis of European literature from Homer to Goethe. European Literature and the Latin Middle Ages is a monumental work of literary scholarship. In a new introduction, Colin Burrow provides critical insights into Curtius's life and ideas and highlights the distinctive importance of this wonderful book.

We have long thought of the Renaissance as a luminous era that marked a decisive break with the past, but the idea of the Renaissance as a distinct period arose only during the nineteenth century. Though the view of the Middle Ages as a dark age of unreason has softened somewhat, we still locate the advent of modern rationality in the Italian thought and culture of the fifteenth and sixteenth centuries. Jacques Le Goff pleads for a strikingly different view. In this, his last book, he argues persuasively that many of the innovations we associate with the Renaissance have medieval roots, and that many of the most deplorable aspects of medieval society continued to flourish during the Renaissance. We should instead view Western civilization as undergoing several "renaissances" following the fall of Rome, over the course of a long Middle Ages that lasted until the mid-eighteenth century. While it is indeed necessary to divide history into periods, Le Goff maintains, the meaningful continuities of human development only become clear when historians adopt a long perspective. Genuine revolutions—the shifts that signal the end of one period and the beginning of the next—are much rarer than we think.

One of the least understood periods of European history occurred between the 6th century and the 14th or 15th century (depending on which historian you ask). Commonly called the Middle Ages, this was a time period of extreme change for Europe, beginning with the fall of the Western Roman Empire.

Is it legitimate to conceive of and write a history of medieval French literature when the term “literature” as we know it today did not appear until the very end of the Middle Ages? In this novel introduction to French literature of the period, Jacqueline Cerquiglini-Toulet says yes, arguing that a profound literary consciousness did exist at the time. Cerquiglini-Toulet challenges the standard ways of reading and evaluating literature, considering medieval literature not as separate from that in other eras but as part of the broader tradition of world literature. Her vast and learned readings of both canonical and lesser-known works pose crucial questions about, among other things, the notion of otherness, the meaning of change and stability, and the relationship of medieval literature with theology. Part history of literature, part theoretical criticism, this book reshapes the language and content of medieval works. By weaving together topics such as the origin of epic and lyric poetry, Latin-French bilingualism, women’s writing, grammar, authorship, and more, Cerquiglini-Toulet does nothing less than redefine both philosophical and literary approaches to medieval French literature. Her book is a history of the literary act, a history of words, a history of ideas and works—monuments rather than documents—that calls into question modern concepts of literature.