The "Ysengrimus" is the first fully-fledged medieval beast-epic, and the poem in which Reynard the Fox makes his first appearance on the stage of world literature. It thus occupies a key position in the long and fertile tradition of medieval beast-literature, but it also claims attention as a masterpiece in its own right, the work of one of the most daring and original satirists of the Middle Ages. Despite its importance, the "Ysengrimus" has been comparatively neglected because of its linguistic difficulties. Jill Mann eases these difficulties by presenting an English translation alongside the Latin text, and accompanying it with a detailed commentary. A full- length introduction offers an original account of the poem which shows how literary structure and historical dimensions are fused into an original satiric vision of compelling power. This book will not only interest medieval Latin specialists, but will make this major text accessible to those working on the related vernacular traditions. Its analysis of the poem's allusions to contemporary persons and events will also be of considerable interest to historians of twelfth-century Flanders.

"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.

There are many stories featuring the villainous hero Reynard the Fox in many languages told over many centuries, goingback as far as the early 12th century. All these stories are comic and much of the humour depends on parody and satire resulting in mockery, sometimes the subversion of certain kinds of serious literature, of political and religious institutions and practices, of scholarly argument and moralizing, and of popular beliefs and customs. The contributors to this volume, all of them experts in one or more of the Reynard stories and their backgrounds, focus on the transformation of these tales through various media and to what extent they reflect differences in the cultural, class, and generational background of their tellers.

Meredith M. Hale presents the first chapter in the history of modern political satire, one that is critical to the media's emergence as the 'fourth estate'. Discussing themes relevant today, the study locates Dutch printmaker Romeyn de Hooghe (1645-1708) at the birth of modern political satire, and political satire at the heart of the modern media.

A sweeping exploration of the shaping role of animal skins in written culture and human imagination over three millennia "Richly detailed and illustrated. . . . An engaging exploration of book history."--Kirkus Reviews For centuries, premodern societies recorded and preserved much of their written cultures on parchment: the rendered skins of sheep, cows, goats, camels, deer, gazelles, and other creatures. These remains make up a significant portion of the era's surviving historical record. In a study spanning three millennia and twenty languages, Bruce Holsinger explores this animal archive as it shaped the inheritance of the Euro-Mediterranean world, from the leather rolls of ancient Egypt to the Acts of Parliament in the United Kingdom. Holsinger discusses the making of parchment past and present, the nature of the medium as a biomolecular record of faunal life and environmental history, the knotty question of "uterine vellum," and the imaginative role of parchment in the works of St. Augustine, William Shakespeare, and a range of Jewish rabbinic writers of the medieval era. Closely informed by the handicraft of contemporary makers, painters, and sculptors, the book draws on a vast array of sources--codices and scrolls, documents and ephemera, works of craft and art--that speak to the vitality of parchment across epochs and continents. At the center of On Parchment is the vexed relationship of human beings to the myriad slaughtered beasts whose remains make up this vast record: a relationship of dominion and compassion, of brutality and empathy.

Renard the Fox is the first modern translation into English of one of the most important and influential medieval books. Valued for its comic spirit, its high literary quality, and its clever satire of feudal society, the tale uses animals to represent the members of various classes. This lively and accessible translation will be welcomed for courses in medieval literature and history, gender studies, and humanities, and will be a treat for the general reader as well.

Most vols. for 1890- contain list of members of the Folk-lore Society.

This book is an entertaining, informative and enchanting introduction to its subject – just as those medieval banes of the farmyard, the Fox and the Vixen, were enchanting in escapades from fables and funny tales, from beastly epic poems and bestiaries, and from medieval material culture (in Danish wall-paintings and Dutch manuscript illustrations and statues, stained-glass and Italian mosaics). There exist books on medieval fox stories and on the animal’s iconography, which are important themes in this study, but this book is the first holistic approach to all types of manifestations of foxes in medieval culture – from medical recipes and fur trade, to Bible commentaries and hunting manuals.

This book is a volume in the Penn Press Anniversary Collection. To mark its 125th anniversary in 2015, the University of Pennsylvania Press rereleased more than 1,100 titles from Penn Press's distinguished backlist from 1899-1999 that had fallen out of print. Spanning an entire century, the Anniversary Collection offers peer-reviewed scholarship in a wide range of subject areas.