Titlebook: Women and the Medieval Epic; Gender, Genre, and t Sara S. Poor (Associate Professor of German),Jana Book 2007 Palgrave Macmillan, a divisi

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Surprisingly Historical Women in the Old French Crusade Cycle,rgotten (., 11. 828–43), which corresponds to the themes and tone of a body of extant lyric crusade poetry. Following the depiction of the tears, however, the poet notes a different female reaction to the crusade:

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傳授知識(shí)

Introduction,pic literatures from the Middle Ages. These include: Hrotsvit of Gandersheim ’s Latin epics celebrating Otto I and the foundation of Gandersheim Abbey; the Middle English Alexander romances which follow in the tradition of the Old French .; the Old English .; three central texts from the Old French

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Winning Women in Two Middle English Alexander Poems,ppointment. Admittedly they are fully in control of their own bodies; but is it titillation or burlesque that they inhabit an island that topographically recalls the female body, with its single, “preue planke ” (1. 3868) [secret plank] whose access they limit?. And while they are quick to challenge

murmur

Surprisingly Historical Women in the Old French Crusade Cycle,y, describes two distinct female reactions to the call of Pope Urban II at Clermont that began the First Crusade.. After a few future heroes are listed as taking the cross (., 11. 819–21), the first reaction is the lament of the women who will be left behind and fear being widowed, abandoned, and fo

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Women in the ,: Exotics and Natives, Rebellious Legends, and Dutiful Histories,oral and written sources. The work is immensely long (ca. 45,000 lines; the standard edition runs to nine volumes), and only partially conforms to the notions implied by the word “epic. ” It covers the pre-Islamic history of Persia/Iran from the creation of the world up to the Arab conquest of the c

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