front cover of Conquest
Conquest
The English Kingdom of France, 1417–1450
Juliet Barker
Harvard University Press, 2012

For thirty dramatic years, England ruled a great swath of France at the point of the sword—an all-but-forgotten episode in the Hundred Years’ War that Juliet Barker brings to vivid life in Conquest.

Following Agincourt, Henry V’s second invasion of France in 1417 launched a campaign that would place the crown of France on an English head. Buoyed by conquest, the English army seemed invincible. By the time of Henry’s premature death in 1422, nearly all of northern France lay in his hands and the Valois heir to the throne had been disinherited. Only the appearance of a visionary peasant girl who claimed divine guidance, Joan of Arc, was able to halt the English advance, but not for long. Just six months after her death, Henry’s young son was crowned in Paris as the first—and last—English king of France.

Henry VI’s kingdom endured for twenty years, but when he came of age he was not the leader his father had been. The dauphin whom Joan had crowned Charles VII would finally drive the English out of France. Barker recounts these stirring events—the epic battles and sieges, plots and betrayals—through a kaleidoscope of characters from John Talbot, the “English Achilles,” and John, duke of Bedford, regent of France, to brutal mercenaries, opportunistic freebooters, resourceful spies, and lovers torn apart by the conflict.

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front cover of For Fear of the Fire
For Fear of the Fire
Joan of Arc and the Limits of Subjectivity
Françoise Meltzer
University of Chicago Press, 2001
Why are contemporary secular theorists so frequently drawn to saints, martyrs, and questions of religion? Why has Joan of Arc fascinated some of the most important thinkers of the twentieth century? In a book that faces crucial issues in both critical and feminist inquiry, Françoise Meltzer uses the story of Joan as a guide for reading the postmodern nostalgia for a body that is intact and transparent. She argues that critics who place excessive emphasis on opposition and difference remain blind to their nostalgia for the pre-Cartesian idea that the body and mind are the same.

Engaging a number of theorists, and alternating between Joan's historical and cultural context, Meltzer also explores the ways in which postmodern thinkers question subjectivity. She argues that the way masculine subjects imagine Joan betrays their fear of death and necessitates the role of women as cultural others: enigmatic, mysterious, dark, and impossible. As such, Joan serves as a useful model of the limits and risks of subjectivity. For Meltzer, she is both the first modern and the last medieval figure. From the ecclesial jury that burned her, to the theorists of today who deny their attraction to the supernatural, the philosophical assumptions that inform Joan's story, as Meltzer ultimately shows, have changed very little.
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