Considers what monsters tell us about identity in the medieval period.
A monster lurks at the heart of medieval identity, and this book seeks him out. Reading a set of medieval texts in which giants and dismemberment figure prominently, Jeffrey Jerome Cohen brings a critical psychoanalytic perspective to bear on the question of identity formation-particularly masculine identity-in narrative representation. The giant emerges here as an intimate stranger, a monster who stands at the limits of selfhood.
Arguing that in the romance tradition of late fourteenth-century England, identity is inscribed on sexed bodies only through the agency of a monster, Cohen looks at the giant as the masculine body writ large. In the giant he sees an uncanny figure, absolutely other and curiously familiar, that serves to define the boundaries of masculine embodiment. Philosophically compelling, the book is also a philologically rigorous inquiry into the phenomenon of giants and giant-slaying in various texts from the Anglo-Saxon period to late Middle English, including Beowulf, Chrétien de Troyes’s The Knight and the Lion, Geoffrey of Monmouth’s History of the Kings of Britain, several works by Chaucer, Sir Gowther, Sir Gawain and the Green Knight, and more.A significant contribution to our understanding of medieval culture, Of Giants also provides surprising insights into questions about the psychosocial work of representation in its key location for the individual: the construction of gender and the social formation of the boundaries of gender identification. It will engage students of the Middle Ages as well as those interested in discourses of the body, social identity, and the grotesque. ISBN 0-8166-3216-2 Cloth £00.00 $47.95xxISBN 0-8166-3217-0 Paper £00.00 $18.95x240 Pages 5 black-and-white photos 5 7/8 x 9 MayMedieval Cultures Series, volume 17Translation inquiries: University of Minnesota PressIn Old English Literature in its Manuscript Context, editor Joyce Tally Lionarons has developed a multifaceted collection examining the issues facing the textual transmission of Anglo-Saxon writings. Eight established scholars consider the ideas of textual identity, authorship and translation, and editorial standards and obligations. This work also features a scholarly exchange of ideas and photographs of the original Anglo-Saxon manuscripts, making this essential reading for anyone interested in the history of Old English literature. The essays published in this text were originally composed at an NEH summer seminar conducted by Paul Szarmach and Timothy Graham at the Parker Library of Corpus Christi College, Cambridge in 1997.
The fundamental difference between rhetoric and poetry, according to Yeats, is that rhetoric is the expression of one’s quarrels with others while poetry is the expression (and sometimes the resolution) of one’s quarrel with oneself. This is where Helen Vendler’s Our Secret Discipline begins. Through exquisite attention to outer and inner forms, Vendler explores the most inventive reaches of the poet’s mind. This book is a space-clearing gesture, an attempt to write about lyric forms in Yeats in unprecedented and comprehensive ways. The secret discipline of the poet is his vigilant attention to forms—whether generic, structural, or metrical. Yeats explores the potential of such forms to give shape and local habitation to volatile thoughts and feelings.
Helen Vendler remains focused on questions of singular importance: Why did Yeats cast his poems into the widely differing forms they ultimately took? Can we understand Yeats’s poetry better if we pay attention to inner and outer lyric form? Chapters of the book take up many Yeatsian ventures, such as the sonnet, the lyric sequence, paired poems, blank verse, and others. With elegance and precision, Vendler offers brilliant insights into the creative process and speculates on Yeats’s aims as he writes and rewrites some of the most famous poems in modern literature.
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