Dissertations / Theses on the topic '450-1100 History and criticism'
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Abdalla, Laila. "The dialectical adversary : the satanic character and imagery in Anglo-Saxon poetry." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59563.
Full textCavell, Megan Colleen. "Representations of weaving and binding in Old English poetry." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610453.
Full textWoeber, Catherine. "A study of Christ and his saints as representatives of the values of Christian heroism in Old English poetry." Master's thesis, University of Cape Town, 1987. http://hdl.handle.net/11427/21143.
Full textThis dissertation investigates the concept of Christian heroism as it appears in a number of Old English poems, through a study of the figure of the miles Christi. These poems present a specific Christian heroism which, though couched in terms culled from Germanic heroism, nevertheless exists in its own right and is quite different from it. Christ and his saints are seen as heroes in themselves (Christian servants obedient to the will of God) rather than as heroic warriors as they are usually regarded (Germanic heroes fighting for a Christian cause). They are leaders and heroes in the sense of servants, and not only like kings and warriors of the Germanic code. A study of some poems from the Cynewulf canon shows that the poets understood Christian heroism to mean more than brave battling for the cause of good; in essence, it is complete submission to the will of God.
Bailey, Hannah McKendrick. "Misinterpretation and the meaning of signs in Old English poetry." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:880a2482-9573-4142-be27-ec8c87cfa3fb.
Full textBrooks, Britton. "The restoration of Creation in the early Anglo-Saxon vitae of Cuthbert and Guthlac." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:17b5d20e-446e-4891-90a6-f02a196a7409.
Full textMachado-Matheson, Anna-Maria. "Madness as penance in medieval Gaelic sources : a study of biblical and hagiographical influences on the depiction of Suibne, Lailoken and Mór of Munster." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609646.
Full textNelson, Nancy Susan. "Heroism and Failure in Anglo-Saxon Poetry: the Ideal and the Real within the Comitatus." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc332044/.
Full textFlight, Tim. "Apophasis, contemplation, and the kenotic moment in Anglo-Saxon literature." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:16f34b87-8c3a-4fe1-9dbb-d8c6e3545bd8.
Full textRogers, Janine. "The woman's voice in Middle English love lyrics /." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69671.
Full textIn the first chapter, I discuss critical perspectives on conventional courtly representations of women. In the second chapter, I locate Middle English women's songs in literary contexts other than courtly love: the Middle English lyrical tradition, the cross-cultural phenomenon of medieval women's songs, and the manuscript contexts of Middle English women's songs. In Chapter Three, I discuss the individual songs themselves and examine the range of perspectives found in woman-voiced lyrics.
My discussion of Middle English women's songs includes texts not previously admitted to the genre. This expanded collection of women's songs creates an alternative courtly discourse privileging female perspectives. Middle English women's songs create a space for women's voices in courtly love.
Djordjevic, Ivana. "Mapping medieval translation : methodological problems and a case study." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82856.
Full textHaving outlined the practical difficulties posed by the intricate textual tradition of Boeve and Beves, the multilingualism of medieval England, and the scarcity of concrete evidence regarding the audience for Middle English romance, I focus on methodological issues: the inability of equivalence-based definitions of translation to accommodate medieval translation practice, the futility of attempts to demarcate translation from adaptation, and the difficulty of integrating different textual levels in the study of translations.
In the first two analytical chapters of the dissertation I concentrate on those aspects of Beves that can best highlight the importance of translation processes in the constitution of the genre. I begin by examining the way in which the translator dealt with the most important translational constraints, some of which, like language, were beyond his control, while others, such as versification, were partly self-imposed. I then proceed to study the workings of the so-called laws of translation (explicitation, simplification, and repertorization) in the process whereby Boeve became Beves. The analyses carried out in these two chapters allow me to contest the received opinion according to which the author of Beves treated his original very freely. I show that, on the contrary, the distinctive features of the Middle English text result from a constant productive tension between source and target.
My study ends with an analysis of what happens when the translator's impulse to be faithful to his source is frustrated by the inaccessibility of the socio-historical context of the original. I examine the most closely translated sections of the poem to show how unrecognized topical references are flattened into literary cliches, which bring into the text their own generic connotations and disassemble some of the carefully constructed thematic parallels and analogies of the Anglo-Norman romance.
Clout, Karen. "Mi suete leuedi, her mi béne : the power and patronage of the heroine in Middle English romance." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21202.
Full textSchubert, Layla A. Olin 1975. "Material literature in Anglo-Saxon poetry." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10909.
Full textThe scattered instances depicting material literature in Anglo-Saxon poetry should be regarded as a group. This phenomenon occurs in Beowulf, The Dream of the Rood, and The Husband's Message. Comparative examples of material literature can be found on the Ruthwell Cross and the Franks Casket. This study examines material literature in these three poems, comparing their depictions of material literature to actual examples. Poems depicting material literature bring the relationship between man and object into dramatic play, using the object's point of view to bear witness to the truth of distant or intensely personal events. Material literature is depicted in a love poem, The Husband's Message, when a prosopopoeic runestick vouches for the sincerity of its master, in the heroic epic Beowulf when an ancient, inscribed sword is the impetus to give an account of the biblical flood, and is also implied in the devotional poem The Dream of the Rood, as two crosses both pre-and-post dating the poem bear texts similar to portions of the poem. The study concludes by examining the relationship between material anxiety and the character of Weland in Beowulf, Deor, Alfred's Consolation of Philosophy, and Waldere A & B. Concern with materiality in Anglo-Saxon poetry manifests in myriad ways: prosopopoeic riddles, both heroic and devotional passages directly assailing the value of the material, personification of objects, and in depictions of material literature. This concern manifests as a material anxiety. Weland tames the material and twists and shapes it, re-affirming the supremacy of mankind in a material world.
Committee in charge: Martha Bayless, Chairperson, English; James Earl, Member, English; Daniel Wojcik, Member, English; Aletta Biersack, Outside Member, Anthropology
Varnam, Laura. "The howse of God on Erthe : constructions of sacred space in late Middle English religious literature." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670140.
Full textKnox, Philip. "The Romance of the Rose in fourteenth-century England." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:d55e2158-a9ee-4bf2-b8e4-98d7e0c6a598.
Full textNeufeld, Christine Marie. "Xanthippe's sisters : orality and femininity in the later Middle Ages." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38251.
Full textCulver, Jennifer. "Bridging the Gap: Finding a Valkyrie in a Riddle." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3684/.
Full textMadrinkian, Michael Alex. "Producing 'Piers Plowman' to 1475 : author, scribe, and reader." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:1d0f9bd5-04d8-4edd-bccb-2f95b403165e.
Full textGreentree, Rosemary. "An annotated bibliography of the Middle English lyric /." Title page, contents and abstract only, 1999. http://web4.library.adelaide.edu.au/theses/09PH/09phg815.pdf.
Full textSawyer, Daniel. "Codicological evidence of reading in late medieval England, with particular reference to practical pastoral verse." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:8c21053f-e347-4349-9cc4-b1fa0229e95a.
Full textBellis, Joanna Ruth. "Language, literature, and the Hundred Years War, 1337-1600." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609852.
Full textMcNamara, Rebecca Fields. "Code-switching in medieval England : register variety in the literature of Geoffrey Chaucer, Thomas Usk and Thomas Hoccleve." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669980.
Full textMurray, Kylie Marie. "Dream and vision in Scotland, c.1375-1500." Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669934.
Full textFrazier, Dustin M. "A Saxon state : Anglo-Saxonism and the English nation, 1703-1805." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/4146.
Full textWalther, James T. "Imagining The Reader: Vernacular Representation and Specialized Vocabulary in Medieval English Literature." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2592/.
Full textMair, Olivia. "Merchants and mercantile culture in later medieval Italian and English literature." University of Western Australia. English, Communication and Cultural Studies Discipline Group, 2006. http://theses.library.uwa.edu.au/adt-WU2006.0088.
Full textGrimes, Jodi Elisabeth. "Rhetorical Transformations of Trees in Medieval England: From Material Culture to Literary Representation." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc12130/.
Full textRobertson, Lynsey E. "An analysis of the correspondence and hagiographical works of Philip of Harvengt." Thesis, University of St Andrews, 2008. http://hdl.handle.net/10023/526.
Full textLloyd-Jones, Glyn Francis Michael. "Britain after the Romans : an interdisciplinary approach to the possibilities of an Adventus Saxonum." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1019806.
Full textCantara, Linda M. "ST. MARY OF EGYPT IN BL MS COTTON OTHO B. X: NEW TEXTUAL EVIDENCE FOR AN OLD ENGLISH SAINT'S LIFE." UKnowledge, 2001. http://uknowledge.uky.edu/gradschool_theses/276.
Full textHawkins, Emma B. "Gender, Power, and Language in Anglo-Saxon Poetry." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278983/.
Full textDavis, Glenn Michael. "Perception and anxiety in Old English poetry." 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3077521.
Full textBishop, Christopher Damien Clifford. "Literature and society in tenth-Century Wessex." Phd thesis, 2006. http://hdl.handle.net/1885/150472.
Full textGreentree, Rosemary. "An annotated bibliography of the Middle English lyric / Rosemary Greentree." Thesis, 1999. http://hdl.handle.net/2440/19480.
Full textlxix, 968 leaves ; 30 cm.
Chronological survey of editions and criticisms of the Middle English lyric emphasising 20th century works. Summarizes the content of each work and conveys its style and the author's voice by means of quotations. A general introduction discusses critical trends and aspects of the genre. Concludes with indexes of scholars and critics ; subjects discussed ; first lines of poems listed in the Index of Middle English Verse and its Supplement ; and, a temporary index of poems not noted in either.
Thesis (Ph.D.)--University of Adelaide, Dept. of English, 1999
Carreto, Carlos F. Clamote. "O mercador de palavras ou as encruzilhadas da escrita medieval : (1100-1270)." Doctoral thesis, 2003. http://hdl.handle.net/10400.2/2470.
Full textO século XII francês caracteriza-se por múltiplas transformações (políticas, sociais, económicas, jurídicas, ideológicas, culturais) que redefinem, lenta mas profundamente, os contornos da civilização medieval. Ora, uma das mutações mais decisivas (senão a mais decisiva e marcante) reside justamente na passagem, que perscrutamos atentamente a partir dos múltiplos discursos que in-formam o texto poético, de uma economia oblativa, intimamente ligada ao pensamento simbólico, para uma economia mercantil e monetária, subordinada ao imaginário do signo. Será por mero acaso se vemos nascer e desenvolver-se, neste preciso contexto, a narrativa ficcional em língua vernacular (em romance)? Ou será uma mesma viragem epistemológica que dá simultaneamente origem à notável monetarização (aos mais diversos níveis) das relações sociais, ao renascimento da vitalidade urbana (factores através dos quais tendem a dissolver-se os laços, extremamente fortes e ritualizados, que uniam os homens uns aos outros na sociedade feudal), ao desabrochar do pensamento escolástico e das Ordens Mendicantes, à irrupção das catedrais góticas e à emergência de uma literatura profana que reivindica, pouco a pouco, a sua autonomia perante os sistemas poéticos latinos ou neolatinos? Surgia assim uma rede coerente de possíveis analogias na qual se vislumbrava a estranha e singular geminalidade entre a imagem ambígua do mercador (modelo da fertilidade e comunicação restauradas sobre o qual plana, todavia, e inelutavelmente, o espectro da usura, da avareza, da fraude, da mentira e da falsificação diabólicas) e a não menos ambígua figura do poeta, esse demiurgo que se compraz no jogo, ao mesmo tempo lúdico e subversivo, dos simulacros da Palavra, da Criação e da Verdade. Sobre ambos, pesa o anátema da danação; ambos aspiram, no limiares de uma espécie de Purgatório da linguagem, à plena legitimação dos respectivos discursos. Numa altura em que começam a desagregar-se os valores constitutivos do feudalismo, em que a relação com um Significado fundador, referencial, se torna cada vez mais longínqua e irrecuperável, a ficção e a moeda cunhada emergem assim como dois novos tipos de mediação ante o objecto de desejo, como duas formas de escrita (homólogas, embora distintas e autónomas) que modificam as relações com o Outro e com o mundo (e com o Outro-Mundo inclusive), tanto quanto as suas respectivas representações, e através das quais se elaboram, em suma, novos processos de simbolização. A dualidade e duplicidade que se instauram entre estes dois modos privilegiados de representação (mental e socialmente construída) não podia deixar de ter influências na própria concepção da palavra poética. Com efeito, a forma como dialogam, se entrelaçam, colidem ou se excluem mutuamente imaginário oblativo (bem patente no ideal cavaleiresco e cortês de liberalidade, por exemplo) e imaginário mercantil, abre-nos um terreno de investigação único para observarmos o modo como os dois principais géneros narrativos em verso dos séculos XII-XIII (a canção de gesta e o romance que analisamos mais minuciosamente), reflectem e/ou inflectem o universo que os rodeia e, nesse processo, verificar de que forma se interrogam sobre o seu próprio estatuto e se posicionam um face ao outro através de secretas ou explícitas relações dialógicas e intertextuais. Se, nesta perspectiva, vemos o discurso épico dar, frequentemente, corpo e voz ao inconsciente ideológico e textual recalcado nos inúmeros inter-ditos, ou não-ditos, que estruturam o imaginário romanesco (e vice versa), evidenciando simultaneamente as potencialidades e os limites de uma determinada concepção da linguagem poética e da visão do mundo que (a) sustenta e veicula, caberá à chamada narrativa "realista" do século XIII levar este processo de reflexão (no sentido cognitivo e especular do termo) às últimas consequências. Com efeito, ao multiplicar falaciosamente os "efeitos de real" e as referências ao universo económico, esta narrativa sugere que a única realidade da/na literatura consiste, na verdade, no facto de ser uma arte, subtil e engenhosamente, tecida através de uma temível e sedutora manipulação da retórica da linguagem e das formas significantes nas quais se espelha incessantemente. Desta nova economia poética, emerge uma (in)suspeita, mas agora triunfal e triunfante, relação entre o poeta e o mercador de palavras, entre a usura e a narrativa ficcional enquanto infinita reprodução de simulacros e perpétua deslocação metafórica de uma significação ao mesmo tempo proliferante e sempre ausente; relação na qual se vislumbra a natureza paradoxal, evanescente e profundamente enganadora, do texto medieval como eterna falsa moeda sígnica e semântica.
The twelfth century is a complex period, characterised by an unusual quantity of transformations at all levels (political, social, economic, juridical, ideological and cultural) which would, slowly but profoundly, redefine the contours of Western Civilization. One of the most decisive mutations (if not the most decisive and impactive one) lies in the transition, deeply analysed by us through the several discourses which in-form the poetical text, from the so-called gift economy, closely related to the symbolic though, to a monetary mercantile economy, subordinated to the sign imaginary. Can it be mere chance if we can also find, precisely during that period and context, the beginning and development of the written fictional narrative in vernacular language, (the romance)? Or is it not rather the same epistemological turnover which originates, simultaneously, the remarkable monetarization of social relationships, the rebirth of urban vitality (the towns being the set for an important progressive weakening of the strong and ritualised personal bonds which maintained the cohesion of the traditional feudal society), the flourishing of scholastic thought and Mendicant Orders, the irruption of Cathedral churches and the emergence of profane Literature which slowly takes its autonomous place among the latin and neolatin poetic systems? Faced with this vast net of possible analogies, we were forced to recognise the strange and singular similarity and closeness between the ambiguous image of the merchant (a model of restored fertility and communication, upon whom, nevertheless, always planes the spectre of usury, greed, fraud, lie and devilish forgery) and the none the less ambiguous one of the poet, the demiurge who indulges himself permanently in the vain, ludic and subversive gamble of playing with the Word, the Creation and the Truth. The anathema of damnation stands upon both of them; they both aspire - at the verge of a sort of Purgatory of the Language – to the universal recognition of the legitimacy of their respective discourses. In an era in which the feudal values were starting to dissolve, and the relation to a founding Signified, source of every reference, becomes more and more distant and irrecoverable, the fiction and the minted coin emerge as the two new models for mediation in the face of the object of desire, as two forms of writing (similar although very distinct and autonomous), which drastically modify the relation to the Other and to the World (and to the Other World, as well), just as their respective representations, thus creating a whole new process of simbolization. The duality and duplicity which pervade these two privileged forms of representation (mentally and socially constructed) would forcibly end up behaving serious reflections in the poetic word. In fact, the forms through which the oblative imaginary (in the centre of the chivalric and courtly code of honour) communicates, intermixes, collides or opposes the mercantile imaginary, opens a unique field of research which enables us to observe the way in which the two main versified narrative genres in the twelfth-thirteenth centuries (the chanson the geste and the romance being the ones here under scrutiny) reflect and/ or inflect the universe surrounding them. And, in the course of that same process, to verify the ways in which they position themselves facing one another, through secret or explicit dialogic and intertextual relations. If, under this perspective, we frequently see the epic discourse as voicing and embodying the ideological and textual unconsciousness of the repressed inumerous inter-dicts or non verbalised (unsaid) concepts which shape the romance imaginary (and vice versa), thus enlightening the potentialities and the limits of a certain conception of poetic language and of the respective world vision which feds it and promoted it, it will be the "realistic" narrative of the thirteenth-century to take this process of reflection to its last consequences. By fictively multiplying the "reality effects" and the references to the economic universe, this narrative suggests that the only reality of/ in Literature consists, basically, in the fact that it is an art, subtle and ingeniously, woven through a frightening and seductive rhetoric manipulation of the language and the signifier forms in which it is unceasingly mirrored. From this new poetic economy comes an unsuspected but now triumphal and triumphant relation between the poet and the merchant of words, between usury and fictional narrative. An infinite reproduction of fictiveness and a perpetual metaphoric dislocation of a meaning which is simultaneously proliferating and absent. A relation in which we can envisage the paradoxical, evanescent and profoundly deceiving nature of the medieval text as an eternal false coin of sign and meaning.
Le XIIe siècle est incontestablement une période bigarrée dont les contours multiformes traduisent les diverses transformations (sur le plan politique, social, économique, juridique, culturel ou idéologique) qui redessinent, lentement mais en profondeur, les traits de la civilisation médiévale. Or, une des plus marquante, sinon la plus marquante et décisive, de ces mutations réside justement dans le passage, que nous observons attentivement en nous appuyant sur les nombreux discours qui in-forment le texte poétique, d'une économie du don, intimement liée à la pensée symbolique, à une économie monétaire et marchande subordonnée à l'imaginaire du signe. Est-ce, dès lors, une simple coïncidence si nous voyons immerger et se développer, dans ce contexte, une foisonnante littérature écrite en langue vernaculaire (le roman)? Ou est-ce un même tournant épistémologique qui ouvre simultanément les portes à une remarquable (sous tous les points de vue) monétarisation des rapports sociaux, au renouveau de la vitalité urbaine (la ville étant l'espace où se distendent désormais les liens, extrêmement forts et ritualisés, qui unissaient les hommes au cœur de la société féodale traditionnelle), à l'éclosion de la pensée scolastique et à la multiplication des Ordres Mendiants, à l'irruption des cathédrales gothiques et à la naissance d'une littérature profane qui revendique, peu à peu, son autonomie face aux systèmes poétiques latins ou néo-latins? On voit ainsi se mettre en branle un réseau très cohérent d'analogies possibles au sein duquel on commence à soupçonner d'une étrange et singulière gémellité entre l'image ambiguë du marchant (modèle de fertilité et exemple d'une communication restaurée sur lesquels plane cependant le spectre diabolique de l'usure, de l'avarice, de la fraude, du mensonge et de la contrefaction) et celle, non moins ambiguë, du poète, ce démiurge qui se plait incessamment à prendre le lecteur au jeu tout à la fois vain, ludique et subversif des simulacres de la Parole, de la Création et de la Vérité. Sur l'un comme sur l'autre pèse l'anathème de la damnation; tout deux aspirent également – au seuil d'une espèce de Purgatoire du langage – à voir leurs discours accéder pleinement à la légitimité. À une époque où l'on assiste à la désagrégation des valeurs constitutives de la féodalité, où le rapport à un Signifié fondateur et source de toutes références devient de plus en plus lointain et irrécupérable, la fiction et la monnaie frappée émanent comme deux nouveaux modèles de médiation à l'égard de l'objet du désir, comme deux formes d'écriture (analogues bien que distinctes et autonomes) qui modifient profondément les rapports à l'Autre et au monde (et à l'Autre-Monde, bien entendu), aussi bien que la façon dont ils sont représentés, et autour desquelles se bâtissent, en somme, de nouveaux processus de symbolisation. La dualité et la duplicité qui s'instaurent ainsi entre ces deux modes privilégiés de représentation (mentalement et socialement construite) avaient forcément des reflets sur la conception même de la parole poétique. En effet, la façon dont l'imaginaire oblatif (au cœur de l'idéal de la largesse chevaleresque et courtoise, par exemple) dialogue, s'entrelace ou entre en rupture avec l'imaginaire marchand, ouvre à la recherche un domaine riche et unique où il est permis d'observer comment les deux principaux genres narratifs en vers des XIIe et XIIIe siècles (la chanson de geste et le roman que nous analysons le plus en détail) réfléchissent et/ou infléchissent l'univers qui les entoure, et ce faisant, comment ils se questionnent sur leur propre statut et se positionnent l'un par rapport à l'autre par le biais des relations dialogiques ou intertextuelles qu'ils maintiennent secrètement ou explicitement. Si le discours épique apparaît, dans cette perspective, comme une forme qui donne fréquemment corps et voix à l'inconscient idéologique et textuel refoulé ou enfoui dans les innombrables inter-dits et non-dits qui structurent l'imaginaire romanesque (et vice versa), mettant ainsi en évidence les potentialités et les limites d'un certain langage poétique et de la vision du monde qu'il véhicule et qui le soutient tout à la fois, il incombera au récit - que la critique désigne vulgairement de "réaliste" - du XIIIe siècle de pousser jusqu'aux ultimes conséquences ce processus de réflexion (au sens cognitif et spéculaire du terme). En effet, en multipliant illusoirement les "effets de réel" et les références à l'univers économique, ce récit suggère, en fait, qu'il d'existe d'autre réalité de/dans la littérature que celle qui la définit comme un art subtilement tissé par une menaçante et séductrice manipulation (de la) rhétorique du langage et des signifiants où il se miroite continûment. Il ressort de cette nouvelle économie poétique un (in)suspect, mais désormais triomphal et triomphant, rapport entre le poète et le marchant de paroles, entre l'usure et la fiction en tant que reproduction infinie de simulacres et perpétuel déplacement métaphorique d'une signification à la fois sans cesse foisonnante et toujours absente; rapport qui laisse deviner la nature paradoxale, évanescente et profondément trompeuse, du texte médiéval en sa qualité d'éternelle fausse monnaie du signe et du sens. Sujets: Littérature médiévale française (XIIe-XIIIe siècles); Le marchant dans la littérature médiévale; Culture et civilisation du Moyen Âge, Histoire et critique littéraires; Théorie(s) de la littérature (rhétorique, poétique, théorie des genres); Économie et littérature; Langage et imaginaire.