Relevant bibliographies by topics / French medieval narratives

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'French medieval narratives'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "French medieval narratives"

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Vanderputten, Steven. "They Lived Under That Rule as Do Those Who Have Succeeded Them: Simultaneity and Conflict in the Foundation Narratives of a French Women’s Convent (10th–18th Centuries)." Downside Review 139, no. 1 (January 2021): 82–97. http://dx.doi.org/10.1177/0012580620963834.

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While foundation accounts of medieval religious institutions have been the focus of intense scholarly interest for decades, so far there has been comparatively little interest in how successive versions related to each other in the perception of medieval and early modern observers. This essay considers that question via a case study of three such narratives about the 930s creation of Bouxières Abbey, a convent of women religious in France’s eastern region of Lorraine. At the heart of its argument stands the hypothesis that these conflicting narratives of origins were allowed to coexist in the memory culture of this small convent because they related to different arguments in its identity narrative. As such, it hopes to contribute to an ill-understood aspect of foundation narratives as a literary genre and a memorial practice in religious communities, with particular attention to long-term developments.
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Ventura, Simone. "Multilingualism and Mother Tongue in Medieval French, Occitan, and Catalan Narratives." Romanic Review 102, no. 1-2 (January 1, 2011): 277–80. http://dx.doi.org/10.1215/26885220-102.1-2.277.

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Besamusca, Bart, Gareth Griffith, Matthias Meyer, and Hannah Morcos. "Author Attributions in Medieval Text Collections: An Exploration." Amsterdamer Beiträge zur älteren Germanistik 76, no. 1 (April 4, 2016): 89–122. http://dx.doi.org/10.1163/18756719-12340004.

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This article examines the role and function of author attributions in multi-text manuscripts containing Dutch, English, French or German short verse narratives. The findings represent one strand of the investigations undertaken by the cross-European project ‘The Dynamics of the Medieval Manuscript’, which analysed the dissemination of short verse narratives and the principles of organisation underlying the compilation of text collections. Whilst short verse narratives are more commonly disseminated anonymously, there are manuscripts in which authorship is repeatedly attributed to a text or corpus. Through six case studies, this article explores medieval concepts of authorship and how they relate to constructions of authority, whether regarding an empirical figure or a literary construction. In addition, it looks at how authorship plays a role in manuscript compilation, and at the effects of attributions (by author and/or compiler) on reception. The case studies include manuscripts from the thirteenth to fifteenth centuries, produced in a range of social and cultural contexts, and featuring some of the most important European authors of short verse narratives: Rutebeuf, Baudouin de Condé, Der Stricker, Konrad von Würzburg, Willem of Hildegaersberch, and Geoffrey Chaucer. The preliminary findings contribute to our understanding of author attributions in text collections from across northern Europe and point towards future lines of enquiry into the role of authorship in medieval textual dissemination.
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Classen, Albrecht. "German-Italian Literary Connections in the Late Middle Ages: Boccaccio’s The Decameron in Light of Some Late Medieval German Narrative Precedents." arcadia 55, no. 2 (November 9, 2020): 260–78. http://dx.doi.org/10.1515/arcadia-2020-2001.

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AbstractComparative research focused on medieval literature continues to be characterized by many desiderata, especially with regard to the fruitful relationships between late medieval verse narratives, mæren, and the famous Italian storyteller Boccaccio and his Decameron. This paper brings to light four significant Middle High German verse narratives from the 13th or early-14th century that demonstrate remarkable similarities with stories contained in Boccaccio’s Decameron. While the study of Boccaccio’s sources has traditionally been focused primarily on Old French (fabliaux) or Latin sources, here I introduce a number of texts that were composed just a few decades earlier and which express, in surprising parallel, strikingly similar themes that could be straight from the textbook the Italian poet might have drawn from. We have, of course, no specific evidence as to Boccaccio’s direct familiarity with late-medieval German literature, but the motif analysis reveals major parallels between the examples in The Decameron and in those mæren.
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Cropp, Glynnis M. "Multilingualism and Mother Tongue in Medieval French, Occitan, and Catalan Narratives (review)." Parergon 28, no. 1 (2011): 237–38. http://dx.doi.org/10.1353/pgn.2011.0000.

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Rosenberg, Samuel N. "Multilingualism and Mother Tongue in Medieval French, Occitan, and Catalan Narratives (review)." Tenso 27, no. 1-2 (2012): 114–17. http://dx.doi.org/10.1353/ten.2012.0000.

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McDermott, Ryan. "The Ordinary Gloss on Jonah." PMLA/Publications of the Modern Language Association of America 128, no. 2 (March 2013): 424–38. http://dx.doi.org/10.1632/pmla.2013.128.2.424.

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THE ORDINARY GLOSS WAS THE MOST WIDELY USED EDITION OF THE BIBLE IN THE LATER MIDDLE AGES AND WELL INTO THE SIXTEENTH century. Medievalists know the commentary element as the Gloss to which theologians as diverse as Thomas Aquinas, Bonaventure, John Wyclif, and Martin Luther habitually referred. As the foremost vehicle for medieval exegesis, the Gloss framed biblical narratives for a wide range of vernacular religious literature, from Dante's Divine Comedy to French drama to a Middle English retelling of the Jonah story, Patience.
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Edwards, Robert Roy. "“Lessons meete to be followed”: The European Reception of Boccaccio’s “Questioni d’amore”." Textual Cultures 10, no. 2 (October 18, 2018): 146–63. http://dx.doi.org/10.14434/textual.v10i2.1075.

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The “Questioni d’amore” from Giovanni Boccaccio’s Filocolo were both works of imagination and forms of cultural capital in medieval and early modern Europe. Translations into French, Spanish, and English resituated the Questioni into new contexts of reading, reception, and social use. Prefaces and paratexts give direct evidence of recontextualizations within political structures, cultural programs, and regimes of self-fashioning. These recontextualizations depend to a significant extent, however, on Boccaccio’s fiction itself. If the Questioni are stabilized into forms of exemplary meaning, their aesthetic tensions remain in both the mimetic narratives and the hermeneutic frames.
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Конурбаев, Марклен, Marklen Konurbaev, Салават Конурбаев, and Salavat Konurbaev. "An Essay on the History and Hermeneutics of Naslhat al-Muluk by Ghazali, Abu HamidMuhammad Ibn Muhammad Al-Tusi: semic analysis." Servis Plus 8, no. 4 (December 3, 2014): 21–29. http://dx.doi.org/10.12737/6463.

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The series of articles entitled «An Essay on the History and Hermeneutics ofphilosophy ofFalsafa» is dedicated to the studies of Abu Hamid Muhammad Ibn Muhammad Al- TusT´s work «NasihatAl-Muluk». The Persian philosopher of lth century Al-Ghazali went down in history as one of the brightest representatives of medieval Muslim apologetics. The study of his works allows turning to different aspects of life of the medieval Muslim East. One of´his mostfamousworks, «NasihatAl-Muluk», which is part of his fundamental theological study «The Elixir of Bliss», belongs to the genre of medieval Arabic-Muslim literature — so-called «Mirrors for princes» which are simplified retellings of fundamental philosophical views on state and politics of a certain thinker in plain language. These retellings help to comprehend in practice the essence of government by series of allegories and narratives. The conducted hermeneutical analysis of«Nasihat Al-Muluk» reveals the unique approach of a brilliant Persian philosopher to determination of complicated ethical questions that underlie the art of governing. The methodological approach of the French philosopher and literary critic Roland Barthes was taken as the analysis basis. The first and the second part of the essay contain the history of formation and evolution ofphilosophy ofFalsafa and the exposition of the fundamentals of the hermeneutical teaching of Roland Barthes which underlies the instrumental basis of the analysis.
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Bayo, Juan Carlos. "Anna Russakoff, Imagining the Miraculous: Miraculous Images of the Virgin Mary in French Illuminated Manuscripts, ca. 1250-ca. 1450. Studies and Texts, 215; Text Image Context: Studies in Medieval Manuscript Illumination, 7. Toronto: Pontifical Institute of Mediaeval Studies, 2019, xviii, 194 pp., ill." Mediaevistik 32, no. 1 (January 1, 2020): 541–44. http://dx.doi.org/10.3726/med.2019.01.162.

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This monograph deals with illuminated manuscripts created in French-speaking regions from the mid-thirteenth to the mid-fifteenth century, i.e., from the earliest narratives of Marian miracles written in <?page nr="542"?>Old French to the codices produced at the Burgundian court at the waning of the Middle Ages. Its focus, however, is very specific: it is a systematic analysis of the miniatures depicting both material representations of the Virgin (mainly sculptures, but also icons, panel paintings, altarpieces or reliquaries) and the miracles performed by them, usually as Mary’s reaction to a prayer (or an insult) to one of Her images.
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Dissertations / Theses on the topic "French medieval narratives"

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Suslak, Fiona Nanette. "Signs, interpretation and storytelling in Medieval French and German Tristan verse narratives." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/10660.

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This thesis provides a comparative analysis of late-twelfth and early-thirteenth century Tristan verse narratives from the French- and German-speaking worlds, in order to gain a more nuanced picture of how these specific writers reflect contemporary debates on interpretation and fictionality in their own works. While there is a vast body of critical literature on these texts, and a large amount of this scholarship examines the way that interpretation functions in these works, critics have so far not adequately considered how the Tristan texts from this period as a body engage with contemporary medieval debates on the relationship between truth, lies and fiction, particularly in relation to fiction as a new category for vernacular literary culture. Therefore, this thesis analyses how literary practice during this period is reflected in these texts, particularly regarding truth, lies, interpretation and authority. The first part of the thesis thoroughly studies the use of verbal and visual signs in the texts, focusing on the way that characters both construct and interpret those signs. The second part of the thesis examines storytelling in these texts. This focuses firstly on the narrators’ interjections into their works, discussing for example their relationship to their sources. Secondly, this analyses how the characters within the texts tell stories to each other, particularly those relating to their own pasts. Together, these two parts argue that interpretation and authority are key concerns for the writers of these texts. In conclusion, this thesis proposes that the writers of the Tristan verse narratives are participating in a dialogue about literary practice, interpretation and authority as they attempt to engage with the new narrative mode of literary vernacular romance.
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Gilbert, Jane. "Comparing like with like : identity, identicalness and difference in selected medieval French and English narratives." Thesis, University of Cambridge, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.308152.

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Hess, Erika E. "Cross-dressers, werewolves, serpent-women, and wild men : physical and narrative indeterminacy in French narrative, medieval and modern /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9963445.

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Thesis (Ph. D.)--University of Oregon, 2000.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 245-255). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9963445.
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Bevevino, Lisa Shugert. "Demis Defors: the Narrative Structure and Cultural Implications of the Contemplation of Death in Medieval French Courtly Literature." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343794962.

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Martire, Giulio. "Le Moniage Guillaume long. Édition critique. Modèles narratifs, modèles de culture." Thesis, Université Paris sciences et lettres, 2020. http://www.theses.fr/2020UPSLP018.

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Ce travail consiste en une vue multiperspective sur le Moniage Guillaume long, chanson de geste composée dans le dernier quart du XIIe siècle et transmise par 7 manuscrits. Cette thèse est divisée en trois sections : 1) étude philologique ; 2) édition critique, annexe et glossaire ; 3) étude des systèmes narratifs et des modèles de culture, qui émergent dans les deux branches principales de l’œuvre (Moniage ‘proprement dit’ et branche d’Ysoré). La première section est divisée en trois chapitres : Dans le premier, j’ai cherché de souligner les problèmes liés au rapport entre le Moniage Guillaume long (MGl) et le Moniage Guillaume bref (MGb). L’étude se poursuit avec une description des manuscrits qui transmettent le MGl et ensuite avec une présentation de la recensio, suivie par la proposition d’un nouveau stemma codicum, assez différent de celui disposé par le premier éditeur de cette chanson (W. Cloetta, 1906-1911). Une étude de la versification du poème achève le chapitre. Dans le deuxième chapitre, on introduit l’édition critique. D’abord, la discussion critique des deux précédentes éditions du MGl (Cloetta, Andrieux-Reix 2004), toutes les deux dépassées du point de vue méthodologique. Les principes de ma nouvelle édition sont donc exposés : Je propose une reconstruction du ‘subarchtype/adaptation’ A. Par la suite, les critères de transcription et la structuration de l’apparat critique sont exposés. L’apparat est fortement novateur : complexe mais simple à décoder, il est organisé en trois sections. Dans la première, j’ai présenté les interventions correctrices sur le ms. A4 (mon ‘manuscrit de référence’). La deuxième section est divisée en deux ‘champs’, à gauche et à droit : le premier contient la varia lectio de l’entière tradition ; le deuxième montre les ‘macro-variantes’. En outre, le champ droit de l’apparat est lié au texte critique par un système de ‘réclames’ ; de cette manière, le lecteur sera, espère-t-on, orienté plus aisément, dans une sorte de ‘triangulation’ parmi le texte et les deux champs de l’apparat. Le troisième chapitre consiste en une étude du ms. A4 et il est composé d’un paragraphe codicologique, d’une étude des enluminures et d’une brève analyse linguistique. La deuxième section du travail comprend l’édition critique du MGl, suivie par une annexe et un bref glossaire. La troisième section vise à analyser les modèles narratifs de deux branches du poème (la première et la dernière, les deux indubitablement ‘originaires’). L’analyse est fondée sur base morphologique : j’ai essayé de souligner les isomorphies entre ces récits et le 'meta-plot' défini par V. Propp dans son Morphologie du conte. J’ai utilisé le schéma de Propp pour orienter mon analyse : à chaque rencontre avec des fonctions narratives, j’ai tenté de renforcer l’étude avec des dossiers anthropologiques, en soulignant, en plus, l'interconnexion parmi les dimensions historiques et historico-littéraires. Parmi les travaux de Propp, ma référence a été l’œuvre Les racines historiques du conte merveilleux. Dans la clôture du chapitre, j’ai étudié l’entrelacement des ‘modèles du carnaval’ et des ‘modèles rituels’ qui émergent de la première branche, tout comme les indicateurs de ‘familiarisation’ (Bachtin) dans les deux branches extrêmes. Le focus central a été le rôle ‘à deux tranchants’ de la représentation de la nourriture : élément de familiarisation et, au même temps, ‘relais objectale’ de lutte idéologique. À cet égard, certains épisodes ont été privilégiés : l’analyse de la bagarre conventuelle, qui achève la première branche, a donné le ton de la recherche. L’étude a été donc étendue à la rencontre entre Guillaume et les larrons et à la première expérience du héros au sein de l’abbaye (laisses VII-XVII)
This work aims at presenting a muliperspectival view on Le Moniage Guillaume long, chanson de geste composed in the last quarter of XIIth century and transmitted by seven manuscripts. My work is divided in three main sections: 1) Philological study; 2) Critical edition, annex and glossary; 3) Study of the narrative models and of the cultural models, which emerges in the two main branches of the poem (Moniage ‘proprement dit’ and branche d’Ysoré). The first section is divided in three chapters: In the first chapter, some of the issues related to the connection between Moniage Guillaume long (MGl) and Moniage Guillaume bref (MGb) are studied. The study proceeds with a description of the manuscripts through which the MGl is transimitted, then with a presentation of the recensio, followed by the proposal of a new stemma codicum, rather different from the one provided by the first editor of the chanson (W. Cloetta, 1906-1911). A study of the versification of the poem concludes this chapter. In the second chapter, the critical edition is introduced. I start from the critical discussion of the two previous editions of the MGl (Cloetta 1906-1911, Andrieux-Reix 2004), both methodologically outdated. The principles of my new edition are therefore outlined: I propose a reconstruction of the ‘subarchetype/adaptation’ A. Subsequently, the transcription criteria are exposed as well as the critical apparatus. This apparatus is highly innovative: it is organized in three sections. In the first of them, the corrective interventions on A4 (my manuscript de référence) are pointed out. The second section is divided in a left and a right field: the first one contains the varia lectio of the whole tradition; the second one shows the ‘macro-variants’ (verses belonging to the others subarchetypes, omissions of A and of the others subarchetypes, inversions etc.). Further, the right field is linked to the critical text with a réclames system; in this way the reader will be more easily oriented, in a sort of ‘triangulation’ between text, right field and left field of the apparatus. The exposition of the ratio of the reconstructive interventions concludes the chapter. The third chapter consists in a study of the ms. A4 and it is composed of a codicological paragraph, a study of the enluminures, and a linguistic study. The second section of my work consists in the critical edition of MGl , followed by an annex and a little glossary. The third section consists in the study of the narrative models of the poem’s first and last branches (the two undoubtedly ‘originals’). The analysis relies on a morphological basis: the adhesion of the récits to the meta-plot enucleated by V. Propp in his Morphology of the fairy-tale is certified. I used the Propp’s scheme as a guide for my narrative analysis: whenever I found out a narrative function, I substantiated the study with anthropological dossiers, pointing out the interlink between the historical and historico-literary dimension. Among Propp’s works, my ideal reference of The Historical Roots of the Wonder Tale. In the concluding part, the interweaving of ‘carnival models’ and ‘ritual models’ emerging in the first branche is studied, along with ‘familiarizing’ (Bachtin) indicators in the first and in the last branche. In particular, the main focus is the double-edged role of the representation of food: ‘familiarizing’ element and objectual relais of ideological struggle at the same time. In this regard, certain episodes have been privileged: the analysis of the conventual bagarre, which concludes the first branche, will set the pace of the research. The study is then extended to the meeting between Guillaume and the robbers and to the first experiences of the hero within the abbey (laisses VII-XVII); some class dialectics proper to the Central Middle-Ages (relationship between great aristocracy, monks and sergents) are underlined in this part
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Turner, Sophie. "Cyrano de Bergerac : battling with narrative burlesque." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:a589190d-3abd-48f2-82d3-95b0b6ce0663.

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This thesis considers the burlesque literary forms in the work of the seventeenth-century writer, Cyrano de Bergerac. It challenges current scholarship by looking beyond libertinism to consider the importance of Cyrano's comic writing practices. While it does not deny the philosophical and scientific focus of Cyrano's oeuvre, it suggests that the burlesque is a defining characteristic. By taking into account the literary context in which Cyrano was writing – notably the querelle des Lettres and the rise of the histoire comique – as well as looking at other comic writers that could have influenced Cyrano, and through close textual readings, this thesis reveals that burlesque forms are often used in excess in Cyrano's work – forms compete against forms – producing destructive effects; burlesque forms can, in effect, be self-defeating. This project then asks whether it is possible to consider Cyrano a comic writer at all. It does demonstrate, however, that, in ridiculing everyone and everything, Cyrano too makes a mockery of the very idea of a dissimulative text. In questioning the literary gesture that Cyrano makes through his battling burlesque forms, this thesis suggests that libertinism can appear to be one of many playful masks the author assumes in his work. Is Cyrano a burlesque libertine? If so, this thesis raises the wider question of whether there are other imposters within the ranks.
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Walker, Ashely Wilemon. "The Thirteenth-Century Fresco Decoration of Santa Maria Ad Cryptas in Fossa, Italy." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/art_design_theses/52.

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This paper discusses the fresco decoration of Santa Maria ad Cryptas. The frescoes are described and analyzed, and then compared to similar programs in order to determine which features are based on earlier sources, and which are unusual or unique to this particular church. The traditional features are found to reflect a long-established pattern of church decoration reflected in such monuments as Old Saint Peter’s, Sant’Angelo in Formis, the Cathedral of Monreale, and the Cappella Palatina. The unusual features (including the placement of the Passion cycle in the presbytery, and the location of the Crucifixion over the altar) are explained as modifications that emphasize themes of local importance, or of special significance to the patron. The Fossa frescoes utilize programmatic elements, such as the Old and New Testament narrative cycles, to explain sacred history as it related to a medieval man of the patron’s class and profession.
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Chalumeau, Chloé. "La représentation du souillé et de l’impur dans la littérature française narrative des XIIe et XIIIe siècles : idéologie, anthropologie, poétique." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040078.

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L’étude interroge les représentations du souillé et de l’impur à travers les œuvres littéraires des XIIe et XIIIe siècles. Présent dans tous les genres narratifs profanes (chansons de geste, romans arthuriens, fabliaux, théâtre, Roman de Renart) le goût – ou le dégoût – médiéval pour le répugnant revêt de multiples facettes dont la prolixité et la diversité interpellent. De la boue aux excrétions du corps, de la lèpre aux tabous du sang, de la macule de la honte à celle du péché, l’expression de la souillure oscille entre sens propre et sens figuré pour énoncer et penser, en les ancrant dans la matérialité la plus concrète, des systèmes de valeur. Servant à établir des frontières, à définir des champs d’inclusion et d’exclusion, les manifestations de l’immonde révèlent, autant qu’elles contribuent à les forger et à les concilier, les ordres idéologiques imbriqués de la société médiévale. Par la place accordée à l’abjection, la littérature expérimente ainsi la manière de dire et de représenter le désordre – pour mieux le circonscrire. Les poétiques contrastées de la souillure élaborées par les différents genres montrent alors combien la mise en scène de l’impur rejoint une interrogation littéraire sur les pouvoirs du langage et la capacité des textes à exprimer le monde : idéologique, esthétique, la question de la souillure est aussi sémiotique. Tendues entre le concret et l’abstrait, le mot et la chose, le rire et l’horreur, les représentations du souillé et de l’impur dévoilent ainsi un univers où le rapport à la souillure, loin de la simple éviction, peut aussi aller dans le sens d’une réappropriation et d’une réhabilitation – voire, même, d’une rédemption
This study explores the representations of the soiled and the impure through literary works of the 12th and 13th centuries. Present in all profane narrative genres (chansons de geste, Arthurian novels, fabliaux, drama, Roman de Renart), the medieval taste – or distaste – for what is repulsive manifests itself in a startling multiplicity of ways. From mud to body fluids, from leprosy to blood-related taboos, from the stigma of shame to the stigma of sin, the designation of what is soiled oscillates between the literal and the figurative in order to articulate and process value systems by anchoring them in the most tangible materiality. The manifestations of what is vile and squalid are instrumental in drawing boundaries and defining fields of inclusion and exclusion; they also reveal, shape and reconcile the different ideological orders built into medieval society. By giving abjection pride of place, literature experiments with the expression and representation of disorder – the better to circumscribe it. This contrasted poetics of what is soiled took shape across the different genres, which shows the extent to which the staging of what is impure corresponds to a literary attempt to question the powers of language and the capacity of texts to express the world: an exploration of what is soiled has ideological, aesthetical, but also semiotic implications. Between the tangible and the abstract, the word and the thing, laughter and horror, these representations unveil a medieval universe where the relationship with what is soiled goes far beyond mere rejection and can also lead to a form of reappropriation, rehabilitation, and even redemption
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"Erotic Tresses: Hair and Power in Medieval French Narrative." Tulane University, 2018.

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This dissertation addresses how women’s hair in medieval French literature denotes female sexuality by untangling the narrative conveyed by long, glorious tresses, head-coverings, and hairstyles. By analyzing descriptions and imagery of hair, head- coverings, and the removal of hair, I examine how women’s hair mediates social hierarchy. My proposition is that beneath the external image of female hair resides a narrative of language and dominance. In the first chapter I argue that medieval authors use hair as a locus of power and desire. In undertaking this research, I seek to deconstruct power relations that existed between the sexes in medieval French culture. The first chapter explores hair as a fetish object in two Courtly Love romances by Chrétien de Troyes,’ Cligès and Le Chevalier de la charrette. The ingenuity of two noble heroines is overshadowed by the sexual desire of the two male characters and their subsequent empowerment via eroticized tresses. In chapter two I consider situations in which attention to hair turns violent in the fabliau Les Treces and in the romances Floriant et Florette and Le Roman de la Rose. Again, I find that men gain privilege through the abuse and dominance of women via their hair. Finally, I treat women appropriating power via hair across in two romances, Flamenca, from Occitania, and Le bel inconnu, and in two lais of Marie de France, Eliduc and Lanval. I treat religious female head coverings to show how two women manipulate religious settings to their advantage, and I consider Otherworldly fairies who uncover their hair, deliberately wielding their sexuality to gain influence and dominate male figures.
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Leslie C Anderson
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Dressler, Rachel Ann. "Medieval narrative the capital frieze on the Royal Portal Chartres Cathedral /." 1992. http://catalog.hathitrust.org/api/volumes/oclc/36534517.html.

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Books on the topic "French medieval narratives"

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Multilingualism and mother tongue in medieval French, Occitan, and Catalan narratives. University Park, Pa: Pennsylvania State University Press, 2010.

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Léglu, Catherine. Multilingualism and mother tongue in medieval French, Occitan, and Catalan narratives. University Park, Pa: Pennsylvania State University Press, 2010.

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Findley, Brooke Heidenreich. Poet Heroines in Medieval French Narrative. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137113061.

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Fantasy, identity and misrecognition in medieval French narrative. Oxford: P. Lang, 2000.

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Dunn, Vincent Ambrose. Narrative modes and genres in medieval English, Celtic and French literature. Ann Arbor, MI: University Microfilms International, 1985.

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Poet heroines in medieval French narrative: Gender and fictions of literary creation. New York: Palgrave Macmillan, 2012.

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Literary hybrids: Cross-dressing, shapeshifting, and indeterminacy in medieval and modern French narrative. New York: Routledge, 2004.

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Desmond, Marilynn Robin. I wol now singen, yif Kan: the Aeneid in medieval French and English narrative. Ann Arbor, MI: University Microfilms International, 1986.

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Kellogg, Judith. Medieval artistry and exchange: Economic institutions, society, and literary form in Old French narrative. New York: P. Lang, 1989.

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Medieval narrative and modern narratology: Subjects and objects of desire. New York: New York University Press, 1989.

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Book chapters on the topic "French medieval narratives"

1

Gillies, Patricia Harris Stäblein. "Staging Francophone Identities: Latin First Crusade Narratives and the Epic Conflict of French and Occitan." In Medieval Texts and Cultures of Northern Europe, 453–72. Turnhout: Brepols Publishers, 2019. http://dx.doi.org/10.1484/m.tcne-eb.5.114922.

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Findley, Brooke Heidenreich. "Introduction Authors, Writers, Singers, and Women: Gendering Literary Creation in Medieval French Culture." In Poet Heroines in Medieval French Narrative, 1–25. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137113061_1.

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Findley, Brooke Heidenreich. "Singing From a Woman’s Body: Minstrel Heroines as Performers and Texts." In Poet Heroines in Medieval French Narrative, 29–60. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137113061_2.

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Findley, Brooke Heidenreich. "The Parrot and the Swan: Performance and Composition in Sone De Nansay." In Poet Heroines in Medieval French Narrative, 61–79. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137113061_3.

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Findley, Brooke Heidenreich. "Competing Perspectives: Guillaume De Machaut’s Voir Dit." In Poet Heroines in Medieval French Narrative, 83–115. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137113061_4.

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Findley, Brooke Heidenreich. "A Contemporary Reaction to the Voir Dit: Deadly Words and Captive Imaginations in Jean Froissart’s Prison Amoureuse." In Poet Heroines in Medieval French Narrative, 117–35. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137113061_5.

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Findley, Brooke Heidenreich. "Verbal Prowess: Women’s Artistry and Men’s Chivalry In Perceforest." In Poet Heroines in Medieval French Narrative, 139–65. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137113061_6.

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Findley, Brooke Heidenreich. "Women Writers and the Monstrous Author in Ysaÿe Le Triste." In Poet Heroines in Medieval French Narrative, 167–91. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137113061_7.

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Findley, Brooke Heidenreich. "Conclusion: What About Christine?" In Poet Heroines in Medieval French Narrative, 193–201. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137113061_8.

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Swift, Helen. "The Merits of Not Knowing: The Paradox of ‘Espoir certain’ in Late Medieval French Narrative Poetry." In Uncertain Knowledge, 185–212. Turnhout: Brepols Publishers, 2014. http://dx.doi.org/10.1484/m.disput-eb.1.102149.

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