Relevant bibliographies by topics / Medieval fiction

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

Academic literature on the topic 'Medieval fiction'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Medieval fiction"

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Marmo, Costantino. "Fictiones nelle filosofie medievali e filosofie medievali nelle fictions." Mediaevalia Textos e estudos 40 (2023): 11–49. http://dx.doi.org/10.21747/21836884/med40a1.

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This contribution is divided into two independent parts: in the first part, it will deal not so much with examining individual cases of fictio and their role within a certain philosophy or an author, as to see how philosophizing or reasoning through fictiones has been theorized and practiced during the twel-fth and thirteenth centuries; in the second part, it will try, instead, to share what can be found reading medieval setting novels, and in particular medieval crime fiction, namely which image is given of medieval philosophers, philosophies and types of knowledge, and what type of role a wide range of disciplines going from medicine to the arts of trivium play within those narratives
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Karnes, Michelle. "The Possibilities of Medieval Fiction." New Literary History 51, no. 1 (2020): 209–28. http://dx.doi.org/10.1353/nlh.2020.0008.

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Orlemanski, Julie. "Literary Persons and Medieval Fiction in Bernard of Clairvaux’s Sermons on the Song of Songs." Representations 153, no. 1 (2021): 29–50. http://dx.doi.org/10.1525/rep.2021.153.3.29.

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Like many exegetes before him, the twelfth-century Cistercian abbot Bernard of Clairvaux regarded the lovers in the Song of Songs as allegorical fictions. Yet these prosopopoeial figures remained of profound commentarial interest to him. Bernard’s Sermons on the Song of Songs returns again and again to the literal level of meaning, where text becomes voice and voice becomes fleshly persona. This essay argues that Bernard pursued a distinctive poetics of fictional persons modeled on the dramatic exegesis of Origen of Alexandria as well as on the Song itself. Ultimately, the essay suggests, Bernard’s Sermons form an overlooked episode in the literary history of fiction.
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Kristin Noone. "Medieval/Science/Fiction: Close Encounters of the Medieval Kind." Science Fiction Studies 44, no. 2 (2017): 371. http://dx.doi.org/10.5621/sciefictstud.44.2.0371.

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Lorden, Jennifer A. "Tale and Parable: Theorizing Fictions in the Old English Boethius." PMLA/Publications of the Modern Language Association of America 136, no. 3 (May 2021): 340–55. http://dx.doi.org/10.1632/s0030812921000249.

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AbstractScholarship has often considered the concept of fiction a modern phenomenon. But the Old English Boethius teaches us that medieval people could certainly tell that a fictional story was a lie, although it was hard for them to explain why it was all right that it was a lie—this is the problem the Old English Boethius addresses for the first time in the history of the English language. In translating Boethius's sixth-century Consolation of Philosophy, the ninth-century Old English Boethius offers explanatory comments on its source's narrative exempla drawn from classical myth. While some of these comments explain stories unfamiliar to early medieval English audiences, others consider how such “false stories” may be read and experienced by those properly prepared to encounter them. In so doing, the Old English Boethius must adopt and adapt a terminology for fiction that is unique in the extant corpus of Old English writing.
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Buc, Philippe. "Evangelical fundamentalist fiction and medieval crusade epics." Cahiers de recherches médiévales et humanistes, no. 37 (August 1, 2019): 211–31. http://dx.doi.org/10.4000/crm.17305.

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Jochens, Jenny M. "The Medieval Icelandic Heroine: Fact or Fiction?" Viator 17 (January 1986): 35–50. http://dx.doi.org/10.1484/j.viator.2.301404.

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Justman, S. "The Secularism of Fiction: A Medieval Source." Literary Imagination 10, no. 2 (October 27, 2007): 127–41. http://dx.doi.org/10.1093/litimag/imm112.

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Błaszkiewicz, Bartłomiej. "On the Idea of the Secondary World in Susanna Clarke’s Piranesi." Anglica. An International Journal of English Studies, no. 30/1 (September 1, 2021): 111–32. http://dx.doi.org/10.7311/0860-5734.30.1.08.

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The paper seeks to explore the concept of the secondary world as developed in Susanna Clarke’s 2020 fantasy novel Piranesi. The analysis is conducted in the context of the evolution of the literary motif of fairy abduction between the classic medieval texts and its current incarnations in modern speculative fiction. The argument relates the unique secondary world model found in Clarke’s novel to the extensive intertextual relationship Piranesi has with the tradition of portal fantasy narratives, and discusses it in the context of the progressive cognitive internalisation of the perception of the fantastic which has taken place between the traditional medieval paradigm and contemporary fantasy fiction.
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Ahearn, Kerry. "Medieval in LA: A Fiction by Jim Paul." Western American Literature 32, no. 4 (1998): 415. http://dx.doi.org/10.1353/wal.1998.0068.

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Dissertations / Theses on the topic "Medieval fiction"

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Bruce, A. C. "Medieval theories of imagination." Thesis, University of York, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.372769.

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Williams, Andrea M. L. "Metaphoric structure in La Queste del Saint Graal." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282060.

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Novak, Kenneth Paul. "The religious significance of the medieval body and Flannery O'Connor's fiction." Thesis, University of Ottawa (Canada), 2002. http://hdl.handle.net/10393/6441.

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Flannery O'Connor based what she called her "anagogic vision" on the medieval way of seeing the world that allowed the reader of a text to discern "different levels of reality in one image or one situation." In my thesis I focus on the ways in which O'Connor revives this literary strategy and adapts it to address the modern cultural context. Accordingly, I examine in particular how her fiction engages Descartes' worship of consciousness and Nietzsche's supposition that "God is dead" by anagogically endowing her characters' bodies with two layers of signification. The first signified body is the spiritually-dead body, which belongs to the character who believes he is a god unto himself by virtue of his intellect. Since the character accepts his mind as his essence of being, his body appears in O'Connor's stories as the image of a soulless identity, a corpse. When the character recognizes the rightful place of the soul, the whole person emerges from the second signified body.
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Keresztély, Kata. "Peinture de fiction : une tradition arabe médiévale." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH180/document.

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Dans les ouvrages contemporains traitant des arts visuels dans la tradition artistique 'chrétienne' ou 'occidentale' les analyses des œuvres d'art sont souvent effectuées à l'appui d'une approche interdisciplinaire intégrant les méthodes de recherche et les questionnements des sciences sociales ainsi que d'autres disciplines, comme la littérature. Sur se modèle, je tente d’élaborer une méthode de recherche complexe pour l’appliquer dans l’étude de l’iconographie arabe médiévale. Les sources principales de mon travail sont les manuscrits iconographiés de deux 'bestsellers' de la littérature arabe médiévale : les Maqâmât d'al-Harîrî et la traduction arabe de Kalîla wa Dimna de Bîdpây, copiés et peints, pour les premiers au XIIIe siècle, et, pour les seconds, au XIVe siècle, respectivement en Irak, en Syrie et en Egypte. Pour étudier les manuscrits, je propose une approche dont le leitmotiv est l'observation de la relation entre les textes et les images en les considérant comme un ensemble et comme éléments qui constituent des œuvres d'art complexes. Les manuscrits médiévaux contenant des images deviennent ainsi, en tant qu'objets matériels mais aussi comme des produits intellectuels et artistiques, des sources primaires de l’histoire intellectuelle arabe médiévale
In contemporary studies dealing with visual art within the « Western » or « Christian » world, the artworks’ analysis are often proposed on the basis of an interdisciplinary approach integrating methods of different scientific fields such as social sciences, and literature. Following this model, I try to develop a complex method in order to study medieval Arabic iconography. My work’s principal sources are the illustrated manuscripts of the two « bestsellers » of medieval Arabic literature: al-Harîrî’s Maqâmât and the Arabic translation of Bîdpây’s tales, the Kalîla wa Dimna, copied and painted during the second half of the 13th and the first half of the 14th centuries in Irak, Syria and Egypt. In the analysis of the manuscripts, I concentrate on the relationship between text and images while I consider them as elements of a complex artwork, as a whole. While doing so, medieval manuscripts containing images become primary sources of Arabic intellectual history as material objects but also as intellectual products
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Sarabia, Michael Paul. "The extinction of fiction: breaking boundaries and acknowledging character in medieval literature." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/6271.

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My dissertation applies narrative theory and ordinary language philosophy to two major works bookending medieval English literature: Beowulf and Le Morte Darthur. Capitalizing on the descriptive power of narrative theory's lexicon, I outline the aesthetics, rhetoric, and other effects on the reader when these medieval writers depict transgressive movements--theoretically termed metalepsis--across borders in the story world, and over boundaries separating that world from our own. I often find that spatial transgressions, as they are visualized in narrative terms, entail or simultaneously occur with a breakdown of the fourth wall separating fiction from its audience. Malory's Sir Lancelot crosses into a spiritual world in pursuit of the Holy Grail only to arrive at an awareness of his existence as narrated fiction. My dissertation argues that moments like this, first analyzed through narrative theory, challenge the reader to recognize the fictional character's force of life, and in so doing expand the imagination to reconsider those metaphysical distinctions that have long rendered the nonhuman inferior. Those distinctions are unnecessary and often senseless, I argue. The ethics of reading fiction that I propose seeks the acknowledgment of limits to knowledge, to what we can claim to know about literature, its characters, and, indeed, our fellow human beings. Given that they are constructed by our ordinary language use, fictional characters are the essence of the other. Fictions, then, and as Stanley Cavell would agree, serve as testing grounds for our capacities of acknowledgment. I argue that both the Beowulf poet and Malory fashioned fictional worlds that preserve a secular heroism from potentially hostile contexts. In the process, these medieval narratives show us that fictional characters move us as a matter of ordinary language--our ordinary interactions with narrative: they play a significant role in our lives that cannot be reduced to any particular theory. There is no need for recourse to ontological, or theological, frameworks to invest them with some unutterable or mysterious meaning. They matter as a matter of course.
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Korkut, Nil. "Kinds Of Parody From The Medieval To The Postmodern." Phd thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12606707/index.pdf.

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This study approaches parody as a multifarious literary form that has assumed diverse forms and functions throughout history. The study handles this diversity by classifying parody according to its objects of imitation. Three major parodic kinds are specified: parody directed at texts and personal styles, parody directed at genre, and parody directed at discourse. In the light of this classification, this study argues that different literary-historical periods in Britain have witnessed the prevalence of different kinds of parody &
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a phenomenon that may be accounted for mainly through the dominant literary, cultural, social, and ideological characteristics of each period. Although all periods from the Middle Ages to the present are considered in this regard, the study attributes a special significance to the postmodern age, where parody has become not only an essential area of inquiry but also a highly popular and widely produced literary form. In line with this emphasis, the study contends further that postmodern parody is primarily discourse parody. It argues, in other words, that discourse is the most essential target of parody during the postmodern age &
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a phenomenon which can again be explained through the major concerns of postmodernism as a movement. In addition to situating parody and its kinds in a historical context, then, this study engages in a detailed analysis of parody in the postmodern age, preparing the ground at the same time for making an informed assessment of the direction parody in general and its kinds in particular may take in the near future.
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Roubaud-Bénichou, Sylvia. "Le roman de chevalerie en Espagne entre Arthur et Don Quichotte /." Paris : Champion, 2000. http://catalog.hathitrust.org/api/volumes/oclc/46363612.html.

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Guo, Elaine. "Mulan: Journey in a Time of Change." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/cmc_theses/2196.

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Harland, Rachel Fiona. "The depiction of crowds in 1930s German narrative fiction." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:c8357884-eaf2-4daf-987b-82539148b38b.

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This study of 1930s German fiction adds a new dimension to existing scholarship on the depiction of crowds in literature. Whereas previous surveys on the topic have predominantly focused on the crowd as a revolutionary phenomenon judged on the basis of class perspectives, or as a feature of mass society, this investigation deals specifically with reactions to the crowd in its incarnation as a manifestation of and symbol for political fascism. Drawing on a number of contemporaneous theoretical treatises on crowds and mass psychology, it seeks to demonstrate that war, extreme socio-political upheaval and the rise of Nazism produced intense multidisciplinary engagement with the subject among German-speaking intellectuals of the period, and examines the portrayal of crowds in works by selected literary authors in this context. Exploring the interplay between literature and concurrent theoretical works, the thesis asks how writers used specific possibilities of fiction to engage with the theme of the crowd at a time when the worth of art was often questioned by literary authors themselves. In doing so, it challenges the implication of earlier criticism that authors uncritically appropriated the findings of theoretical texts for fictional purposes. At the same time, it becomes clear that although some literary crowd portrayals support a distinction between the nature of theoretical and literary writing, certain crowd theories are as imaginative as they are positivistic. Extrapolating from textual comparisons, the thesis thus challenges the view held by some authors that knowledge produced by theoretical enquiry was somehow truer and more valuable than artistic responses to the politics of the age.
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Collins, Matthew Graham. "The fiction of Franz Nabl in literary context : a re-examination." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:67478695-5e36-41c3-be68-bd5857e33a2d.

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This thesis re-evaluates the work of the neglected Austrian novelist Franz Nabl. Nabl’s reputation has long been overshadowed by the prestige of Jung-Wien, denigrated by inaccurate association with the Heimatroman, and even unjustly tarnished by his appropriation during National Socialism. My work aims to correct these misconceptions, demonstrating that his best fiction merits rehabilitation not only in its own right, but also for the important questions it raises about conventional narratives of Austrian literary history. Structured chronologically, the five chapters of this thesis provide fresh analyses of Nabl’s texts, many of which have previously received only scant scholarly attention. These close readings are located in a range of relevant literary-historical and cultural contexts, illustrating that Nabl’s writing not only belongs in surprising literary company, but also that his works fit into important, yet often overlooked patterns in Austrian literary history which are often obscured by a tradition of criticism which values ‘modernism’ over ‘realism’, and privileges the aesthetically progressive over the apparently conservative. The first chapter investigates Nabl’s earliest fiction in the literary and cultural context of fin-de-siècle Vienna, revealing unexpected connections between Nabl and acknowledged modernists, such as Schnitzler and Kafka. The second and third chapters engage with Nabl’s novels, Ödhof and Das Grab des Lebendigen, establishing his status as a significant critical realist within a long tradition of Austrian works exploring unhappy family life. The fourth chapter focuses on the misleading view of Nabl as a regionalist, demonstrating that, while not all Heimat novels deserve critical condemnation, Nabl’s narratives of rural life invoke the conventions of the Heimatroman only to disappoint them. In the last chapter, I explore Nabl’s complicated relationship to National Socialism, showing that, although his involvements with the Nazis were ill-judged, Nabl was not committed to their politics and wrote only politically innocuous fiction during the regime.
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Books on the topic "Medieval fiction"

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Paz, James, and Carl Kears. Medieval science fiction. London: King's College London, Centre for Late Antique & Medieval Studies, 2016.

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Jim, Paul. Medieval in LA: A fiction. Washington, D.C: Counterpoint, 1996.

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Jim, Paul. Medieval in LA: A fiction. San Diego, Calif: Harcourt Brace, 1997.

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Vroom, Joanita, ed. Medieval and Post-Medieval Ceramics in the Eastern Mediterranean - Fact and Fiction. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.mpmas-eb.5.108030.

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ill, Santacruz Juan, ed. Medieval women. Minneapolis, MN: Spotlight, 2012.

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F, Kennedy Philip, ed. On fiction and adab in medieval Arabic literature. Wiesbaden: Harrassowitz, 2005.

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Donald, Maddox, and Sturm-Maddox Sara, eds. Melusine of Lusignan: Founding fiction in late medieval France. Athens: University of Georgia Press, 1996.

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Copyright Paperback Collection (Library of Congress), ed. Stealing Heaven: Medieval #3. New York: Bantam Books, 2002.

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Boccaccio, Giovanni. Diana's hunt =: Caccia di Diana : Boccaccio's first fiction. Philadelphia: University of Pennsylvania Press, 1991.

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Langley, Andrew. Medieval life. New York: Dorling Kindersley, 2000.

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Book chapters on the topic "Medieval fiction"

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Verbaal, Wim. "Epistolary Voices and the Fiction of History." In Medieval Letters, 9–31. Turnhout: Brepols Publishers, 2015. http://dx.doi.org/10.1484/m.usml-eb.5.105111.

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Johnsen, Rosemary Erickson. "Medieval Women in Context." In Contemporary Feminist Historical Crime Fiction, 21–58. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1057/9781403983503_2.

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Roberts, Adam. "From Medieval Romance to Sixteenth-Century Utopia." In The History of Science Fiction, 37–50. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-56957-8_3.

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Bildhauer, Bettina. "Queer Medieval Time in Hamlet (1921)." In Sex, Gender and Time in Fiction and Culture, 19–37. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230307087_2.

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Verberg, Susan. "Reconstructing Medieval Gruit Beer: Separating Facts from Fiction." In The New Middle Ages, 57–92. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-94620-3_3.

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Westenholz, Willum. "Chapter 32. Between history and fiction." In Comparative History of Literatures in European Languages, 523–39. Amsterdam: John Benjamins Publishing Company, 2024. http://dx.doi.org/10.1075/chlel.xxxiv.32wes.

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This piece explores some of the devices used by Medieval historiographers to assure their audience of the veracity of the contents of their narratives. It outlines central Medieval concepts of truth, lies, and fiction, the marvelous and the wondrous, and the standards for historicity and for credibility. The article highlights the pains the authors took to ensure that the readers placed their belief in what was told to them. This leads to a final question. Could the same strategies that were employed to establish a contract of veridiction be employed to establish a much more limited form of narrative truth, the suspension of disbelief? As is shown, these strategies are found in some truly incredible texts.
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Ratié, Isabelle. "Fiction and Belief in Ancient and Early Medieval India." In The Routledge Handbook of Fiction and Belief, 403–18. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003119456-35.

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Hodges, Richard. "Fact and Fiction in Byzantine and Ottoman Archaeology: Some concluding remarks." In Medieval and Post-Medieval Ceramics in the Eastern Mediterranean - Fact and Fiction, 344–50. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.mpmas-eb.5.108570.

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Schreck, Florian. "Science in Medieval Fiction. The Case of Konráðs saga keisarasonar." In Medieval Science in the North, 181–99. Turnhout, Belgium: Brepols Publishers, 2021. http://dx.doi.org/10.1484/m.kss-eb.5.122886.

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Redford, Scott. "Ceramics and Society in Medieval Anatolia." In Medieval and Post-Medieval Ceramics in the Eastern Mediterranean - Fact and Fiction, 249–72. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.mpmas-eb.5.108566.

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Conference papers on the topic "Medieval fiction"

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Shea, Brendan Sullivan, and Noémie Despand-Lichtert. "Disaster, Disruption, Desertification: Rethinking the Architecture of Activism, Relearning from a Medieval Ecological Disaster." In 112th ACSA Annual Meeting. ACSA Press, 2024. http://dx.doi.org/10.35483/acsa.am.112.71.

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The paper introduces the Błędowska Desert—a site at the edge of Europe that testifies to evidence of medieval environmental disruption, human-initiated ecological disaster & persistent desertification. It then presents a condensed historical genealogy of experimental “desert-based” arts & architecture pedagogies which feature educational models aimed at immersion within and sensitivity to desert landscapes; and proceeds to detail and critically appraise the contemporary activities & activism of The Arts of Ecology program, an ongoing interdisciplinary project in the EU that intersects disparate researchers from across the arts, humanities, and sciences within the context of a Special Habitat Conservation Area in central Poland. Through investigationof the workshops, performances, installations, and classes conducted on-site, the paper catalogs the numerousmeans by which contemporary educators are using the arts in Błędowska to re-trace the history of environmental degradation and re-consider the ongoing environmental conservation efforts of this anthropogenic desert. Linking these pedagogical efforts with a constellation of geological, technological & infrastructural trajectories as well as a host of political tensions, ultimately, the research is inscribed within a broader discourse on the concept of disaster. The paper argues that the Błędowska Desert serves not as a model for a return to the fiction of a pristine, untouched wilderness, but instead offers an opportunity to collectively consider the fragile realities of ecosystems, social structures, and built environments alike. In conclusion, the paper asks how the view from the anomalous, anthropogenic desert of Błędowska—and the actions of its arts and activist community—can provide critical and creative lessons for how to adapt, with solidarity, agility, and resilience, in the face of the 21st century’s impending emergency of climate dysregulation and global desertification. Might reconsidering buildings & cities in relation to other historical environmental disasters through new modes of contemporary arts & architecture education make space for imagining new visions & possibilities for the future of built & natural environments.
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