This concise companion provides a succinct introduction to Chaucer's major works, the contexts in which he wrote, and to medieval thought more generally. * Opens with a general introductory section discussing London life and politics, books and authority, manuscripts and readers. * Subsequent sections focus on Chaucer's major works - the dream visions, Troilus and Criseyde and The Canterbury Tales. * Essays highlight the key religious, political and intellectual contexts for each major work. * Also covers important general topics, including: medieval literary genres; dream theory; the Church; gender and sexuality; and reading Chaucer aloud. * Designed so that each contextual essay can be read alongside one of Chaucer's major works.
The Medieval Realms is enjoyable to use for reading or answering questions. It covers all the topics for Year 7 study of 1066-1500. The book doesn't just focus on major battles and events, but also on life for ordinary people in the Middle Ages. Each page has a variety of colourful picture sources and written sources, both primary and secondary. Each spread has graded questions, sometimes focusing on extracting information from the sources.
Medieval literature encompasses a broad sweep of people, cultures, and styles. "Encyclopedia of Medieval Literature" offers a comprehensive account of the literary works, writers, and concepts of the Middle Ages; from 500 to 1500 CE. Covering not only European literature but also that of India, the Far East, and the Muslim world, this invaluable A-to-Z guide is one of the most inclusive single-volume references of its kind. Approximately 700 entries cover works, authors, and terms from the following cultures and languages: English: Old English and Middle English, ncluding Beowulf, Chaucer, morality play, Sir Thomas Malory, Sir Gawain and the Green Knight, Robin Hood, and Troilus and Criseyde; French: Joan of Arc, Marie de France, Parzival, The Song of Roland, and Francois Villon; Provencal: troubadours and Peire Vidal; Celtic: Cuchulain, The Mabinogion, and Ulster cycle; German: The Nibelungenlied, Tristan, Ulrich von Lichtenstein, and Gottfried von Strassburg; Old Norse: Egil's Saga, skaldic poetry, and Snorri Sturluson; Latin: Peter Abelard, Bede, Geoffrey of Monmouth, Historia Regum Britanniae, Psychomachia, and St.Augustine of Hippo; Japanese: Muromachi Period, The Pillow Book, and The Tale of Genji; Chinese: The Story of Ying-ying and Li Po; Islamic: Omar Khayyam, the Koran, and The Thousand and One Nights; Indian: Govindadasa and Mahadeviyakka; Spanish; Hebrew; and more.
Added by: otherwordly | Karma: 222.41 | Fiction literature | 11 August 2008
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Book Description THE RIGHT MAN FOR THE JOB
One moment Conrad Schwartz was a hungover hiker in the mountains of modern Poland, the next he was running for his life from an angry Teutonic knight.
At first Conrad just thought he'd stumbled across a mad hermit. But several days of ever stranger events convinced him that he had somehow been stranded in A.D 1231.
And that meant Conrad had to turn Medieval Poland into the most powerful country in the world. Otherwise the Mongols were destined to destroy it-in just ten years!
In antiquity and the Middle Ages, memory was a craft, and certain actions and tools were thought to be necessary for its creation and recollection. Until now, however, many of the most important visual and textual sources on the topic have remained untranslated or otherwise difficult to consult. Mary Carruthers and Jan M. Ziolkowski bring together the texts and visual images from the twelfth through the fifteenth centuries that are central to an understanding of memory and memory technique. These sources are now made available for a wider audience of students of medieval and early modern history and culture and readers with an interest in memory, mnemonics, and the synergy of text and image.
The art of memory was most importantly associated in the Middle Ages with composition, and those who practiced the craft used it to make new prayers, sermons, pictures, and music. The mixing of visual and verbal media was commonplace throughout medieval cultures: pictures contained visual puns, words were often verbal paintings, and both were used equally as tools for making thoughts. The ability to create pictures in one's own mind was essential to medieval cognitive technique and imagination, and the intensely pictorial and affective qualities of medieval art and literature were generative, creative devices in themselves.
