Under this name he is "in medieval romance
terms the 'fair unknown' [though of course he looks foul and feels fair, as he admits in Bree] who steps from the shadows into the limelight when his moment comes" (Flieger 143).
She also does straight, M/M, and a touch of medieval romance
under her other pen name, Rizzo Rosko.
The other is shrouded in mist, and "focuses on Druids, stone circles, medieval romance
, Celtic languages and literatures, Celtic music, Celtic sources for Arthurian materials, and the like" (3).
6) For a discussion of Gamelyn's status as a hero as defined by his social status, see Nancy Mason Bradbury's "Gamelyn" in Neil Cartlige's Heroes and Anti-heroes in Medieval Romance
Gallagher (French studies, Wheaton College) presents a new translation of the medieval romance
story of Tristan and Iseut as recorded by 19th-century French medievalist, Joseph Bedier.
While the addition of the courtly love episode has long been recognized as an essential difference between Virgil's story and the medieval romance
, a Lacanian reading enables a fresh response to Eneas in love, as the story anticipates treatments of love in subsequent medieval romances
, including the seminal work of Chretien de Troyes.
, Medieval Contexts, edited by Rhiannon Purdie and Michael Cichon.
One of the most significant contributions to our understanding and appreciation of medieval romance
in the last two decades has been the focus on the process of rewriting as fundamental to poetic composition.
Part of the "Studies in Medieval Romance
" series, Women's Power in Late Medieval Romance
is a scholarly examination of the cultural and social power of women in the Middle Ages through their portrayals in literature of the era.
In this conventional reading, critics have conceived the rival powers in terms of a "sheer antithesis between religious and naturalistic worldviews, or medieval romance
and modern realism" (16-17).
Compiled in the late fourteenth or early fifteenth century, the manuscript consists of a Castilian Flos sanctorum or compilation of saints' legends combined with the related lives of exemplary characters from medieval romance
The last chapter, "Coda," subtitled "The Reception of a Genre," sums up the main points of the preceding chapters and further develops her earlier argument about the readership of medieval romance