The Chansons De Geste in the Age of Romance: Political Fictions
This is a major reassessment of the relation between the medieval French chansons de geste and the romance genre. Critics have often dismissed the chansons de geste as coming before and being inferior to the new and distinctively literary achievement of romance. Sarah Kay draws on the most up-to-date literary and feminist theory to show that the two genres in fact existed simultaneously, engaged in a productive and revealing dialogue. Each genre, moreover, illuminates the "political unconscious" of the other: those political conflicts and contradictions--particularly issues of gender--that the text attempts to evade and disguise.
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Narratives of ConflictConflict of Narratives
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Aceline Aiol Aliscans ambivalence Ami et Amile Anseis assonanced Aye d'Avignon Aymeri Bancourt barons Bernier Blancheflor Blaye Boef Bordelais Bove brother Bueve Chanson de Guillaume chansons de geste Chapter characters Charlemagne Charles Chretien Combarieu commodity companion companionship conflict of narratives counternarrative court courtly daughter Daurel et Beton death decasyllabics degeste desire Doon enemy epic example exchange family romance fantasy father feudal fief France Freud Fromont Ganor Garin gender genre gift gift economy Girart de Roussillon Girart de Vienne Gui's Hardre hero hierarchy Hugon Jourdain killed king knights lineage literary Loheren Louis male marriage marry masculine Maugis medieval Milon mise en abyme Montauban mother Oliver Orson Parise Pepin plot poem political unconscious Prankish protagonist Raoul de Cambrai relations Renoart represent rhymed role romance influence Saisnes Saracen princess scene Sebile sexual social order society symbolic texts traitor vassal violence whilst widi wife woman women Yvain