This book, the first study in English devoted entirely to Andreas Capellanus's De Amore, presents a comprehensive inquiry into the influence of scholasticism on the structure and organization of the work, applying methods of medieval philosophy and intellectual history to an important problem in medieval literary studies.

This book, the first study in English devoted entirely to Andreas Capellanus's De Amore, presents a comprehensive inquiry into the influence of scholasticism on the structure and organization of the work, applying methods of medieval philosophy and intellectual history to an important problem in medieval literary studies.

"A milestone in Machaut studies and in late-medieval French literature in general. Machaut, already considered the seminal figure in late-medieval poetics and music, here comes across in these respects more clearly than ever. Kelly also further contextualises him within what we might call the authorial apprenticeship tradition' of Boethius, the Roman de la Rose, Dante, and later Gower, Chaucer, and Christine de Pizan. The fruit of one of the field's most distinguished scholars today." Nadia Margolis, Mount Holyoke College. Guillaume de Machaut was celebrated in the later Middle Ages as a supreme poet and composer, and accordingly, his poetry was recommended as a model for aspiring poets. In his Voir Dit, Toute Belle, a young, aspiring poet, convinces the Machaut figure to mentor her. This volume examines Toute Belle as she masters Machaut's dual arts of poetry and love, focusing on her successful apprenticeship in these arts; it also provides a thorough review of Machaut's art of love and art of poetry in his dits and lyricsm, and the previous scholarship on these topics. It goes on to treat Machaut's legacy among poets who, like Toute Belle, adapted his poetic craft in new and original ways. A concluding analysis of melodie identifies the synaesthetic pleasure that late medieval poets, including Machaut, offer their readers. Douglas Kelly is Professor Emeritus at the University of Wisconsin, Madison.

Fantastic Histories explores the political and cultural contexts of the entry of fairies to the historical record in twelfth century England, and the subsequent uses of fairy narratives in both insular and continental history and romance. It traces the uses of the fairy as a contested marker of historicity and fictionality in the histories of Gerald of Wales and Walter Map, the continental mirabilia of Gervase of Tilbury, and the fourteenth- and fifteenth-century French Mélusine romances and their early English reception. Working across insular and continental source material, Fantastic Histories explores the practices of history-writing, fiction-making, and the culturally determined boundaries of wonder that defined the limits of medieval history.

Political and social commentators regularly bemoan the decline of morality in the modern world. They claim that the norms and values that held society together in the past are rapidly eroding, to be replaced by permissiveness and empty hedonism. But as Edward Rubin demonstrates in this powerful account of moral transformations, these prophets of doom are missing the point. Morality is not diminishing; instead, a new morality, centered on an ethos of human self-fulfillment, is arising to replace the old one. As Rubin explains, changes in morality have gone hand in hand with changes in the prevailing mode of governance throughout the course of Western history. During the Early Middle Ages, a moral system based on honor gradually developed. In a dangerous world where state power was declining, people relied on bonds of personal loyalty that were secured by generosity to their followers and violence against their enemies. That moral order, exemplified in the early feudal system and in sagas like The Song of Roland, The Song of the Cid, and the Arthurian legends has faded, but its remnants exist today in criminal organizations like the Mafia and in the rap music of the urban ghettos. When state power began to revive in the High Middle Ages through the efforts of the European monarchies, and Christianity became more institutionally effective and more spiritually intense, a new morality emerged. Described by Rubin as the morality of higher purposes, it demanded that people devote their personal efforts to achieving salvation and their social efforts to serving the emerging nation-states. It insisted on social hierarchy, confined women to subordinate roles, restricted sex to procreation, centered child-rearing on moral inculcation, and countenanced slavery and the marriage of pre-teenage girls to older men. Our modern era, which began in the late 18th century, has seen the gradual erosion of this morality of higher purposes and the rise of a new morality of self-fulfillment, one that encourages individuals to pursue the most meaningful and rewarding life-path. Far from being permissive or a moral abdication, it demands that people respect each other's choices, that sex be mutually enjoyable, that public positions be allocated according to merit, and that society provide all its members with their minimum needs so that they have the opportunity to fulfill themselves. Where people once served the state, the state now functions to serve the people. The clash between this ascending morality and the declining morality of higher purposes is the primary driver of contemporary political and cultural conflict. A sweeping, big-idea book in the vein of Francis Fukuyama's The End of History, Charles Taylor's The Secular Age, and Richard Sennett's The Fall of Public Man, Edward Rubin's new volume promises to reshape our understanding of morality, its relationship to government, and its role in shaping the emerging world of High Modernity.

The study takes the received view among scholars that women in the Middle Ages were faced with sustained misogyny and that their voices were seldom heard in public and subjects it to a critical analysis. The ten chapters deal with various aspects of the question, and the voices of a variety of authors - both female and male - are heard. The study opens with an enquiry into violence against women, including in texts by male writers (Hartmann von Aue, Gottfried von Straßburg, Wolfram von Eschenbach) which indeed describe instances of violence, but adopt an extremely critical stance towards them. It then proceeds to show how women were able to develop an independent identity in various genres and could present themselves as authorities in the public eye. Mystic texts by Hildegard of Bingen, Marie de France and Margery Kempe, the medieval conduct poem known as Die Winsbeckin, the Devout Books of Sisters composed in convents in South-West Germany, but also quasi-historical documents such as the memoirs of Helene Kottaner or Anna Weckerin's cookery book, demonstrate that far more women were in the public gaze than had hitherto been assumed and that they possessed the self-confidence to establish their positions with their intellectual and their literary achievements.

Among the plethora of heroes of different significance (religious, artistic, political, etc.), national archetypes stand out because they represent the outstanding traits of their fellow citizens and at the same time serve as role models for them. How these archetypes are formed in some countries, and what their specific features are, constitutes the starting point for this study. The book then enters a second phase with the narration of their jobs as literary heroes, culminating in a reflection on the possible effects that the archetype may have on the behaviour of workers and employers in the respective country. After the analysis of the five main European countries, the book undertakes a comparative study of other non-European archetypes, where the profiles are quite different.