Some of medieval culture's most arresting images and stories inextricably associate love and death. Thus the troubadour Jaufre Rudel dies in the arms of the countess of Tripoli, having loved her from afar without ever having seen her. Or in Marie de France's Chevrefoil, Tristan and Iseult's fatal love is hauntingly symbolized by the fatally entwined honeysuckle and hazel. And who could forget the ethereal spectacle of the Damoisele of Escalot's body carried to Camelot on a supernatural funerary boat with a letter on her breast explaining how her unrequited love for Lancelot killed her? Medieval literature is fascinated with the idea that love may be a fatal affliction. Indeed, it is frequently suggested that true love requires sacrifice, that you must be ready to die for, from, and in love. Love, in other words, is represented, sometimes explicitly, as a form of martyrdom, a notion that is repeatedly reinforced by courtly literature's borrowing of religious vocabulary and imagery. The paradigm of the martyr to love has of course remained compelling in the early modern and modern period. This book seeks to explore what is at stake in medieval literature's preoccupation with love's martyrdom. Informed by modern theoretical approaches, particularly Lacanian psychoanalysis and Jacques Derrida's work on ethics, it offers new readings of a wide range of French and Occitan courtly texts from the twelfth and thirteenth centuries, and argues that a new secular ethics of desire emerges from courtly literature because of its fascination with death. This book also examines the interplay between lyric and romance in courtly literary culture and shows how courtly literature's predilection for sacrificial desire imposes a repressive sex-gender system that may then be subverted by fictional women and queers who either fail to die on cue, or who die in troublesome and disruptive ways.

Medieval literature contains many figures caught at the interface between life and death - the dead return to place demands on the living, while the living foresee, organize or desire their own deaths. Jane Gilbert's original study examines the ways in which certain medieval literary texts, both English and French, use these 'living dead' to think about existential, ethical and political issues. In doing so, she shows powerful connections between works otherwise seen as quite disparate, including Chaucer's Book of the Duchess and Legend of Good Women, the Chanson de Roland and the poems of Francois Villon. Written for researchers and advanced students of medieval French and English literature, this book provides original, provocative interpretations of canonical medieval texts in the light of influential modern theories, especially Lacanian psychoanalysis, presented in an accessible and lively way.

Medieval French literature encompasses 450 years of literary output in Old and Middle French, mostly produced in Northern France and England. These texts, including courtly lyrics, prose and verse romances, dits amoureux and plays, proved hugely influential for other European literary traditions in the medieval period and beyond. This Companion offers a wide-ranging and stimulating guide to literature composed in medieval French from its beginnings in the ninth century until the Renaissance. The essays are grounded in detailed analysis of canonical texts and authors such as the Chanson de Roland, the Roman de la Rose, Villon's Testament, Chrétien de Troyes, Machaut, Christine de Pisan and the Tristan romances. Featuring a chronology and suggestions for further reading, this is the ideal companion for students and scholars in other fields wishing to discover the riches of the French medieval tradition.

Craig Taylor examines French debates on the martial ideals of chivalry and knighthood during the Hundred Years War.

This is the first book to construct a theoretical framework that not only introduces a new way of reading romance writing at large, but more specifically that generates useful critical readings of the specific functions of fairies in individual romance texts.

Death is an unanswerable question for humanity, the question that always remains unanswered because it lies beyond human experience. Music represents one of the most profound ways in which humanity struggles, nevertheless, to accommodate death within the scope of the living by giving a voice to death and the dead and a voice that responds. This book engages with the question of how music expresses and responds to the profound existential disturbance that death and loss present to the living. Each chapter offers readers an encounter with music as a way of speaking or responding to human mortality. Each chapter, in its own way, addresses these questions: How are death and the dead made present to us through music? How does music, as composed, performed and heard, respond to the brute fact of death for the living, the dying and the bereaved? These questions are addressed from a wide range of disciplinary perspectives: musicology, ethnomusicology, literature, history, philosophy, film studies, psychology and psychoanalysis. Singing Death also covers a wide range of musical genres from medieval love song to twenty-first-century horror film music. The collection is accompanied by a website including some of the music associated with each of its chapters.

French Studies in and for the 21st Century draws together a range of key scholars to examine the current state of French Studies in the UK, taking account of the variety of factors which have made the discipline what it is. The book looks ahead to the place of French Studies in a world that is increasingly interdisciplinary, and where student demands, new technologies and transnational education are changing the ways in which we learn, teach, research and assess. Required reading for all UK French Studies scholars, the book will also be an essential text for the French Studies community worldwide as it grapples with current demands and plans for the future.