Sweeping from the fabulous country estates and hunting lodges to the opulent ballrooms and salons of the Russian nobility, here is a novel of savage passions and dangerous pleasures by the incomparable Susan Johnson, mistress of the sensual historical and author of the bestselling Outlaw. He was a renegade prince skilled in the arts of sensual persuasion. . . . She knew him by reputation; a man unmindful of convention, it was said he offered sensual delight beyond a woman’s wildest dreams. Yet even forewarned of his wild and reckless past, Alisa Forseus found herself responding to the dark smoldering gaze and the quick warmth of Prince Nikolai Kuzan’s stolen caresses. She knew too well that love between them was impossible—forbidden—but she could not resist the rapturous pleasure of one moment in his arms. . . . She was the exquisite bounty in a scandalous wager of love. . . . She was to be his prize, his ultimate conquest, but when Nikki found himself alone with the lovely and chaste Alisa, he was shocked to discover that it was more than her body he desire to possess. He had three days to win the heart of this proud and passionate beauty, three days—and nights—to steal her from the man she called husband in name only. For what began as a simple challenge had become a dangerous passion for a woman he’d surrender anything and everything to love—even his renegade heart.

In this book, Teodolinda Barolini explores the sources of Italian literary culture in the figures of its lyric poets and its “three crowns”: Dante, Petrarch, and Boccaccio. Barolini views the origins of Italian literary culture through four prisms: the ideological/philosophical, the intertextual/multicultural, the structural/formal, and the social. The essays in the first section treat the ideology of love and desire from the early lyric tradition to the Inferno and its antecedents in philosophy and theology. In the second, Barolini focuses on Dante as heir to both the Christian visionary and the classical pagan traditions (with emphasis on Vergil and Ovid). The essays in the third part analyze the narrative character of Dante’s Vita nuova, Petrarch’s lyric sequence, and Boccaccio’s Decameron. Barolini also looks at the cultural implications of the editorial history of Dante’s rime and at what sparso versus organico spells in the Italian imaginary. In the section on gender, she argues that the didactic texts intended for women’s use and instruction, as explored by Guittone, Dante, and Boccaccio—but not by Petrarch—were more progressive than the courtly style for which the Italian tradition is celebrated. Moving from the lyric origins of the Divine Comedy in “Dante and the Lyric Past” to Petrarch’s regressive stance on gender in “Notes toward a Gendered History of Italian Literature”—and encompassing, among others, Giacomo da Lentini, Guido Cavalcanti, and Guittone d’Arezzo—these sixteen essays by one of our leading critics frame the literary culture of thirteenth-and fourteenth-century Italy in fresh, illuminating ways that will prove useful and instructive to students and scholars alike.

Through an analysis of Dante's story of Paolo and Francesco, this book combines contemporary ethical theory, literary interpretation, and historical narrative to defend the humanities as a source of moral guidance.

The early thirteenth-century French prose Lancelot-Grail Cycle (or Vulgate Cycle) brings together the stories of Arthur with those of the Grail, a conjunction of materials that continues to fascinate the Western imagination today. Representing what is probably the earliest large-scale use of prose for fiction in the West, it also exemplifies the taste for big cyclic compositions that shaped much of European narrative fiction for three centuries. A Companion to the Lancelot-Grail Cycle is the first comprehensive volume devoted exclusively to the Lancelot-Grail Cycle and its medieval legacy. The twenty essays in this volume, all by internationally known scholars, locate the work in its social, historical, literary, and manuscript contexts. In addition to addressing critical issues in the five texts that make up the Cycle, the contributors convey to modern readers the appeal that the text must have had for its medieval audiences, and the richness of composition that made it compelling. This volume will become standard reading for scholars, students, and more general readers interested in the Lancelot-Grail Cycle, medieval romance, Malory studies, and the Arthurian legends. Contributors: RICHARD BARBER, EMMANUELE BAUMGARTNER, FANNI BOGDANOW, FRANK BRANDSMA, MATILDA T. BRUCKNER, CAROL J. CHASE, ANNIE COMBES, HELEN COOPER, CAROL R. DOVER, MICHAEL HARNEY, DONALD L. HOFFMAN, DOUGLAS KELLY, ELSPETH KENNEDY, NORRIS J. LACY, ROGER MIDDLETON, HAQUIRA OSAKABE, HANS-HUGO STEINHOFF, ALISON STONES, RICHARD TRACHSLER. CAROL DOVER is associate professor of French and director of undergraduate studies, Georgetown University, Washington DC.

"Girard fuses literary, psychological, and anthropological texts in order to view the activity of mimesis. This includes the phenomena of scapegoating, victimage, and sacrifice. They, in turn, serve as starting points for a breathtakingly daring and encompassing theory of the origins of human culture. In an era of interdisciplinary studies, this volume stands alone."--"Choice."

Presents a verse translation of Dante's "Inferno" along with ten essays that analyze the different interpretations of the first canticle of the "Divine Comedy."