This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Daniel Von Dem BlUhenden Tal; Volume 9 Of Germanistische Abhandlungen; Issues 9-12 Of Daniel Von Dem BlUhenden Tal: Ein Artusroman Von Dem Stricker; Gustav Rosenhagen Stricker Gustav Rosenhagen W. Koebner, 1894 Arthurian romances

"This volume is an expansion of three lectures on 'Universities' given at Oxford in May 1928 on the invitation of the Rhodes trust."--Preface.

An examination of the ways in which late medieval lyric poetry can be seen to engage with contemporary medical theory. This book argues that late medieval love poets, from Petrarch to Machaut and Charles d'Orléans, exploit scientific models as a broad framework within which to redefine the limits of the lyric subject and his body. Just as humoraltheory depends upon principles of likes and contraries in order to heal, poetry makes possible a parallel therapeutic system in which verbal oppositions and substitutions counter or rewrite received medical wisdom. The specific case of blindness, a disability that according to the theories of love that predominated in the late medieval West foreclosed the possibility of love, serves as a laboratory in which to explore poets' circumvention of the logical limits of contemporary medical theory. Reclaiming the power of remedy from physicians, these late medieval French and Italian poets prompt us to rethink not only the relationship between scientific and literary authority at the close of the middle ages, but, more broadly speaking, the very notion of therapy. Julie Singer is Assistant Professor of French at Washington University, St Louis.

"If the Balkans hadn't existed, they would have been invented" was the verdict of Count Hermann Keyserling in his famous 1928 publication, Europe. Over ten years ago, Maria Todorova traced the relationship between the reality and the invention. Based on a rich selection of travelogues, diplomatic accounts, academic surveys, journalism, and belles-lettres in many languages, Imagining the Balkans explored the ontology of the Balkans from the sixteenth century to the present day, uncovering the ways in which an insidious intellectual tradition was constructed, became mythologized, and is still being transmitted as discourse. Maria Todorova, who was raised in the Balkans, is in a unique position to bring both scholarship and sympathy to her subject, and in a new afterword she reflects on recent developments in the study of the Balkans and political developments on the ground since the publication of Imagining the Balkans. The afterword explores the controversy over Todorova's coining of the term Balkanism. With this work, Todorova offers a timely, updated, accessible study of how an innocent geographic appellation was transformed into one of the most powerful and widespread pejorative designations in modern history.

This is a remarkable study of how Western culture has represented blindness, especially in that most visual of arts, painting. Moshe Barasch draws upon not only the span of art history from antiquity to the eighteenth century but also the classical and biblical traditions that underpin so much of artistic representation: Blind Homer, the healing of the blind, blind musicians, blindness as punishment, blindness as a special mark. The book discusses blindness in antiquity, in the Early Christian world, in the Middle Ages, and in the Renaissance, with a final consideration of Diderot.

Wolfram von Eschenbach (fl. c. 1195-1225), best known as the author of Parzival, based Willehalm, his epic poem of military prowess and courtly love, on the style and subject matter of an Old French "chanson de geste." In it he tells of the love of Willehalm for Giburc, a Saracen woman converted to Christianity, and its consequences. Seeking revenge for the insult to their faith, her relatives initiate a religious war but are finally routed. Wolfram's description of the two battles of Alischanz, with their massive slaughter and loss of heroes, and of the exploits of Willehalm and the quasicomic Rennewart, well displays the violence and courtliness of the medieval knightly ideal. Wolfram flavors his brutal account, however, with tender scenes between the lovers, asides to his audience, sympathetic cameos of his characters--especially the women--and, most unusually for his time, a surprising tolerance for 'pagans'.