A recent trend in medieval studies and the humanities at large has been a “turn” to the animal. While medievalists have long been interested in bestiaries, beast epics, and other texts populated with nonhumans, the research that is produced is inevitably concerned with what those works say about human culture rather than what they can reveal about perceptions of animals as animals. The field of animal studies (alternatively known as critical animal theory), in contrast, focuses on how humans have sought to differentiate themselves from nonhuman animals and how this perceived seperation has determined the human treatment of and responses to nonhumans.
Recent scholarship has drawn attention to the significant roles played by medieval women as patrons of architecture and to the ways in which gender informed the design and function of architectural sites. But what about representations of women and architecture in the medieval imagination? How do visual materials such as manuscript illuminations, paintings and tapestries, and literary works, such as dream visions, conceptualize the relationship between women and architectural space? To what degree are gender and architecture mutually constituted? What conclusions can we draw about spaces considered feminine, and how do these spaces renegotiate the divisions between private and public?
There is a subtle irony in the fact that Thomas Hoccleve, whose corpus of early fifteenth-century poems is saturated with the concepts of recovery and rehabilitation, has been at the center of a decades-long process of poetic and pedagogic rehabilitation in university English departments. No longer brushed aside as a mere epigone of Geoffrey Chaucer, the traditional nucleus of Medieval English literature syllabi, Hoccleve now claims a legitimate place in the late medieval canon. But what is that place exactly, as far as college classrooms go?
Since Thomas Hoccleve chose to set his “Compleinte,” the opening salvo of his five-poem Series, in the “broun sesoun of Mihelmesse” (an intentional inversion of Chaucer’s springtime “Aprill shoures”), critics of his poetry have been immersed in the depressive and disconsolate overtones of much of his verse. Hoccleve makes this easy—he dwells on his misspent youth and the infirmities of old age, bodily and financial. Malcolm Richardson’s decades-old evaluation of Hoccleve as an “unfortunate poet,” a “slacker” and “failed bureaucrat” remains alive in much current scholarship which scours Hoccleve’s self-admitted defeats and disappointments for evidence of his commentary on fifteenth-century English politics and identity-politics.
CFP: Reconsidering The Second Nun’s Tale
International Congress on Medieval Studies (May 11-14, 2017) in Kalamazoo, MI
PCA/ACA 2017 National Conference: April 12 – 15, 2017 – San Diego, California
The Medievalism in Popular Culture Area accepts papers on all topics that explore either popular culture during the Middle Ages or transcribe some aspect of the Middle Ages into the popular culture of later periods. These representations can occur in any genre, including film, television, novels, graphic novels, gaming, advertising, art, etc. For this year’s conference, I would like to encourage submissions on some of the following topics:
The International Pearl-Poet Society is sponsoring the following two paper sessions at the 52nd International Congress on Medieval Studies (May 11-14, 2017) at Western Michigan University, Kalamazoo, MI:
I: Death and Rebirth in the Pearl-Poet
II: The Transformative Pearl-Poet: Translation and Adaptation
"Staging the Undead"
CALL FOR PAPERS—KALAMAZOO MEDIEVAL CONGRESS 2017
1402: A ROUNDTABLE
Panel title: "Fanfiction in Medieval Studies: What Do We Mean When We Say 'Fanfiction'?"
Conference: 52nd International Congress on Medieval Studies Kalamazoo, Michigan, May 11-14, 2017
Organizer: Dr Anna Wilson, firstname.lastname@example.org
Abstract submission deadline Sept 15