Between courtly literature and Al-Andaluz : Oriental by Michelle Reichert

By Michelle Reichert

Chrétien de Troyes makes use of repeated references to Spain all through his romances; regardless of prior feedback that they include Mozarabic and Islamic subject matters and motifs, those references have by no means been commented upon. The booklet will display that those allusions to Spain take place at key moments within the romances, and are usually coupled with linguistic "riddles" which function roadmaps to the style within which the romances are to be learn. those references and riddles appear to aid the concept that a few of their subject matters and motifs in Chrétien's romances are of Andalusi starting place. The e-book additionally analyzes Chrétien's thought of "conjointure" and indicates it to be the intentional elaboration of a kind of Mischliteratur, which integrates Islamic and Jewish issues and motifs, in addition to mystical alchemical symbolism, into the normal spiritual and literary canons of his time. The distinction afforded by way of Chrétien's use of irony, and his refined integration of this matière d'Orient into the normal canon, constitutes a gently veiled feedback of the social and ethical behavior, in addition to non secular ideals, of twelfth-century Christian society, the crusading mentality, chivalric mores, or even the proposal of courtly love. the first curiosity of the booklet lies within the indisputable fact that it will likely be the 1st to remark upon and learn Chrétien's references to Spain and the wealthy matière d'Orient in his romances, whereas suggesting channels for its transmission, via students, retailers, and non secular homes, from northern Spain to Champagne.

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By the same token the magnificent violence of the sea tempest and shipwreck mirrored a newly-felt human condition in a society that reason was revealing as adrift and sinking. If the prevailing images of the waning years of the Old Regime were the rococo fêtes champêtres and playfully erotic aristocratic garden or peasant scenes, alternative images—always lurking around the corner—were the sea tempest and shipwreck. Images of sea disasters had already become popular in the seventeenth century; but sea tempests and disasters then were part of God’s design for human experience, and not just the awesome view of nature’s might as defined in the eighteenth century idea of the sublime.

And there, tossed about in all directions, continually enveloped by the billows, he witnessed the effects of the angry sea, which he . . engraved in his memory . . 1820), and soon after by Vernet’s grandson, Horace Vernet, whose painting of this subject is discussed in Chapter 4. Vernet’s seaport paintings are a far cry from those of Claude, in which fantasy and idealism were mingled with atmospheric effects of light shining through moisture. His paintings of famous French harbors are large—mostly over six-by-five feet—and give the impression of large documentaries, because of the special attention given the details of ships, buildings, and shore activity.

3) As young men, Coleridge and Robert Southey dreamed up the utopian plan of a pantisocracy to be established in America, inspired to a great extent by the new knowledge of Tahitian society as revealed in the accounts of Cook’s voyages. Captain Cook’s second voyage to the south Pacific brought back much information about the flora and fauna as well as the social customs of the native islanders. For besides the officers and crew, the Admiralty had provided the expedition with a landscape painter, William Hodges, “to make drawings and paintings of such places .

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