Knowing poetry : verse in medieval France from the rose to the Rhétoriqueurs /
In the later Middle Ages, many writers claimed that prose is superior to verse as a vehicle of knowledge because it presents the truth in an unvarnished form, without the distortions of meter and rhyme. Beginning in the thirteenth century, works of verse narrative from the early Middle Ages were rec...
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| Format: | Book |
| Language: | English |
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Ithaca :
Cornell University Press,
2011
Ithaca, NY : [2011] |
| Subjects: |
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| 100 | 1 | |a Armstrong, Adrian | |
| 100 | 1 | |a Armstrong, Adrian, |e author | |
| 245 | 1 | 0 | |a Knowing poetry : |b verse in medieval France from the rose to the Rhétoriqueurs / |c Adrian Armstrong & Sarah Kay ; with the participation of Rebecca Dixon [and others] |
| 260 | |a Ithaca : |b Cornell University Press, |c 2011 | ||
| 264 | 1 | |a Ithaca, NY : |b Cornell University Press, |c [2011] | |
| 264 | 4 | |c ©2011 | |
| 300 | |a 1 online resource (ix, 249 pages) : |b illustrations | ||
| 300 | |a 1 online resource | ||
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| 504 | |a Includes bibliographical references and index | ||
| 505 | 0 | |a Persistent presence : verse after prose -- Poetry and history -- Poetry and thought -- Knowing the world in verse encyclopedias and encyclopedic verse -- Knowledge and the practice of poetry -- Textual communities : poetry and the social -- Construction of knowledge | |
| 505 | 0 | 0 | |t Frontmatter -- |t Contents -- |t List of Illustrations -- |t Preface and Acknowledgments -- |t Introduction -- |t Part I. Situating Knowledge -- |t Chapter 1. Persistent Presence: Verse after Prose -- |t Chapter 2. Poetry and History -- |t Chapter 3. Poetry and Thought -- |t Part II. Transmitting and Shaping Knowledge -- |t Chapter 4. Knowing the World in Verse Encyclopedias and Encyclopedic Verse -- |t Chapter 5. Knowledge and the Practice of Poetry -- |t Chapter 6. Textual Communities: Poetry and the Social Construction of Knowledge -- |t Conclusion -- |t Bibliography -- |t Index |
| 506 | |a Restricted for use by site license | ||
| 520 | |a In the later Middle Ages, many writers claimed that prose is superior to verse as a vehicle of knowledge because it presents the truth in an unvarnished form, without the distortions of meter and rhyme. Beginning in the thirteenth century, works of verse narrative from the early Middle Ages were recast in prose, as if prose had become the literary norm. Instead of dying out, however, verse took on new vitality. In France verse texts were produced, in both French and Occitan, with the explicit intention of transmitting encyclopedic, political, philosophical, moral, historical, and other forms of knowledge. In Knowing Poetry, Adrian Armstrong and Sarah Kay explore why and how verse continued to be used to transmit and shape knowledge in France. They cover the period between Jean de Meun's Roman de la rose (c. 1270) and the major work of Jean Bouchet, the last of the grands rhétoriqueurs (c. 1530). The authors find that the advent of prose led to a new relationship between poetry and knowledge in which poetry serves as a medium for serious reflection and self-reflection on subjectivity, embodiment, and time. They propose that three major works-the Roman de la rose, the Ovide moralisé, and Boethius' Consolation of Philosophy-form a single influential matrix linking poetry and intellectual inquiry, metaphysical insights, and eroticized knowledge. The trio of thought-world-contingency, poetically represented by Philosophy, Nature, and Fortune, grounds poetic exploration of reality, poetry, and community | ||
| 520 | |a In the later Middle Ages, many writers claimed that prose is superior to verse as a vehicle of knowledge because it presents the truth in an unvarnished form, without the distortions of meter and rhyme. Beginning in the thirteenth century, works of verse narrative from the early Middle Ages were recast in prose, as if prose had become the literary norm. Instead of dying out, however, verse took on new vitality. In France verse texts were produced, in both French and Occitan, with the explicit intention of transmitting encyclopedic, political, philosophical, moral, historical, and other forms of knowledge. In Knowing Poetry, Adrian Armstrong and Sarah Kay explore why and how verse continued to be used to transmit and shape knowledge in France. They cover the period between Jean de Meun's Roman de la rose (c. 1270) and the major work of Jean Bouchet, the last of the grands rhétoriqueurs (c. 1530). The authors find that the advent of prose led to a new relationship between poetry and knowledge in which poetry serves as a medium for serious reflection and self-reflection on subjectivity, embodiment, and time. They propose that three major works-the Roman de la rose, the Ovide moralisé, and Boethius' Consolation of Philosophy-form a single influential matrix linking poetry and intellectual inquiry, metaphysical insights, and eroticized knowledge. The trio of thought-world-contingency, poetically represented by Philosophy, Nature, and Fortune, grounds poetic exploration of reality, poetry, and community | ||
| 520 | |a In the later Middle Ages, many writers claimed that prose is superior to verse as a vehicle of knowledge because it presents the truth in an unvarnished form, without the distortions of meter and rhyme. Beginning in the thirteenth century, works of verse narrative from the early Middle Ages were recast in prose, as if prose had become the literary norm. Instead of dying out, however, verse took on new vitality. In France verse texts were produced, in both French and Occitan, with the explicit intention of transmitting encyclopedic, political, philosophical, moral, historical, and other forms of knowledge.In Knowing Poetry, Adrian Armstrong and Sarah Kay explore why and how verse continued to be used to transmit and shape knowledge in France. They cover the period between Jean de Meun's Roman de la rose (c. 1270) and the major work of Jean Bouchet, the last of the grands rhétoriqueurs (c. 1530). The authors find that the advent of prose led to a new relationship between poetry and knowledge in which poetry serves as a medium for serious reflection and self-reflection on subjectivity, embodiment, and time. They propose that three major works-the Roman de la rose, the Ovide moralisé, and Boethius' Consolation of Philosophy-form a single influential matrix linking poetry and intellectual inquiry, metaphysical insights, and eroticized knowledge. The trio of thought-world-contingency, poetically represented by Philosophy, Nature, and Fortune, grounds poetic exploration of reality, poetry, and community | ||
| 538 | |a Mode of access: Internet via World Wide Web | ||
| 546 | |a In English | ||
| 588 | 0 | |a Description based on online resource; title from PDF title page (publisher's Web site, viewed 08. Jul 2019) | |
| 588 | 0 | |a Print version record | |
| 596 | |a 22 | ||
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| 650 | 0 | |a French poetry |y To 1500 |x History and criticism | |
| 650 | 0 | |a Knowledge, Theory of, in literature | |
| 650 | 4 | |a Europe | |
| 650 | 4 | |a Medieval & Renaissance Studies | |
| 650 | 7 | |a Fransk poesi |x historia |y före 1500 |2 sao | |
| 650 | 7 | |a Fransk poesi |x historia |y före 1500 |2 sao | |
| 650 | 7 | |a French poetry |2 fast | |
| 650 | 7 | |a Knowledge, Theory of, in literature |2 fast | |
| 650 | 7 | |a Kunskapsteori i litteraturen |2 sao | |
| 650 | 7 | |a LITERARY CRITICISM |x Medieval |2 bisacsh | |
| 650 | 7 | |a POETRY |x Continental European |2 bisacsh | |
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| 655 | 7 | |a Criticism, interpretation, etc |2 fast |? UNAUTHORIZED | |
| 655 | 7 | |a Criticism, interpretation, etc |2 fast | |
| 655 | 7 | |a Dictionaries |2 fast | |
| 655 | 7 | |a Dictionaries |2 lcgft | |
| 700 | 1 | |a Dixon, Rebecca | |
| 700 | 1 | |a Kay, Sarah | |
| 700 | 1 | |a Kay, Sarah, |e author | |
| 710 | 2 | |a De Gruyter | |
| 773 | 0 | |a De Gruyter University Press Library | |
| 776 | 0 | 8 | |i Print version: |a Armstrong, Adrian |t Knowing poetry. |d Ithaca : Cornell University Press, 2011 |w (DLC) 2010052646 |
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