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Essays in popular romance
Editor: Nicola McDonald

This collection and the romances it investigates are crucial to our understanding of the aesthetics of medieval narrative and to the ideologies of gender and sexuality, race, religion, political formations, social class, ethics, morality and national identity with which those narratives emerge.

Simha Goldin

,’ Journal of Semitic Studies 27 (1982), pp. 221, 239, Nos. 8–15, 61–65; Chazan, European Jewry, pp. 40–49, 307–308, Nos. 7–22. I. G. Marcus, ‘Review of Robert Chazan, “European Jewry and the First Crusade,”’ Speculum 64 (1989), pp. 685–688; I. G. Marcus, ‘History, Story and Collective Memory: Narrativity in Early Ashkenazic Culture,’ Prooftexts 10 (1990), pp. 365–388; R. Chazan, ‘Factivity of Medieval Narrative: A Case Study of the Hebrew First Crusade Narrative,’ Association for Jewish Studies Review 16 (1991), pp. 31–56; Goldin, The Ways of Jewish Martyrdom, pp. 85

in Apostasy and Jewish identity in High Middle Ages Northern Europe
Open Access (free)
Nicola McDonald

sometimes accommodated, but it is never repressed. And it is with this in mind that I want to return for a moment to the anxieties that exercised romance’s early detractors: popular romance, put simply, is a dangerous recreation. Despite the gulf that inevitably separates us from these medieval narratives, they retain the power to shock us, to unsettle our assumptions about, among other things, gender and sexuality, race, religion, MUP_McDonald_01_Intro 16 11/18/03, 16:56 A polemical introduction 17 political formations, social class, ethics, morality and aesthetic

in Pulp fictions of medieval England
Alcuin Blamires

the rape scene, allusions to the fiend as father occur in Advocates at 96, 173, 206, 228, 238, 271, and 742, but Royal matches these only at 99, 203, 225, and 264. Advocates, ed. Mills, lines 172–3. ‘He pleyd hym with that ladé hende, / And ei yode scho bownden with tho fende’ (91–2), glossed by Mills on p. 150. A. C. Spearing, ‘Early medieval narrative style’, in his Readings in Medieval Poetry (Cambridge, 1987), pp. 24–55 (pp. 32–3). Critics often note the pathos of the Duchess’s account. Saunders suggests that the Lady creates a romance fiction ‘where prayer has

in Pulp fictions of medieval England
Elisa Narin van Court

revered as the possessors of the Old Law, and historical Jews, who are reviled as the killers of Christ. The division between scriptural Jews and historical Jews is played out in the sermon literature, the drama, poetic histories and narratives; yet MUP_McDonald_08_Ch7 154 11/20/03, 14:37 The Siege of Jerusalem 155 this most basic of paradigms is considerably complicated as the double value of the Jews is complexly reconfigured or even collapsed in medieval narratives. The Pauline division between historical (‘they are enemies’) and scriptural (‘they are most dear

in Pulp fictions of medieval England
Le Bone Florence of Rome and bourgeois self-making
Felicity Riddy

bourgeois women, unlike their aristocratic counterparts, must have been the unmediated and intimate management of what I call the ‘everyday body’ in the home, to which I shall return later. This home was the context, then, of reading and prayer – the kind of material found in CUL Ff. 2. 38, which simultaneously constituted and expressed urban domestic values. Of the ‘family’ narratives in CUL Ff. 2. 38 most, like most medieval narratives apart from saints’ lives, have men as their protagonists. The exception is Le Bone Florence of Rome, which only survives here.16 It

in Pulp fictions of medieval England
Ad Putter

fuller analysis of ‘redemptive’ endings of this kind see Ad Putter, ‘The narrative logic of Emaré’, in Putter and Gilbert (eds), The Spirit of Medieval English Popular Romance, pp. 157–80. MUP_McDonald_09_Ch8 195 11/18/03, 17:05 196 Ad Putter 27 Piero Boitani, English Medieval Narrative in the 13th and 14th Centuries (Cambridge, 1982), p. 54. 28 On the precise chronology, see J. G. Gouttebrooze, ‘Sur l’étendue chronologique du premier mouvement du Conte du Graal’, Le Moyen Age, 31 (1976), 5–24. 29 For a discussion of ‘tokens’ in Middle English romance see Richard

in Pulp fictions of medieval England