Fantastic tales of rebellious robots and animated artifacts are a permanent fixture in popular culture. What kind of behavior do we expect from such conceptual hybrids in science fiction, nonsense poetry, and surrealist art?

With thirty-seven named locations, the Digby Mary Magdalene is rightfully considered to require the most elaborate staging of the Middle English dramatic corpus. In this article, I re-examine the manuscript to find evidence of how the various locations in the play can be grouped into what I term staging complexes. Beginning with the division of…[Read more]

With thirty-seven named locations, the Digby Mary Magdalene is rightfully considered to require the most elaborate staging of the Middle English dramatic corpus. In this article, I re-examine the manuscript to find evidence of how the various locations in the play can be grouped into what I term staging complexes. Beginning with the division of…[Read more]

The extracodical stanzas of John Lydgate’s Testament and “Quis Dabit Meo Capiti Fontem Lacrimarum” in the Clopton chantry chapel of the Great Church of Holy Trinity, Long Melford, not only are two intriguing witnesses differing in presentation and language from the manuscript copies but also can be considered as part of a rhetorical program where…[Read more]

The extracodical stanzas of John Lydgate’s Testament and “Quis Dabit Meo Capiti Fontem Lacrimarum” in the Clopton chantry chapel of the Great Church of Holy Trinity, Long Melford, not only are two intriguing witnesses differing in presentation and language from the manuscript copies but also can be considered as part of a rhetorical program where…[Read more]

Paper given for the LLC Middle English Forum’s roundtable on “Campus Chaucer. ” See also separately uploaded PowerPoint slides (not strictly necessary; the bold in the text, however, refers to a change of slide). Contains many informational links. Accompanying PowerPoint: http://dx.doi.org/10.17613/M6BW3B

Paper given for the LLC Middle English Forum’s roundtable on “Campus Chaucer. ” See also separately uploaded PowerPoint slides (not strictly necessary; the bold in the text, however, refers to a change of slide). Contains many informational links. Accompanying PowerPoint: http://dx.doi.org/10.17613/M6BW3B

Paper given for the LLC Middle English Forum’s roundtable on “Campus Chaucer. ” See also separately uploaded PowerPoint slides (not strictly necessary; the bold in the text, however, refers to a change of slide). Contains many informational links. Accompanying PowerPoint: http://dx.doi.org/10.17613/M6BW3B

PowerPoint to accompany paper (http://dx.doi.org/10.17613/M6GP71) given in #s280 at the 2017 MLA Convention.

PowerPoint to accompany paper (http://dx.doi.org/10.17613/M6GP71) given in #s280 at the 2017 MLA Convention.

PowerPoint to accompany paper (http://dx.doi.org/10.17613/M6GP71) given in #s280 at the 2017 MLA Convention.

In this essay, I discuss three Hebrew translations made by Sephardic Jews writing in from a position of a double diaspora (from ‘Zion’ and from Sepharad, or Spain): Joseph Tsarfati’s Celestina by Fernando de Rojas, Jacob Algaba’s Amadís de Gaula by Garci Rodríguez de Montalvo, and Joseph Hakohen’s Historia general de las Indias by Francisco L…[Read more]

Ziyad ibn ‘Amir al-Kinani (Granada, ca. 1250) and the 101 Nights
(Granada, 1234) are two examples of Andalusi popular fiction that provide important
information for our understanding of works of early Castilian fiction such as the Libro del
Caballero Zifar. The two Andalusi works provide evidence of a bilingual culture of
storytelling that n…[Read more]