By Elizabeth Scala
Absent Narratives, Manuscript Textuality, and Literary constitution in overdue Medieval England is a e-book in regards to the defining distinction among medieval and glossy tales. In chapters dedicated to the main writers of the overdue medieval period--Chaucer, Gower, the Gawain-poet and Malory--it offers after which analyzes a suite of detailed and left out phenomena in medieval narrative, specifically the chronic visual appeal of lacking tales: tales implied, alluded to, or fragmented through a bigger narrative. faraway from being trivial digressions or passing curiosities, those "absent narratives" turn out valuable to the best way those medieval works functionality and to why they've got affected readers particularly methods. commonly unseen, neglected, or defined away via critics, absent narratives provide a necessary new procedure for interpreting medieval texts and the traditionally particular textual tradition during which they have been written.
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Extra resources for Absent narratives, manuscript textuality, and literary structure in late medieval England
For all the disavowals (passing over, being done, being left, doing without), the expressed desire for closure is rooted in an implicit continuation and sustaining of the story disavowed. In what follows this disclaimer, the story of Ceyx and Alcyone and the dream of the Black Knight, those desires resurface and their disavowals are undone. Their concerns continue to circulate throughout the Book of the Duchess. com - licensed to Universitetsbiblioteket i Tromso - PalgraveConnect - 2011-04-24 ABSENT NARRATIVES AND TEXTUAL CULTURE ABSENT NARRATIVES may be doing, as well as how the poem performs these other actions.
Structurally, the present text—presented here as the effect of an irretrievable, precursory text—displaces and replaces the absent narrative. To take this “story” of narrative’s self-consciousness back to the beginning would entail the impossible return to an oral stage of literary composition, when literature shared a more direct relationship to “oratory” proper. In the late medieval period, however, rhetoric was still an influential force in literary creation. 37 It is therefore not unusual to find many rhetorical gestures in medieval poetry, gestures that are part of the system of conventions from which emerged more modern notions of “fiction” as an original, unique production.
Yet, for a poet curiously withdrawn from speaking directly on contemporary political events (and for a modern audience deeply invested in them), one may imagine that this poem about political actors and grounded in political relationships would draw scholarly attention. Surprisingly, it has not. 51 Instead, the Book of the Duchess tends to be read in terms of literary history, as evidence of Chaucer’s imitation, translation, and native adaptation of French courtly tradition, particularly Machaut’s and Froissart’s dits.