Polyphony and the Modern (Routledge Studies in Medieval Literature and Culture)

__Polyphony and the Modern__ asks one fundamental question: what does it mean to be modern in one’s own time? To answer that question, this volume focuses on polyphony as an index of modernity. In __The Principle of Hope__, Ernst Bloch showed that each moment in time is potentially fractured: people living in the same country can effectively live in different centuries – some making their alliances with the past and others betting on the future – but all of them, at least technically, enclosed in the temporal moment. But can a claim of modernity also mean something more ambitious? Can an artist, by accident or design, escape the limits of his or her own time, and somehow precociously embody the outlook of a subsequent age? This booksees polyphony as a bridge providing a terminology and a stylistic practice by which the period barrier between Medieval and Early Modern can be breached. Chapter 1 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license available at Polyphony and the Modern asks one fundamental question: What does it mean to be modern in oneâ••s own time? To answer that question, this volume focuses on polyphony as an index of modernity.In The Principle of Hope, Ernst Bloch showed that each moment i Cover 1 Half Title 2 Series Information 3 Title Page 4 Copyright Page 5 Table of Contents 6 Introduction: Towards Modernity 8 Notes 17 Part One Machaut and Musical Polyphony 20 1 The Polyphony of Function: Mixing Text and Music in Guillaume de Machaut 22 Structural Polyphonies in Fourteenth-Century Music 23 The Polyphonies of Performance 26 Words Set to Music 34 Notes 37 Works Cited 39 2 The Multilevel Polyphony of machaut’s Livre Dou Voir Dit and Its Afterlife 44 The Voir Dit and Dialogism in Medieval Lyric Genres 45 The Voir Dit and the Letters of Peter Abelard and heloise d’Argenteuil 52 The Voir Dit and the Works of Jean-Jacques Rousseau 60 The Voir Dit and Bakhtin’s Concept of Narrative Polyphony 62 Notes 63 Works Cited 65 Part Two Polyphony in Medieval europe 70 3 Cemeteries and Tombstones As Polyphonic Places in the French Medieval Quest of Lancelot 72 Tombs as Social Places 72 An Opening in the Afterlife: The Presence of Death in the Poem 73 Epitaph Revealing the Future 74 Lancelot Enters in the World of the Dead 74 The Prose Narration 76 The Test of the Painful Guard 76 The Holy Cemetery 77 Ban of Benoic’s Tomb 77 The Language and the Authors 78 Conclusion 80 Notes 81 Works Cited 82 4 Polyphonic Effects in the Fixed-Form Verse of Eustache Deschamps: A Critical Practice 83 Contradictory Dialogue or Debate Between a First-Person Speaker and an Externalised “Other” 84 Dialogic Monologue by an “other” Different From the poet in Gender, Social Status, or Culture 86 Dialogical Monologue that Combines Two Languages, Speech Registers, or Dialects 89 Bivocal Effects of Verbal Irony 92 Polyvocal Parody 93 Pastoral Discussions and Debates 95 Notes 98 Works Cited 103 5 “Galeotto Fu il Libro E chi Lo Scrisse”: Liminal Polyvocality in the Occitan Literary Use of Dante 105 Notes 116 Works Cited 116 6 Novelistic Perspectivism in béroul’s Roman De Tristan 118 Perspectivism: Telling One’s Own Story 119 Narrative Conflicts 126 Notes 131 Works Cited 134 7 Textual Voices in Compilation: Reading the Polyphony of Medieval Manuscripts 137 From “novele” to the Modern: Polyphony As Practice 137 Polyphony As Thought Process 139 The Medieval Book As Polyphonic 144 BnF f. fr. 837 146 BnF f. fr. 25566 148 Cologny, Fondation Martin Bodmer, Codex 82 150 Polyphonic Reading, Polyphonic Listening 151 Notes 153 Works Cited 154 8 Wolfram and the Ambiguity of the Religious Question in the Willehalm 157 Religious Dialogue and the Notion of Tolerance in the Middle Ages 159 The Different Voices of the Willehalm 160 The Ambivalence of Wolfram’s Romance 166 Notes 169 Works Cited 171 Part Three From Medieval England to the Early Modern 174 9 Chaucer’s Speech and Thought Representation in Troilus and Criseyde: Encoded Subjectivities and semantic Extension 176 Introduction 176 Previous Scholarship and Research Question 177 Previous Scholarship 177 Method 177 A Hierarchy of Subjectivities Encoded in Chaucer’s STR 177 Types of Chaucer’s STR 178 Data and Discussion 180 Criseyde and Pandarus: Criseyde’s Speech On the “The Siege of Thebes” 180 Narrator and Criseyde: the Narrator’s Description of Troilus’s triumphant Return to Troy 181 Narrator and Pandarus: The Narrator’s Description of “a Reyn From Heven” 183 Narrator and Criseyde: The Narrator’s Description of How criseyde Is to Accept Troilus Into Bed 184 Criseyde’s Monologue: Criseyde’s Betrayal of Troilus and her Divided Subjectivities 185 Troilus and Pandarus: Troilus’s and Pandarus’s Seeing One thing But in Different Ways 189 Narrator and Troilus: Troilus’s Dream of a Boar and Criseyde Holding and Kissing Each Other 191 Conclusion 194 Notes 195 Works Cited 196 10 Chaucer and the Streams of Parnassus 199 “Modern” Chaucer 199 Shutting the Door On Chaucer 202 Sealed in Lead 205 Early Modern (That is, Polyphonic) Chaucer 206 Chaucer’s Polyphony 209 Notes 210 Works Cited 211 11 “‘tis More Ancient Than Chaucer Himself”: Keats and Romantic Polyphony 213 Sleep and Polyphony: Waking Up With Chaucer 215 Polyphony and Englishness: At the Crossroads of European Influences (Italy, France) 217 The “Polyphonic Poem”, the Privilege of Romanticism? 219 Notes 221 Works Cited 222 Part Four Towards Modernity 224 12 Evelina’s “Pollyphony” 226 Notes 236 Works Cited 237 13 The Whirl of the Red, Green, and Blue: Christopher Anstey and the Particoloured Poem 239 Works Cited 252 14 Towards Modernity: Nova Et Vetera in Paul Claudel’s Book of Christopher Colombus 254 Notes 264 Works Cited 264 Contributors 265 Index 269 Polyphony and the Modern asks one fundamental question: what does it mean to be modern in one's own time? To answer that question, this volume focuses on polyphony as an index of modernity. InThe Principle of Hope, Ernst Bloch showed that each moment in time is potentially fractured: people living in the same country can effectively live in different centuries - some making their alliances with the past and others betting on the future - but all of them, at least technically, enclosed in the temporal moment. But can a claim of modernity also mean something more ambitious? Can an artist, by accident or design, escape the limits of his or her own time, and somehow precociously embody the outlook of a subsequent age? This book sees polyphony as a bridge providing a terminology and a stylistic practice by which the period barrier between Medieval and Early Modern can be breached. Chapter 1 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license available at https://www.taylorfrancis.com/books/edit/10.4324/9781003129837 Polyphony and the Modern asks one fundamental question: what does it mean to be modern in one's own time? To answer that question, this volume focuses on polyphony as an index of modernity.In The Principle of Hope, Ernst Bloch showed that each moment in time is potentially fractured: people living in the same country can effectively live in different centuries – some making their alliances with the past and others betting on the future – but all of them, at least technically, enclosed in the temporal moment. But can a claim of modernity also mean something more ambitious? Can an artist, by accident or design, escape the limits of his or her own time, and somehow precociously embody the outlook of a subsequent age?This book sees polyphony as a bridge providing a terminology and a stylistic practice by which the period barrier between Medieval and Early Modern can be breached.Chapter 1 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license available at https://www.taylorfrancis.com/books/edit/10.4324/9781003129837 Polyphony and the Modern asks one fundamental question: what does it mean to be modern in one's own time? To answer that question, this volume focuses on polyphony as an index of modernity. In The Principle of Hope, Ernst Bloch showed that each moment in time is potentially fractured: people living in the same country can effectively live in different centuries - some making their alliances with the past and others betting on the future - but all of them, at least technically, enclosed in the temporal moment. But can a claim of modernity also mean something more ambitious? Can an artist, by accident or design, escape the limits of his or her own time, and somehow precociously embody the outlook of a subsequent age? This book sees polyphony as a bridge providing a terminology and a stylistic practice by which the period barrier between Medieval and Early Modern can be breached. Chapter 1 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license Polyphony and the Modern asks one fundamental what does it mean to be modern in ones own time? To answer that question, this volume focuses on polyphony as an index of modernity. In The Principle of Hope , Ernst Bloch showed that each moment in time is potentially people living in the same country can effectively live in different centuries some making their alliances with the past and others betting on the future but all of them, at least technically, enclosed in the temporal moment. But can a claim of modernity also mean something more ambitious? Can an artist, by accident or design, escape the limits of his or her own time, and somehow precociously embody the outlook of a subsequent age? This book sees polyphony as a bridge providing a terminology and a stylistic practice by which the period barrier between Medieval and Early Modern can be breached. Chapter 1 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license available at