Visual Power and Fame in Rene d'Anjou, Geoffrey Chaucer, and the Black Prince (The New Middle Ages)

Reading semiotically against the backdrop of medieval mirrors of princes, Arthurian narratives, and chronicles, this study examines how Ren? d’Anjou (1409-1480), Geoffrey Chaucer’s House of Fame (ca. 1375-1380), and Edward the Black Prince (1330-1376) explore fame’s visual power. While very different in approach, all three individuals reject the classical suggestion that fame is bestowed and understand that particularly in positions of leadership, it is necessary to communicate effectively with audiences in order to secure fame. This sweeping study sheds light on fame’s intoxicating but deceptively simple promise of elite glory. Reading Semiotically Against The Backdrop Of Medieval Mirrors Of Princes, Arthurian Narratives, And Chronicles, This Study Examines How René D'anjou (1409-1480), Geoffrey Chaucer's House Of Fame (ca. 1375-1380), And Edward The Black Prince (1330-1376) Explore Fame's Visual Power. While Very Different In Approach, They All Three Reject The Classical Suggestion That Fame Is Bestowed; Challenge Or Nuance The Attraction Held By The Unpredictable Goddess; And Understand That Particularly In Positions Of Leadership, It Is Necessary To Communicate Effectively With Audiences In Order To Secure Fame. Thus, They Shed Light On Fame's Intoxicating But Deceptively Simple Promise Of Elite Glory--provided By Publisher. Introduction -- Fame And Fürstenspiegel -- Rene; D'anjou's Negotiations With Fame: Creating For A Future Past -- Chaucer's House Of Fame: The Quasi-iconoclastic Present -- Edward The Black Prince, The Future King -- Conclusion Sunhee Kim Gertz. Includes Bibliographical References And Index. "Reading semiotically against the backdrop of medieval mirrors of princes, Arthurian narratives, and chronicles, this study examines how Ren��e d'Anjou (1409-1480), Geoffrey Chaucer's House of Fame (ca. 1375-1380), and Edward the Black Prince (1330-1376) explore fame's visual power. While very different in approach, they all three reject the classical suggestion that fame is bestowed; challenge or nuance the attraction held by the unpredictable goddess; and understand that particularly in positions of leadership, it is necessary to communicate effectively with audiences in order to secure fame. Thus, they shed light on fame's intoxicating but deceptively simple promise of elite glory"--Provided by publisher. Reading semiotically against the backdrop of medieval mirrors of princes, Arthurian narratives, and chronicles, this study examines how René d Anjou (1409-1480), Geoffrey Chaucer s House of Fame (ca. 1375-1380), and Edward the Black Prince (1330-1376) explore fame s visual power. While very different in approach, all three individuals reject the classical suggestion that fame is bestowed and understand that particularly in positions of leadership, it is necessary to communicate effectively with audiences in order to secure fame. This sweeping study sheds light on fame s intoxicating but deceptively simple promise of elite glory. Contents......Page 10 List of Illustrations......Page 12 Preface......Page 14 Acknowledgments......Page 20 Introduction......Page 22 1 Fame and Fürstenspiegel......Page 34 2 René d’Anjou’s Negotiations with Fame: Creating for a Future Past......Page 54 3 Chaucer’s House of Fame: The Quasi-Iconoclastic Present......Page 90 4 Edward the Black Prince, the Future King......Page 126 Conclusion......Page 162 Notes......Page 166 Works Cited......Page 220 Previous Publications......Page 244 C......Page 246 J......Page 247 Z......Page 248 Reading semiotically against the backdrop of Arthurian narratives, this study examines how these canonical medieval texts explore fame's visual power