The God Amor, the Cruel Lady, and the Suppliant Lover: C.S. Lewis and Courtly Love in Chapter One of The Allegory of Love

2013 ◽  
Vol 3 (2) ◽  
pp. 153-181
Author(s):  
Salwa Khoddam
Keyword(s):  
Edmund Spenser ◽  
Courtly Love ◽  
Historical Imagination

Lewis’s “effort of the historical imagination” in The Allegory of Love: A Study in Medieval Tradition—commensurate with his innate romanticism—bolstered by like-minded writers as his sources, resulted in his reconstructing of Courtly Love and its characters as a fantasy. While this approach limited his understanding of Courtly Love, its origins and its relationship to marriage and adultery, it allowed him to create a mythology of a Religion of Love: a “quasi-religion” of “service love” between a chevalier/poet and his sovereign lady, under the auspices of the god Amor. This view would elevate the medieval Anglo-French allegorical poem, which he will discuss in the following chapters of his book, as the foundation of the best of poetry that led to Chaucer and Edmund Spenser, his favorite poet.

Medieval Irish Courtly Love Poetry : An Exercise in Power-Struggle ?

1982 ◽  
Vol 7 (1) ◽  
pp. 19-30
Author(s):  
Grace Neville
Keyword(s):  
Courtly Love ◽  
Power Struggle ◽  
Love Poetry

Ontological Laboratory in the Making: “After Year Zero” and the Resetting of Historical Imagination

2015 ◽  
Author(s):  
Anselm Franke ◽  
Annett Busch ◽  
Katarzyna Bojarska
Keyword(s):  
Modern Art ◽  
Museum Of Modern Art ◽  
Historical Imagination

A conversation between Annett Busch, Anselm Franke, and Katarzyna Bojarska about the exhibition "After Year Zero. Universal Imaginaries - Geographies of Collaboration", shown at the Museum of Modern Art in Warsaw between June and August 2015.

The cunning of stupidity

2020 ◽  
Vol 6 (2) ◽  
pp. 141-45
Author(s):  
Noam Yuran
Keyword(s):  
Historical Imagination ◽  
Financial Capitalism

Exploring the historical imagination that surfaces at the time of crisis, Samman contributes to the effort to conceive of financial capitalism as a more or less distinct political, social and cultural era. The question that remains is how the narrative tropes he explores are related to finance in its narrower sense. Why does historical imagination wear these specific forms in financial times?

Pocket Maps and Public Poetry in the English Renaissance

2019 ◽  
Author(s):  
Katarzyna Lecky
Keyword(s):  
Edmund Spenser ◽  
Ben Jonson ◽  
English Renaissance ◽  
Ordinary People ◽  
William Davenant ◽  
Samuel Daniel ◽  
The Government ◽  
Political Agents ◽  
Cheap Print ◽  
Print Industry

If maps are instruments of power, then it matters that in Renaissance Britain they were often found in the pockets of ordinary people. Pocket Maps and Public Poetry in the English Renaissance demonstrates how early modern British poets paid by the state adapted inclusive modes of nationhood charted by inexpensive, small-format maps. It places chapbooks (“cheapbooks”) by Edmund Spenser, Samuel Daniel, Ben Jonson, William Davenant, and John Milton into conversation with the portable cartography circulating in the same retail print industry. Domestic pocket maps were designed for heavy use by a broad readership that included those on the fringes of literacy. The era’s de facto laureates all banked their success as writers appealing to this burgeoning market share by drawing the nation as the property of the commonwealth rather than the Crown. This book investigates the accessible world of small-format cartography as it emerges in the texts of the poets raised in the expansive public sphere in which pocket maps flourished. It works at the intersections of space, place, and national identity to reveal the geographical imaginary shaping the flourishing business of cheap print. Its placement of poetic economies within mainstream systems of trade also demonstrates how cartography and poetry worked together to mobilize average consumers as political agents. This everyday form of geographic poiesis was also a strong platform for poets writing for monarchs and magistrates when their visions of the nation ran counter to the interests of the government.

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