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By Elizabeth Scala

Absent Narratives, Manuscript Textuality, and Literary constitution in overdue Medieval England is a ebook concerning the defining distinction among medieval and sleek tales. In chapters dedicated to the main writers of the past due medieval period--Chaucer, Gower, the Gawain-poet and Malory--it provides after which analyzes a suite of distinct and disregarded phenomena in medieval narrative, specifically the chronic visual appeal of lacking tales: tales implied, alluded to, or fragmented via a bigger narrative. faraway from being trivial digressions or passing curiosities, those "absent narratives" end up primary to the way in which those medieval works functionality and to why they've got affected readers specifically methods. frequently unseen, missed, or defined away through critics, absent narratives supply a worthwhile new procedure for interpreting medieval texts and the traditionally particular textual tradition within which they have been written.

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Com - licensed to Universitetsbiblioteket i Tromso - PalgraveConnect - 2011-04-24 ABSENT NARRATIVES AND TEXTUAL CULTURE ABSENT NARRATIVES and actors and accomplish for its protagonists and patron—remains enmeshed in what it can set aside as finished. To get anything done in the Book of the Duchess, another story must be relinquished. Not simply closing the story of the Man in Black and the narrator’s dream story, these words harken back to the absent narrative. Here we should recall that the narrator abandons his “phisicien .

Worth mentioning in this regard is Stephen Nichols’s provocative reading of illuminated manuscripts:“The multiple forms of representation” that mark the medieval text’s material existence do not suggest “that the visual art simply imitates the verbal . . Yet these various forms of representation—illustration, rubrication, marginal commentary (and their modern critical/editorial manifestations), for example, do not objectively “reflect” the verbal text; they intersubjectively engage with that verbal text.

While medieval writers have to deal with various material forces of production—which Gower employs and exposes so masterfully in the Latin apparatus to the carefully copied Confessio Amantis—they also have to confront the immaterial forces governing production, forces equally involved in interpretation. Bruns has framed this issue in terms of the questions that manuscript textuality raises about authority. He asks, “Precisely what sort of authority . . does a text possess in a manuscript culture?

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