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• W3043346812 abstract "Reviewed by: The Medieval Literary: Beyond Form ed. by Robert J. Meyer-Lee, and Catherine Sanok Clare Davidson Meyer-Lee, Robert J., and Catherine Sanok, eds, The Medieval Literary: Beyond Form, Cambridge, D. S. Brewer, 2018; hardback; pp. 288; 28 b/w illustrations; R.R.P. £60.00; ISBN 9781843844891. In The Medieval Literary: Beyond Form, editors Robert J. Meyer-Lee and Catherine Sanok interrogate the fluid and anachronistic parameters of a formalist methodology. The collection responds to institutional and disciplinary engagement with literary form as an object of critical investigation, challenging its ambiguous reliance on 'form' as a qualifier. Meyer-Lee and Sanok show that form is a structural paradigm with cognitive, conventional, rhetorical, spatial, and temporal attributes, which means that form is 'a sequence or dynamic process, a phenomenon of mediation or that which is performed' (p. 3). This contemporary approach builds on the formalism of the mid-twentieth century, continuing to recognize form as a political, aesthetic, and cultural expression of power. Medieval contexts, as well as modern, offer a plurality of theoretical and operative definitions for 'form' and 'literature', and this variation is expressed through the different approaches and material found in the volume. Following Caroline Levine's influential Forms: Whole, Rhythm, Hierarchy, Network (Princeton University Press, 2015), the essays that make up the volume, many of which riff on temporal disparity between the medieval and modern, show how ineluctable critical anachronism can be positively reconfigured as 'analytical affordance' (p. 7). In this way, the project of the volume is an opening up or an expanding of form rather than a stretching 'beyond', to which its name alludes. The critical search for literary form is essentially operative, not abstract, and the essays go on to emphasize the specific material, political, and artistic extensions of medieval literary form and the aesthetics of reading. The volume is divided between three sections, which gradually expand the idea of form from an instrumental or utilitarian aesthetic, to a performative ideal, and finally to a shifting temporal quality. Claire Waters shows how aesthetic sensibilities and formal habits inform the inherently literary practice of reading Marian poetry. Ingrid Nelson likewise argues that medieval readers and writers understood the literary to be a practice, which is embedded in the rhetorical expansion of meanings through dilation. The formal reception of medieval literature is also key to Shannon Gayk's essay on stylistic juxtaposition in the Towneley Shepherds' plays. Jessica Brantley examines the visual and versified forms of liturgical calendars in books of hours, showing how these reveal an aesthetic and material form as well as a literary. The materiality of the expressive face provides a universal analogous basis for the individual and cultural specificity of literary form in Maura Nolan's [End Page 272] essay. Nolan examines the production of self as a 'formal matter', showing how the self is part of a dialectic that opposes the type from the individual. Through a reading of rhymed and alliterative verse, particularly King Horn and Sir Gawain and the Green Knight, Kathryn Kerby-Fulton and Andrew Klein demonstrate how the formal qualities of reception are shaped by the mise en page. Likewise concerned with the materiality of form, Emily Steiner identifies the relationship between the history of the book—and particularly Richard de Bury's extensive fourteenth-century book collection—and the idiosyncratic history of literary form, highlighting the violence of literary knowledge as a material field. Steiner examines that which is 'beyond form' by finding the cultural rivets, disasters, and elitism that have shaped 'form' throughout history. Seeta Chaganti studies the formal qualities between medieval dance and literary form in The Franklin's Tale, considering the way the former models receptivity to the movement of time in the latter. Chaganti expands this analysis to the modern interpretation of medieval literature, introducing an 'irritant' to falsely historical reading of causality in the form of comparison with the 1970s American avant-garde artwork, Spiral Jetty. Complementing this focus on dance as literary form, Sarah Elliott Novacich examines the qualities of inaudible music in Sir Orfeo, showing the ways in which melody is beyond textual representation but inherent to artistic form. Anke Bernau provides an engaging meditation on..." @default.
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• W3043346812 title "The Medieval Literary: Beyond Form ed. by Robert J. Meyer-Lee, and Catherine Sanok" @default.
• W3043346812 doi "https://doi.org/10.1353/pgn.2020.0037" @default.
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