Royal materials: the object of queens in Late Medieval English romance【翻译】

ACKNOWLEDGEMENTS
I am indebted to so many people who have helped immensely along the journey
of my PhD. The road to the PhD has been a long and difficult one indeed, and I would
not have made it without a network of support both within and outside of my department.
First, I would like to thank my dissertation supervisor, Kathy Lavezzo, for acting
tirelessly as my advocate, for pushing me farther than I knew I was capable, for her
academic rigor, and for her unwavering support of my project. I would also like to thank
the members of my dissertation committee: Claire Sponsler, who graciously helped with
job materials and with several revisions of the first two chapters; Jon Wilcox, for
continued support and repeatedly touching base to make sure I was progressing as well as
ensuring I leave the program able to make a livable wage; Blaine Greteman, for advice on
the job market and feedback on chapters; and Glenn Ehrstine, for kindly agreeing to fill
out a committee on faith and for continued support throughout the dissertation project.
My sincerest thanks extend also to Kathleen Diffley, who spearheaded a number
of summer writing workshops. Her stylistic editing and workshops helped me to hone my
writing craft leading into the dissertation process. Kerry Delaney, Joseph Rodriguez,
Katie Montgomery, and Stephanie Norris acted as readers in these workshops, and their
comments helped me whittle down expansive ideas into a feasible dissertation project. I
would also like to thank Carole Levin at UN and Palgrave who encouraged me to develop
my ideas into a dissertation and book project, and the Graduate College for awarding me
a Valerie Lagorio Traveling Fellow, which allowed me to research manuscripts vital to
the dissertation in Cambridge and London.
Several people helped me with individual chapters of the dissertation. Special
mention goes to Heather Blurton at UCSB, who served as an outside reader for my
chapter on Richard Coer de Lyon; and Alfred Thomas at UIC, who served as an outside
reader for my chapter on Anne of Bohemia and Chaucer’s Man of Law’s Tale. Both
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helped immensely with their expertise and suggestions on the respective chapters. Nicola
McDonald at University of York and Rachel Gibbons as well as the supportive
community of medieval queenship scholars who convene at Kalamazoo each year have
given me great advice for developing chapter ideas throughout the last four years.
Finally, I must thank my friends and family. Your support and encouragement
were worth more than I can express on paper, and helped me through some really tough
times. Michael, Nupur, and Kaara—it is my pleasure to call you friends.
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ABSTRACT
As historicist as it is materialist, my dissertation both reads the fictional queens
portrayed in romance against the fraught positioning of historical queens such as Isabella
of France, Anne of Bohemia and Margaret of Anjou, and traces the ambivalent function
in late medieval English society of objects including the sacring-bell, the Lollard bible
and the royal sword. Merging the traditionally historicist field queenship studies with
typically postmodern fields like thing theory and sound theory, I investigate how queens
in late medieval romances coopt, queer and reconfigure material objects of masculine
power. Each chapter examines a literary queen typically dismissed by subject-oriented
ontologies as insubstantial. Analyzing romances that include Richard Coer de Lyon,
Chaucer’s Man of Law’s Tale, Malory’s Morte D’Arthur and the Marian romance of
“The Child Slain by Jews” from the Vernon Manuscript, I argue for the overlooked
significance of literary queens as figures whose circulation illuminates the construction of
medieval masculinities. Through contact with charged material objects that are pivotal to
romance plots, queens query patriarchal materials, exposing their underlying “thingness”
and malleability. Whether tracking the disturbing afterlife of a church bell used to
exorcise the hero’s queen mother in Richard Coer de Lyon, or analyzing links between
the “Britoun book” that rescues Chaucer’s Custance and Anne of Bohemia’s vernacular
books, my chapters tell a new story about the foreign queens of late medieval English
romances by showing how they blur boundaries between male and female, subject and
object, West and East, priest and parish, Christian and Jew, orthodox and heterodox,
mother and child.
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TABLE OF CONTENTS
LIST OF FIGURES…………………………………………….………………………..vii
INTRODUCTION……………………………………………….………………………..1
CHAPTER
1. “HERE BELLES TO RYNG”: MATERNITY AND THE SACRING BELL IN
RICHARD COER DE LYON……..........................................................................17
The First Pealing of the Bell: Cassodorien and the “She-Wolf” of France…...23
Containing the Bell: Harnessing the Demonic in Her Heraldic Arms………...33
The Bell Resurfaces: Saladin’s Demonic Mare and Isabella’s Regency……...38
2. CUSTANCE, ANNE OF BOHEMIA, AND LOLLARD BOOKS IN
CHAUCER’S MAN OF LAW’S TALE…………………………………………..51
Glossing Anne: Imperial Ambition and the Lollard Doctors………………….58
Custance and the “Britoun book”……………………………………………..67
The Itinerant “Doghter of Hooly Chirche”……………………………………80
3. MARIA REGINA AND THE PROJECT OF DISPLACEMENT IN THE
VERNON MANUSCRIPT’S “THE CHILD SLAIN BY
JEWS”………………………………………………………………………...….89
The “Minimal Schemata of Recognition” and Marian Displacement……….102
Maria/hari’a and the Abject Privy……………………………………………106
Maria Regina and the Queen’s Scepter………………………………………114
Reterritorializing the Jewry: Mary and the Deleuzian Ritournelle…………..124
From Womb to Tomb: Keeping Mary Intact………………………………...131
4. MORGAN LE FAY AND FEMININE MISRULE IN MALORY’S MORTE
DARTHUR……………………...........................................................................138
The Making of a “She-Wolf”...………………………………………………142
Every Little Thing She Does is Magic……………………………………….154
The Gendered Semiotics of Excalibur……………………………………….162
Queen of the North…………………………………………………………...172
BIBLIOGRAPHY………………………………………………………………………181
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LIST OF FIGURES
Figure
1: “The Miracle of the Boy Singer,” MS. Eng. poet. a. 1. fol. 124v (from the
Vernon Manuscript)…………………………………………………………...105
2: Detail, “The Man Whose Leg Was Cut Off,” MS. Eng. poet. a. 1. fol. 125v
(from the Vernon Manuscript).………………………………………………..115
3: Detail of lily/scepter, “The Miracle of the Boy Singer”……………..………....119
4: Drawing of Eleanor of Aquitaine’s seal, with floriated fleur-de-lys scepter…..119
5: Crowned Virgin with floriated scepter and Child, “The Man Whose Leg Was
Cut Off”.............................................................................................................120
6: Detail of privy, “The Miracle of the Boy Singer”..…..………………………...129

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