Werner Verbeke

Herman Braet

Instituut voor middeleeuwse studies (Louvain, Belgique)

Guido Latré

Guido Latre

This volume addresses the multiple aspects of medieval laughter, its possible devices, functions and intentions.

I sermoni di Abelardo per le monache del Paracleto

Andries Welkenhuysen

Rijksuniversiteit te Groningen. Vakgroep mediaevistik

Papers read to the colloquium which was organized from 28 to 30 May 1990 at the Katholieke Universiteit Leuven.

Mediaeval Antiquity

Catherine Bel

Le Roman de la Rose est sans doute, avec la Divine Comedie, le texte vernaculaire le plus connu du moyen age. Redecouverte par la critique au XIXe siecle, l'oeuvre attribuee a Guillaume de Lorris et a Jean de Meun a fait l'objet de nombreux travaux. Le present volume vise a illustrer certaines orientations de la recherche actuelle; la bibliographie finale en dresse un inventaire detaille. Les contributions sont signees Douglas Kelly, Brigitte Callay, Sylvia Huot, Alexandre Leupin, Jacek Kowalski, Martine Meuwese, Gregor Weyer, Heidrun Ost, Dulce M. Gonzalez Doreste, Lori Walters, Luciano Rossi, Andrea Valentini, Peter De Wilde, Virginie Minet-Mahy, Fabienne Pomel, Jean Devaux, Jacqueline Thibault Schaefer, Heather Arden, Leslie Brook et Yvan Lepage.

texte, image, fortune

De la Rose

Gilbert Tournoy

rman Braet

Johan Nowé

The present volume offers a collection of studies intended to give an overall picture of the International Colloquium on Medieval Theatre organized by the Instituut voor Middeleeuwse Studies of the Katholieke Universiteit Leuven. The reader will probably remark upon the fact that studies on medieval drama are as flourishing and diversified as their object itself once was. From liturgical drama to pageant, from nativity play to mystery, from latin comedy to 'sottie', morality and farce, one discovers here the various aspects of an output that covers more than five centuries. This selection hopefully represents a cross-section of contemporary work in the field. As methods evolve and ways of reading change, the subject reveals itself as something for ever old and new. Thus a number of contributors emphasize a formal approach. Both the analysis of a dramatic production as a structured entity--from the larger viewpoint of scenic organization right down to the level of verse or even rime--and as an actual performance, continue to shed valuable light on the theatrical event in its generic and historical context.

The Theatre in the Middle Ages

Herman Braet

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