By Cynthia Robinson, Leyla Rouhi

This quantity of essays considers particular examples of literature and paintings in medieval Castile, problematizing the belief of comparative method whilst learning the cultural creation of a spot with such an intensely multi-linguistic and multi-religious profile. Contributions were solicited from an equivalent variety of experts within the paintings and literature of the medieval Iberian peninsula, with every one essay highlighting the ways that strong different types of style or type are finally insufficient to an entire and nuanced analyzing of cultural items which in a few experience 'belong' to, or handle, extra that considered one of medieval Iberia's 'classic 3, ' Jewish, Muslim and Christian cultural entities. individuals: Ana Echevarria; Heather Ecker; Maria Judith Feliciano; Luis M. Giron-Negron; Gregory S. Hutcheson; Gregory B. Kaplan; Benjamin Liu; Francisco Prado-Vilar; Cynthia Robinson; Leyla Rouhi; Louise O. Vasvari.

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222r (photo: courtesy of Edilán). [Prado-Vilar] 60 chapter two Fig. 6. Cantigas de Santa María, Escorial, Biblioteca del Real Monasterio, MS. 1, fol. 240r (photo: courtesy of Edilán). [Prado-Vilar] terminal histories and arthurian solutions Fig. 7. Cantigas de Santa María, Escorial, Biblioteca del Real Monasterio, MS. 2, fol. 125r (photo: courtesy of Edilán). Fig. 8. 1, fol. 170v (photo: courtesy of Edilán). 31 60 Fig. 9. Cantigas de Santa María, Escorial, Biblioteca del Real Monasterio, MS. 1, fol.

Museo de Valladolid. 60 chapter two [Robinson] terminal histories and arthurian solutions Fig. 1. Ýadºth Bay¸¤ wa Riy¸¤, The Sayyida’s Majlis, I, f. 7 (photo: Biblioteca Apostolica Vaticana). 31 [Robinson] 60 chapter two Fig. 2. Ýadºth Bay¸¤ wa Riy¸¤, The Sayyida’s Majlis, II, f. 9 (photo: Biblioteca Apostolica Vaticana). [Robinson] terminal histories and arthurian solutions 31 Fig. 3. Ýadºth Bay¸¤ wa Riy¸¤, Riy¸¤ Exiled From Her Lady’s Company, f. 13 (photo: Biblioteca Apostolica Vaticana). [Robinson] 60 chapter two Fig.

As a result of this exploration, Hutcheson articulates a significant concept concerning the issue of female sexual agency arrived at through the play of models and genres generally assigned to a stable category. Hutcheson’s categorization of desire as a privileged element of both El libro de buen amor’s and ‘Islamic’ poetics places it above social, cultural and gender boundedness, proving that El libro de buen amor does not respond to already-existing templates of misogyny or promiscuity which are traditionally associated respectively with ‘Christian’ and ‘Islamic’ traditions.

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