<?xml version='1.0' encoding='UTF-8'?><?xml-stylesheet href="http://www.blogger.com/styles/atom.css" type="text/css"?><feed xmlns='http://www.w3.org/2005/Atom' xmlns:openSearch='http://a9.com/-/spec/opensearchrss/1.0/' xmlns:georss='http://www.georss.org/georss' xmlns:gd='http://schemas.google.com/g/2005' xmlns:thr='http://purl.org/syndication/thread/1.0'><id>tag:blogger.com,1999:blog-8627385278573781704</id><updated>2011-07-31T00:15:20.491-07:00</updated><category term='call for papers'/><category term='abstracts'/><category term='cfp'/><title type='text'>UBC Medieval Workshop 2010</title><subtitle type='html'>Quest and Conquest</subtitle><link rel='http://schemas.google.com/g/2005#feed' type='application/atom+xml' href='http://ubc2010medieval.blogspot.com/feeds/posts/default'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default?max-results=100'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/'/><link rel='hub' href='http://pubsubhubbub.appspot.com/'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author><generator version='7.00' uri='http://www.blogger.com'>Blogger</generator><openSearch:totalResults>43</openSearch:totalResults><openSearch:startIndex>1</openSearch:startIndex><openSearch:itemsPerPage>100</openSearch:itemsPerPage><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-207113761001118873</id><published>2011-07-14T14:03:00.000-07:00</published><updated>2011-07-14T14:03:52.814-07:00</updated><title type='text'>NEXT WORKSHOP</title><content type='html'>40th Annual UBC Medieval Workshop 2012:&lt;br /&gt;&lt;a href="http://ubc2012medieval.blogspot.com/2011/01/specular-reflections-mirror-in-medieval_27.html" target="_blank"&gt;"Specular Reflections: The Mirror in Medieval and Early Modern Culture"&lt;/a&gt;&lt;br /&gt;16-17 March 2012&lt;br /&gt;Deadline for paper and panel submissions: 1 August 2011&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-207113761001118873?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/207113761001118873'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/207113761001118873'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2011/07/next-workshop.html' title='NEXT WORKSHOP'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-8891260487441924043</id><published>2010-09-16T18:47:00.000-07:00</published><updated>2010-10-08T09:35:08.615-07:00</updated><title type='text'>Quest and Conquest: Spiritual Symbols and Myths in the Indo-Mediterranean and European Worlds</title><content type='html'>&lt;div style="text-align: center;"&gt;&lt;div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"&gt;&lt;div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"&gt;&lt;a href="http://4.bp.blogspot.com/_Ve44TVYCUkU/TJLIF-G4hrI/AAAAAAAAADM/n0470eHfyZ4/s1600/medws-worldmap.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"&gt;&lt;img border="0" src="http://4.bp.blogspot.com/_Ve44TVYCUkU/TJLIF-G4hrI/AAAAAAAAADM/n0470eHfyZ4/s320/medws-worldmap.jpg" /&gt;&lt;/a&gt;&lt;/div&gt;&lt;span class="Apple-style-span" style="font-size: x-large;"&gt;&lt;span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"&gt;&lt;span class="Apple-style-span" style="color: #741b47;"&gt;39th Annual Medieval Studies Workshop &lt;br /&gt;&lt;span class="Apple-style-span"&gt;&lt;span class="Apple-style-span" style="font-size: large;"&gt; University of British Columbia&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br /&gt;&lt;span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"&gt;&lt;span class="Apple-style-span" style="color: #741b47;"&gt;&lt;span class="Apple-style-span"&gt;&lt;span class="Apple-style-span" style="font-size: large;"&gt;Vancouver, Canada&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br /&gt;&lt;span class="Apple-style-span"&gt;&lt;span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"&gt;&lt;span class="Apple-style-span" style="color: #741b47;"&gt;&lt;span class="Apple-style-span"&gt;&lt;span class="Apple-style-span" style="font-size: large;"&gt;14 - 16 October 2010&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;&lt;div style="text-align: auto;"&gt;&lt;div style="text-align: left;"&gt;&lt;br /&gt;&lt;b&gt;UPDATE&lt;/b&gt;: Registration has now closed.&lt;br /&gt;(Deadline: THURSDAY 7 OCTOBER.)&lt;br /&gt;&lt;br /&gt;&lt;b&gt;UPDATE #2&lt;/b&gt;: Please note the change of time and venue for the plenary lecture: it is now at 1.00 p.m., still on Friday 15 October; and will be at Green College&lt;br /&gt;&lt;div style="text-align: center;"&gt;&lt;div style="text-align: left;"&gt;&lt;br /&gt;&lt;/div&gt;&lt;/div&gt;&lt;br /&gt;The Committee for &lt;a href="http://medieval.arts.ubc.ca/" target="_blank"&gt;Medieval Studies&lt;/a&gt; at the &lt;a href="http://www.ubc.ca/" target="_blank"&gt;University of British Columbia&lt;/a&gt; welcomes you to the 39th Annual UBC Medieval Workshop, to be held from Thursday the 14th through Saturday the 16th of October 2010.&lt;br /&gt;&lt;br /&gt;The workshop's papers deal with a range of aspects of ‘quest and conquest’ and engage with the continuities and differences in the way in which myths and symbols of the spiritual quest and/or conquest ‘travel’, in all forms of expression and exchange, throughout the Medieval Indo-Mediterranean and European worlds.&lt;br /&gt;&lt;br /&gt;The conference will be held at &lt;a href="http://www.greencollege.ubc.ca/"&gt;Green College&lt;/a&gt;, one of the UBC graduate residences, nestled on a forested cliff overlooking ocean and mountains at the edge of our campus in Vancouver, Canada.&lt;br /&gt;&lt;br /&gt;For further information, such as the&amp;nbsp;&lt;a href="http://ubc2010medieval.blogspot.com/p/programme.html"&gt;Programme&lt;/a&gt;, please consult the menu at the top of the page. &lt;br /&gt;&lt;div style="text-align: center;"&gt;&lt;br /&gt;&lt;div class="separator" style="clear: both; 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margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"&gt;&lt;div style="text-align: center;"&gt;&lt;br /&gt;&lt;/div&gt;&lt;br /&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class="separator" style="clear: both; text-align: center;"&gt;&lt;span class="Apple-style-span" style="font-size: x-large;"&gt;&lt;span class="Apple-style-span" style="font-size: medium;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;&lt;div style="text-align: center;"&gt;&lt;span class="Apple-style-span" style="font-size: x-large;"&gt;AT SIMON FRASER UNIVERSITY (SFU):&lt;/span&gt;&lt;/div&gt;&lt;div style="text-align: center;"&gt;&lt;span class="Apple-style-span" style="font-size: x-large;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;&lt;div style="text-align: center;"&gt;&lt;span class="Apple-style-span" style="font-size: x-large;"&gt;&lt;span class="Apple-style-span" style="font-size: medium;"&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;&lt;div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"&gt;&lt;div style="text-align: center;"&gt;&lt;a href="http://1.bp.blogspot.com/_Ve44TVYCUkU/TJVZuzNuSoI/AAAAAAAAAEk/Jca3f95PZK4/s1600/Screen+shot+2010-09-18+at+5.28.55+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"&gt;&lt;img border="0" height="30" src="http://1.bp.blogspot.com/_Ve44TVYCUkU/TJVZuzNuSoI/AAAAAAAAAEk/Jca3f95PZK4/s400/Screen+shot+2010-09-18+at+5.28.55+PM.png" style="cursor: move;" width="400" /&gt;&lt;/a&gt;&lt;/div&gt;&lt;/div&gt;&lt;div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"&gt;&lt;div style="text-align: center;"&gt;&lt;a href="http://www.sfu.ca/ccsmsc/" target="_blank"&gt;SFU Centre for the Comparative Study of Muslim Societies and Cultures&lt;/a&gt;&lt;/div&gt;&lt;/div&gt;&lt;div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"&gt;&lt;div style="text-align: center;"&gt;&lt;br /&gt;&lt;/div&gt;&lt;/div&gt;&lt;div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"&gt;&lt;br /&gt;&lt;/div&gt;&lt;table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding-bottom: 6px; padding-left: 6px; padding-right: 6px; padding-top: 6px; text-align: center;"&gt;&lt;tbody&gt;&lt;tr&gt;&lt;td style="text-align: center;"&gt;&lt;div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"&gt;&lt;a href="http://1.bp.blogspot.com/_Ve44TVYCUkU/TKE7ijA8lNI/AAAAAAAAAFE/DZOWOrpEntg/s1600/Screen+shot+2010-09-27+at+5.48.43+PM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"&gt;&lt;img border="0" src="http://1.bp.blogspot.com/_Ve44TVYCUkU/TKE7ijA8lNI/AAAAAAAAAFE/DZOWOrpEntg/s1600/Screen+shot+2010-09-27+at+5.48.43+PM.png" style="cursor: move;" /&gt;&lt;/a&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;&lt;/tbody&gt;&lt;/table&gt;&lt;div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"&gt;&lt;div style="text-align: center;"&gt;&lt;a href="http://www.fass.surrey.sfu.ca/wl" target="_blank"&gt;SFU World Literature&lt;/a&gt;&lt;/div&gt;&lt;/div&gt;&lt;div&gt;&lt;br /&gt;&lt;/div&gt;&lt;br /&gt;&lt;br /&gt;&lt;div style="text-align: center;"&gt;&lt;span class="Apple-style-span" style="font-size: x-large;"&gt;IN VANCOUVER:&amp;nbsp;&lt;/span&gt;&lt;/div&gt;&lt;div class="separator" style="clear: both; text-align: center;"&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style="text-align: center;"&gt;&lt;a href="http://3.bp.blogspot.com/_Ve44TVYCUkU/TJVYXoJ1BqI/AAAAAAAAAEU/_1BKyoOKRak/s1600/Screen+shot+2010-09-18+at+5.24.34+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"&gt;&lt;img border="0" src="http://3.bp.blogspot.com/_Ve44TVYCUkU/TJVYXoJ1BqI/AAAAAAAAAEU/_1BKyoOKRak/s320/Screen+shot+2010-09-18+at+5.24.34+PM.png" /&gt;&lt;/a&gt;&lt;br /&gt;&lt;a href="http://www.iicvancouver.esteri.it/IIC_Vancouver/" target="_blank"&gt;Istituto Italiano di Cultura, Vancouver&lt;/a&gt;&lt;/div&gt;&lt;div class="separator" style="clear: both; text-align: center;"&gt;&lt;br /&gt;&lt;/div&gt;&lt;div class="separator" style="clear: both; text-align: center;"&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style="text-align: center;"&gt;&lt;a href="http://4.bp.blogspot.com/_Ve44TVYCUkU/TJVY_tEGtjI/AAAAAAAAAEc/3C8pV5BeBL0/s1600/Screen+shot+2010-09-18+at+5.27.14+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"&gt;&lt;img border="0" height="72" src="http://4.bp.blogspot.com/_Ve44TVYCUkU/TJVY_tEGtjI/AAAAAAAAAEc/3C8pV5BeBL0/s400/Screen+shot+2010-09-18+at+5.27.14+PM.png" width="400" /&gt;&lt;/a&gt;&lt;br /&gt;&lt;a href="http://www.consulfrance-vancouver.org/" target="_blank"&gt;Consulat général de France à Vancouver&lt;/a&gt;&lt;/div&gt;&lt;div class="separator" style="clear: both; text-align: center;"&gt;&lt;br /&gt;&lt;/div&gt;&lt;div class="separator" style="clear: both; text-align: center;"&gt;&lt;br /&gt;&lt;/div&gt;&lt;div class="separator" style="clear: both; text-align: center;"&gt;&lt;br /&gt;&lt;/div&gt;&lt;div class="separator" style="clear: both; text-align: center;"&gt;&lt;a href="http://4.bp.blogspot.com/_Ve44TVYCUkU/TKaFFOGiTsI/AAAAAAAAAFQ/NNW0s3zxdDg/s1600/Screen+shot+2010-10-01+at+6.03.03+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"&gt;&lt;img border="0" src="http://4.bp.blogspot.com/_Ve44TVYCUkU/TKaFFOGiTsI/AAAAAAAAAFQ/NNW0s3zxdDg/s1600/Screen+shot+2010-10-01+at+6.03.03+PM.png" /&gt;&lt;/a&gt;&lt;/div&gt;&lt;div class="separator" style="clear: both; text-align: center;"&gt;&lt;br /&gt;&lt;/div&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-8891260487441924043?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/8891260487441924043'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/8891260487441924043'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/09/preliminary-programme.html' title='Quest and Conquest: Spiritual Symbols and Myths in the Indo-Mediterranean and European Worlds'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author><media:thumbnail xmlns:media='http://search.yahoo.com/mrss/' url='http://4.bp.blogspot.com/_Ve44TVYCUkU/TJLIF-G4hrI/AAAAAAAAADM/n0470eHfyZ4/s72-c/medws-worldmap.jpg' height='72' width='72'/></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-7623146549691973944</id><published>2010-09-16T17:55:00.000-07:00</published><updated>2010-10-01T18:15:16.498-07:00</updated><title type='text'>Sponsors</title><content type='html'>&lt;div class="separator" style="clear: both; text-align: center;"&gt;&lt;a href="http://2.bp.blogspot.com/_Ve44TVYCUkU/TJK66K8BkbI/AAAAAAAAACs/Kc1j9RbcEJU/s1600/palatine-chapel-palermo-britannica.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"&gt;&lt;img border="0" height="320" src="http://2.bp.blogspot.com/_Ve44TVYCUkU/TJK66K8BkbI/AAAAAAAAACs/Kc1j9RbcEJU/s320/palatine-chapel-palermo-britannica.jpg" width="152" /&gt;&lt;/a&gt;&lt;/div&gt;&lt;div style="text-align: center;"&gt;&lt;div style="text-align: left;"&gt;&lt;span class="Apple-style-span" style="font-size: x-large;"&gt;AT UBC:&lt;/span&gt;&lt;br /&gt;✳&amp;nbsp;&lt;a href="http://www.greencollege.ubc.ca/" target="_blank"&gt;Green College, UBC&lt;/a&gt;&lt;br /&gt;✳ &lt;a href="http://www.arts.ubc.ca/about-arts/office-of-the-dean.html" target="_blank"&gt;Faculty of Arts, Office of the Dean&lt;/a&gt;&lt;br /&gt;&lt;div style="text-align: auto;"&gt;✳&amp;nbsp;&lt;a href="http://www.vpacademic.ubc.ca/office/index.htm" target="_blank"&gt;The Office of the Provost and Vice President Academic&lt;/a&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;✳ &lt;a href="http://www.research.ubc.ca/" target="_blank"&gt;The Office of the Vice-President, Research and International (VPRO)&amp;nbsp;&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;div&gt;✳ &lt;b&gt;Faculty of Arts Departments:&lt;/b&gt;&lt;br /&gt;&lt;div&gt;&lt;div style="padding-left: 30px;"&gt;✧&amp;nbsp;&lt;a href="http://www.ahva.ubc.ca/" target="_blank"&gt;Art History, Visual Art and Theory&lt;/a&gt;&lt;/div&gt;&lt;div style="padding-left: 30px;"&gt;✧&amp;nbsp;&lt;a href="http://www.asia.ubc.ca/" target="_blank"&gt;Asian Studies&lt;/a&gt;&lt;/div&gt;&lt;div style="padding-left: 30px;"&gt;✧&amp;nbsp;&lt;a href="http://cnrs.arts.ubc.ca/" target="_blank"&gt;Classical, Near Eastern and Religious Studies&lt;/a&gt;&lt;/div&gt;&lt;div style="padding-left: 30px;"&gt;✧&amp;nbsp;&lt;a href="http://www.english.ubc.ca/" target="_blank"&gt;English&lt;/a&gt;&amp;nbsp;&lt;/div&gt;&lt;div style="padding-left: 30px;"&gt;✧&amp;nbsp;&lt;a href="http://www.fhis.ubc.ca/" target="_blank"&gt;French, Hispanic and Italian Studies&lt;/a&gt;&lt;/div&gt;&lt;div style="padding-left: 30px;"&gt;✧&amp;nbsp;&lt;a href="http://www.history.ubc.ca/" target="_blank"&gt;History&lt;/a&gt;&amp;nbsp;&lt;/div&gt;&lt;/div&gt;&lt;div&gt;&lt;div&gt;&lt;br /&gt;&lt;span class="Apple-style-span" style="font-size: x-large;"&gt;AT SFU:&lt;/span&gt;&lt;br /&gt;&lt;div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"&gt;❆&amp;nbsp;&lt;a href="http://www.sfu.ca/ccsmsc/" target="_blank"&gt;SFU Centre for the Comparative Study of Muslim Societies and Cultures&lt;/a&gt;&lt;/div&gt;&lt;div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"&gt;❆&amp;nbsp;&lt;a href="http://www.fass.surrey.sfu.ca/wl" target="_blank"&gt;SFU World Literature&lt;/a&gt;&lt;/div&gt;&lt;br /&gt;&lt;span class="Apple-style-span" style="font-size: x-large;"&gt;IN VANCOUVER:&lt;/span&gt;&lt;/div&gt;&lt;div&gt;❂&amp;nbsp;&lt;a href="http://www.consulfrance-vancouver.org/" target="_blank"&gt;Consulat général de France à Vancouver&lt;/a&gt;&lt;/div&gt;&lt;div&gt;❂&amp;nbsp;&lt;a href="http://www.iicvancouver.esteri.it/IIC_Vancouver/" target="_blank"&gt;Istituto Italiano di Cultura, Vancouver&amp;nbsp;&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;div class="separator" style="clear: both; text-align: center;"&gt;&lt;a href="http://4.bp.blogspot.com/_Ve44TVYCUkU/TKaFFOGiTsI/AAAAAAAAAFQ/NNW0s3zxdDg/s1600/Screen+shot+2010-10-01+at+6.03.03+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"&gt;&lt;img border="0" src="http://4.bp.blogspot.com/_Ve44TVYCUkU/TKaFFOGiTsI/AAAAAAAAAFQ/NNW0s3zxdDg/s1600/Screen+shot+2010-10-01+at+6.03.03+PM.png" /&gt;&lt;/a&gt;&lt;/div&gt;&lt;div class="separator" style="clear: both; text-align: center;"&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style="text-align: center;"&gt;&lt;br /&gt;&lt;/div&gt;&lt;/div&gt;&lt;div&gt;&lt;br /&gt;&lt;/div&gt;&lt;div&gt;&lt;br /&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;div&gt;&lt;br /&gt;&lt;/div&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-7623146549691973944?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/7623146549691973944'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/7623146549691973944'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/09/sponsors.html' title='Sponsors'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author><media:thumbnail xmlns:media='http://search.yahoo.com/mrss/' url='http://2.bp.blogspot.com/_Ve44TVYCUkU/TJK66K8BkbI/AAAAAAAAACs/Kc1j9RbcEJU/s72-c/palatine-chapel-palermo-britannica.jpg' height='72' width='72'/></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-4842785762368381007</id><published>2010-09-16T17:22:00.000-07:00</published><updated>2010-10-02T12:16:29.929-07:00</updated><title type='text'>Organizing Committee</title><content type='html'>&lt;div class="separator" style="clear: both; text-align: center;"&gt;&lt;/div&gt;&lt;div class="separator" style="clear: both; text-align: center;"&gt;&lt;a href="http://4.bp.blogspot.com/_Ve44TVYCUkU/TJK-1H2remI/AAAAAAAAADE/cnR_a4G9RMU/s1600/cropped+Screen+shot+2010-09-16+at+4.50.54+PM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"&gt;&lt;img border="0" height="193" src="http://4.bp.blogspot.com/_Ve44TVYCUkU/TJK-1H2remI/AAAAAAAAADE/cnR_a4G9RMU/s200/cropped+Screen+shot+2010-09-16+at+4.50.54+PM.png" width="200" /&gt;&lt;/a&gt;&lt;/div&gt;&lt;b&gt;&lt;span id="goog_51726123"&gt;&lt;/span&gt;Principal Organizer:&lt;/b&gt;&lt;a href="http://www.blogger.com/"&gt;&lt;br /&gt;Daniela Boccassini&lt;/a&gt;&amp;nbsp;(FHIS, UBC)&lt;br /&gt;&lt;br /&gt;&lt;b&gt;Organizing Committee:&lt;/b&gt;&lt;br /&gt;&lt;div&gt;Sharon Doucet (UBC)&lt;br /&gt;Dorothy-June Fraser&amp;nbsp;(UBC)&lt;br /&gt;Janet Magee&amp;nbsp;(UBC)&lt;br /&gt;Kirsten Rusko&amp;nbsp;(UBC)&lt;br /&gt;Alexis Statz&amp;nbsp;(UBC)&lt;br /&gt;&lt;br /&gt;&lt;b&gt;Web Mistress:&amp;nbsp;&lt;/b&gt;&lt;br /&gt;&lt;b&gt;&lt;/b&gt;Juliet O’Brien (FHIS, UBC)&lt;br /&gt;&lt;br /&gt;&lt;b&gt;Advisors:&lt;/b&gt;&lt;/div&gt;&lt;div&gt;Derryl MacLean (History, SFU)&lt;br /&gt;Robert Rouse (English, UBC)&lt;br /&gt;Raúl Alvarez-Moreno (FHIS, UBC)&lt;br /&gt;&lt;br /&gt;&lt;b&gt;Contact us:&lt;/b&gt;&lt;/div&gt;&lt;div&gt;Email&amp;nbsp;&lt;a href="mailto:ubcmedievalworkshop@gmail.com"&gt;ubcmedievalworkshop@gmail.com&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="mailto:ubcmedievalworkshop@gmail.com"&gt;&lt;/a&gt;&lt;b&gt;See also:&lt;/b&gt;&lt;br /&gt;&lt;span class="Apple-style-span"&gt;✥&amp;nbsp;&lt;a href="http://medieval.arts.ubc.ca/" target="_blank"&gt;UBC MEDIEVAL STUDIES&lt;/a&gt;&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;&lt;div class="separator" style="clear: both; text-align: center;"&gt;&lt;a href="http://4.bp.blogspot.com/_Ve44TVYCUkU/TJK9EJlf0iI/AAAAAAAAAC0/fMAZBvvDyqA/s1600/Cappella_Palatina_-_sostre.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"&gt;&lt;img border="0" height="300" src="http://4.bp.blogspot.com/_Ve44TVYCUkU/TJK9EJlf0iI/AAAAAAAAAC0/fMAZBvvDyqA/s400/Cappella_Palatina_-_sostre.jpg" width="400" /&gt;&lt;/a&gt;&lt;/div&gt;&lt;div style="text-align: center;"&gt;&lt;br /&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-4842785762368381007?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/4842785762368381007'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/4842785762368381007'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/09/organizing-committee.html' title='Organizing Committee'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author><media:thumbnail xmlns:media='http://search.yahoo.com/mrss/' url='http://4.bp.blogspot.com/_Ve44TVYCUkU/TJK-1H2remI/AAAAAAAAADE/cnR_a4G9RMU/s72-c/cropped+Screen+shot+2010-09-16+at+4.50.54+PM.png' height='72' width='72'/></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-3953311087469754566</id><published>2010-09-14T01:35:00.000-07:00</published><updated>2010-09-20T01:59:12.007-07:00</updated><title type='text'>Vancouver accommodation</title><content type='html'>Suggestions only... the following are near UBC and accessible by public transport.&lt;br /&gt;&lt;ul&gt;&lt;li&gt;MAIN INFORMATION&lt;/li&gt;&lt;ul&gt;&lt;li&gt;&lt;a href="http://www.ubcconferences.com/accommodations/" target="_blank"&gt;UBC Conference Accommodation: Rooms and Suites&lt;/a&gt;&lt;/li&gt;&lt;/ul&gt;&lt;li&gt;BUDGET&amp;nbsp;&lt;/li&gt;&lt;ul&gt;&lt;li&gt;&lt;a href="http://www.hihostels.com/dba/hostels-HI---Vancouver-Jericho-Beach-011003.en.htm" target="_blank"&gt;Jericho Beach Youth Hostel&lt;/a&gt; (close to UBC campus)&lt;/li&gt;&lt;li&gt;&lt;a href="http://www.hihostels.com/dba/Hostels-Vancouver-list.php?lang=E&amp;amp;city=CA%7C0071" target="_blank"&gt;Other HI Youth Hostels downtown&lt;/a&gt; (about 45 minutes' commute)&lt;/li&gt;&lt;/ul&gt;&lt;li&gt;MID-RANGE&lt;/li&gt;&lt;ul&gt;&lt;li&gt;&lt;a href="http://www.holidayinn.com/hotels/us/en/vancouver/yvrbw/hoteldetail" target="_blank"&gt;Holiday Inn Vancouver-Centre-Broadway&lt;/a&gt; (about 30 minutes' commute)&lt;/li&gt;&lt;li&gt;see also: &lt;a href="http://www.expedia.ca/Hotels" target="_blank"&gt;Expedia&lt;/a&gt;, &lt;a href="http://www.hotelclub.com/Canada/Vancouver-hotels/" target="_blank"&gt;HotelClub&lt;/a&gt;,&amp;nbsp;&lt;a href="http://www.hotwire.com:80/seo/hotel/d-city/Vancouver,%20Canada" target="_blank"&gt;Hotwire&lt;/a&gt;, &lt;a href="http://www.travelocity.com/hotel-d2934-british-columbia-vancouver-hotels" target="_blank"&gt;Travelocity&lt;/a&gt;, &lt;a href="http://www.tripadvisor.com/Hotels-g154943-Vancouver_British_Columbia-Hotels.html" target="_blank"&gt;Tripadvisor&lt;/a&gt;, etc.&lt;/li&gt;&lt;/ul&gt;&lt;li&gt;UPPER RANGE&lt;/li&gt;&lt;ul&gt;&lt;li&gt;&lt;a href="http://www.starwoodhotels.com/sheraton/property/overview/index.html?propertyID=709" target="_blank"&gt;Sheraton Vancouver Wall Centre&lt;/a&gt;&amp;nbsp;(about 30 minutes' commute)&lt;/li&gt;&lt;li&gt;see also (further away, less direct routes to UBC): the &lt;a href="http://www.fourseasons.com/vancouver/" target="_blank"&gt;Four Seasons&lt;/a&gt;, the &lt;a href="http://www.theloden.com/?chebs=gl_loden" target="_blank"&gt;Loden&lt;/a&gt;, &lt;a href="http://www.opushotel.com/vancouver.html" target="_blank"&gt;Opus&lt;/a&gt;, the &lt;a href="http://www.sylviahotel.com/" target="_blank"&gt;Sylvia&lt;/a&gt;, etc.&lt;/li&gt;&lt;/ul&gt;&lt;/ul&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-3953311087469754566?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/3953311087469754566'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/3953311087469754566'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/09/vancouver-accommodation.html' title='Vancouver accommodation'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-2246167893601589791</id><published>2010-09-01T19:53:00.000-07:00</published><updated>2010-10-07T20:04:54.553-07:00</updated><title type='text'>Workshop locations</title><content type='html'>&lt;a href="http://www.iicvancouver.esteri.it/IIC_Vancouver/Menu/Istituto/Come_raggiungerci/"&gt;Istituto Italiano di Cultura&lt;/a&gt;&lt;br /&gt;&lt;a href="http://www.maps.ubc.ca/PROD/index_detail.php?show=y,n,n,n,n,y&amp;amp;bldg2Search=n&amp;amp;locat1=412"&gt;Green College Coach House&lt;/a&gt;&lt;br /&gt;More detailed map (NB we are in the *Coach House*):&lt;br /&gt;&lt;br /&gt;&lt;div class="separator" style="clear: both; text-align: center;"&gt;&lt;a href="http://1.bp.blogspot.com/_Ve44TVYCUkU/TK6JUu52OqI/AAAAAAAAAF4/Fpv0PGEXfaw/s1600/Screen+shot+2010-10-07+at+8.00.00+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"&gt;&lt;img border="0" height="212" src="http://1.bp.blogspot.com/_Ve44TVYCUkU/TK6JUu52OqI/AAAAAAAAAF4/Fpv0PGEXfaw/s400/Screen+shot+2010-10-07+at+8.00.00+PM.png" width="400" /&gt;&lt;/a&gt;&lt;/div&gt;&lt;div class="separator" style="clear: both; text-align: center;"&gt;&lt;br /&gt;&lt;/div&gt;&lt;div class="separator" style="clear: both; text-align: center;"&gt;&lt;br /&gt;&lt;/div&gt;&lt;div class="separator" style="clear: both; text-align: left;"&gt;The UBC bus loop is about 15 minutes' walk from the Coach House, and the nearest car park is the Rose Garden Parkade:&lt;/div&gt;&lt;div class="separator" style="clear: both; text-align: left;"&gt;&lt;br /&gt;&lt;/div&gt;&lt;div class="separator" style="clear: both; text-align: center;"&gt;&lt;a href="http://2.bp.blogspot.com/_Ve44TVYCUkU/TK6JCjlkO3I/AAAAAAAAAF0/m2VMotVe2us/s1600/Screen+shot+2010-10-07+at+7.58.35+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"&gt;&lt;img border="0" height="228" src="http://2.bp.blogspot.com/_Ve44TVYCUkU/TK6JCjlkO3I/AAAAAAAAAF0/m2VMotVe2us/s400/Screen+shot+2010-10-07+at+7.58.35+PM.png" width="400" /&gt;&lt;/a&gt;&lt;/div&gt;&lt;div class="separator" style="clear: both; text-align: center;"&gt;&lt;br /&gt;&lt;/div&gt;&lt;div class="separator" style="clear: both; text-align: left;"&gt;(Clicking on the maps above will open up a larger image; screenshots taken from &lt;a href="http://maps.google.com/" target="_blank"&gt;Google Maps&lt;/a&gt;.)&lt;/div&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-2246167893601589791?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/2246167893601589791'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/2246167893601589791'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/09/workshop-locations.html' title='Workshop locations'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author><media:thumbnail xmlns:media='http://search.yahoo.com/mrss/' url='http://1.bp.blogspot.com/_Ve44TVYCUkU/TK6JUu52OqI/AAAAAAAAAF4/Fpv0PGEXfaw/s72-c/Screen+shot+2010-10-07+at+8.00.00+PM.png' height='72' width='72'/></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-5516285451193977871</id><published>2010-08-17T23:12:00.000-07:00</published><updated>2010-09-25T16:49:51.970-07:00</updated><title type='text'>Image credits</title><content type='html'>HEADER: The ceiling of the &lt;a href="http://en.wikipedia.org/wiki/Sheikh_Lotf_Allah_Mosque" target="_blank"&gt;Sheikh Lotf Allah mosque&lt;/a&gt;.&lt;br /&gt;Isfahan, Iran (1615-18 CE).&lt;br /&gt;Photograph: Phillip Maiwald. Image source: &lt;a href="http://commons.wikimedia.org/wiki/File:Sheikh_Lotf_Allah_Mosque_dome.jpg" target="_blank"&gt;Wikimedia Commons&lt;/a&gt;.&lt;br /&gt;&lt;br /&gt;FOOTER: Detail from the &lt;a href="http://en.wikipedia.org/wiki/Book_of_Kells" target="_blank"&gt;Book of Kells&lt;/a&gt;, f° 34r (a.k.a. the Chi-Rho Carpet Page).&lt;br /&gt;&lt;div&gt;Dublin, Trinity College Library, MS A. I. (58). (Ca. 800 CE).&lt;br /&gt;Image source: the Yorck Project c/o &lt;a href="http://commons.wikimedia.org/wiki/File:Meister_des_Book_of_Kells_001.jpg" target="_blank"&gt;Wikimedia Commons.&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;ALSO:&lt;br /&gt;The ceiling of the &lt;a href="http://en.wikipedia.org/wiki/Cappella_Palatina" target="_blank"&gt;Cappella Palatina&lt;/a&gt;.&lt;br /&gt;Palermo, Sicily (1140-43 CE)&lt;br /&gt;&lt;br /&gt;The &lt;a href="http://en.wikipedia.org/wiki/Fra_Mauro_map" target="_blank"&gt;Fra Mauro World Map&lt;/a&gt;&lt;br /&gt;&lt;a href="http://marciana.venezia.sbn.it/" target="_blank"&gt;Biblioteca Nazionale Marciana&lt;/a&gt;, Venice&amp;nbsp;(1459)&lt;br /&gt;&lt;br /&gt;&lt;/div&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-5516285451193977871?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/5516285451193977871'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/5516285451193977871'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/08/images-on-this-site.html' title='Image credits'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-6444489679887021901</id><published>2010-08-16T21:36:00.000-07:00</published><updated>2010-09-16T21:36:59.963-07:00</updated><title type='text'>Daniela Boccassini</title><content type='html'>&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-6444489679887021901?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/6444489679887021901'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/6444489679887021901'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/08/daniela-boccassini.html' title='Daniela Boccassini'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-6508423056996791435</id><published>2010-08-16T21:34:00.001-07:00</published><updated>2010-09-16T21:36:38.072-07:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='abstracts'/><title type='text'>Michael Barry: ABSTRACT: "King Arthur's Round Table and the Thousand and One Nights"</title><content type='html'>The famous Round Table of knightly lore was first attributed to King Arthur in 12th- and early 13th-century Norman-French romances, but the motif's origin remains unknown. This discussion focuses on the rich cycle of romances (including tales that found their way into the &lt;i&gt;Thousand and One Nights&lt;/i&gt;) that developed in Islamic civilization around the Arab conquest of Spain in AD 711, featuring the magic table of King Solomon's world rule supposedly found by the Muslim conquerors in the palace of the Visigothic kings of Toledo.&lt;br /&gt;&lt;br /&gt;From the ultimate Germanic, Byzantine and Rabbinical origins of the Spanish-Islamic mythic cycle, to its attested impact on 11th- and 12th-century Latin and Romance literatures, reasons become clear why, to quote Sir Thomas Malory's celebrated 15th-century English summary of the Old French &lt;i&gt;Queste del Saint-Graal&lt;/i&gt;: "Also Merlin made the Round Table in tokening of the roundness of the world, for by the Round Table is the world signified by right, for all the world, Christian and paynim, repair unto the Round Table ("apres cele table fu la Table Reonde par le conseil Merlin, qui ne fu pas establie sanz grant senefiance. Car en ce qu'ele est appelee Table Reonde est entendue la reondece del monde et la circonstance des planetes et des elemenz el firmament; et es circonstances dou firmament voit len les estoiles et mainte autre chose; dont len puet dire en la Table Reonde est li monde senefiez a droit. Car vos poez veoir que de toutes terres ou chevaleries repere, soit de crestienté ou paiennie, viennent à la Table Reonde li chevalier").&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-6508423056996791435?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/6508423056996791435'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/6508423056996791435'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/08/michael-barry-abstract-king-arthurs.html' title='Michael Barry: ABSTRACT: &quot;King Arthur&apos;s Round Table and the Thousand and One Nights&quot;'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-1251826294248206289</id><published>2010-08-16T21:34:00.000-07:00</published><updated>2010-09-17T00:17:29.531-07:00</updated><title type='text'>Erica Dodd</title><content type='html'>Erica Dodd is an Adjunct Professor of Islamic Art and Architecture, in the Department of History in Art, University of Victoria.&lt;br /&gt;&lt;div&gt;&lt;br /&gt;&lt;/div&gt;&lt;div&gt;She&amp;nbsp;received her B.A.in the History of Art from Wellesley College in 1951, and her Ph.D. in Byzantine art from the Courtauld Institute of Art, University of London, in 1958. She subsequently studied Islamic art as a Junior Fellow at the Center for Middle Eastern Studies and Dumbarton Oaks, Harvard University.&lt;br /&gt;&lt;br /&gt;Dr. Dodd has taught at several universities, and lectured at Harvard, Oxford, London, Michigan, McMaster, McGill, and Toronto among others. She has held Fellowships at Oxford, Dumbarton Oaks and Cairo.&lt;br /&gt;&lt;br /&gt;Dr. Dodd taught at the American University of Beirut for twenty years, where she conducted extensive research in Early Christian and early Islamic art. Her early research was in Byzantine Silver. She is presently engaged in the publication of a &lt;i&gt;Supplement&lt;/i&gt; to her book, &lt;i&gt;Byzantine Silver Stamps&lt;/i&gt;.&lt;br /&gt;&lt;br /&gt;While teaching in the Middle East she became interested in the way Islamic inscriptions were used in architecture and published a book entitled The Image of the Word. She is now following up on this work with a study of the Wazir Khan Mosque, in Lahore, Pakistan.&lt;br /&gt;&lt;br /&gt;Presently she is an Emeritus Fellow at the Center for the Studies of Religion and Society, University of Victoria, where she is completing two books on Medieval Painting in Syria and the Lebanon during the Crusades.&lt;br /&gt;&lt;br /&gt;&lt;div&gt;SELECTED PUBLICATIONS&lt;br /&gt;&lt;br /&gt;&lt;/div&gt;&lt;div&gt;&lt;b&gt;Books&lt;/b&gt;&lt;br /&gt;&lt;br /&gt;&lt;i&gt;Byzantine Silver Stamps&lt;/i&gt;, Dumbarton Oaks Studies, VII, l962&lt;br /&gt;&lt;br /&gt;&lt;i&gt;Byzantine Silver Treasures&lt;/i&gt;, Mongraphiender Abegg-Stiftung, Bern, l973&lt;br /&gt;&lt;br /&gt;(with Shereen Khairallah), &lt;i&gt;The Image of the Word&lt;/i&gt;, American University of Beirut, l982.&lt;br /&gt;&lt;br /&gt;&lt;i&gt;Mar Musa el-Habashi, near Nebek, Syria&lt;/i&gt;. The Pontifical Institute for Medieval Studies, University of Toronto. In press.&lt;/div&gt;&lt;div&gt;&lt;b&gt;Articles&lt;/b&gt;&lt;br /&gt;&lt;br /&gt;"The Image of the Word", &lt;i&gt;Berytus&lt;/i&gt;, XVIII, 1969, 35-6l.&lt;br /&gt;&lt;br /&gt;"The Monastery of Mar Musa al-Habashi, near Nebek, Syria", &lt;i&gt;Arte medievale&lt;/i&gt;, 2nd Ser., VI ,(1992), pp. 61-144.&lt;br /&gt;&lt;br /&gt;&lt;div style="text-align: center;"&gt;[&amp;nbsp;&lt;a href="http://ubc2010medieval.blogspot.com/p/participants.html"&gt;return to the List of Participants&lt;/a&gt;&amp;nbsp;]&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-1251826294248206289?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/1251826294248206289'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/1251826294248206289'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/08/erica-dodd.html' title='Erica Dodd'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-3681400440207962660</id><published>2010-08-16T21:33:00.000-07:00</published><updated>2010-09-16T21:34:13.665-07:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='abstracts'/><title type='text'>Erica Dodd: ABSTRACT: "The Virgo Lactans: From Jerusalem to Michelangelo"</title><content type='html'>The figure of the Nursing Madonna was adored in thirteenth century Italy and her popularity rapidly spread throughout medieval Europe.&lt;br /&gt;&lt;br /&gt;Her history stretches back to the Near East, to Coptic Egypt and, indeed, as far back as the Pharaonic representation of Isis and Horus.&lt;br /&gt;&lt;br /&gt;Much ink has been spilled on the historical development and the iconographical implications of the Nursing Madonna. There is a question of the appearance of this motif in Early Christian and Byzantine art, and its liturgical implications for the Byzantine rite. There is also the possibility that the motif originated spontaneously in Italy on impulse to return to nature. This talk will trace the history of this much beloved image from its first appearance in Egypt, through Coptic art into Syria and Palestine, and its importation into Italy from Palestine during the Crusades.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-3681400440207962660?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/3681400440207962660'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/3681400440207962660'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/08/erica-dodd-abstract-virgo-lactans-from.html' title='Erica Dodd: ABSTRACT: &quot;The Virgo Lactans: From Jerusalem to Michelangelo&quot;'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-3612372838392458510</id><published>2010-08-16T21:32:00.000-07:00</published><updated>2010-09-17T00:17:48.757-07:00</updated><title type='text'>Azadeh Yamini-Hamedani</title><content type='html'>Azadeh Yamini-Hamedani is an Assistant Professor in the World Literature Programme, Simon Fraser University. She holds a BA, MA, and PhD from the University of California, Berkley. Her teaching interests involve interconnections of literature and philosophy, with particular emphasis on the semiotics of translation. Her current research includes Goethe's conception of World Literature in light of his reading of Hafez. She also explores Nietzsche's understanding of Zoroastrianism as it appears in his notations and in &lt;i&gt;Thus Spoke Zarathustra&lt;/i&gt;.&lt;br /&gt;&lt;br /&gt;&lt;div style="text-align: center;"&gt;[&amp;nbsp;&lt;a href="http://ubc2010medieval.blogspot.com/p/participants.html"&gt;return to the List of Participants&lt;/a&gt;&amp;nbsp;]&lt;/div&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-3612372838392458510?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/3612372838392458510'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/3612372838392458510'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/08/azadeh-yamini-hamedani.html' title='Azadeh Yamini-Hamedani'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-1477690915321321172</id><published>2010-08-16T21:28:00.000-07:00</published><updated>2010-09-25T11:14:01.509-07:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='abstracts'/><title type='text'>Azadeh Yamini-Hamedani: ABSTRACT: "The quest of words unread: Islamic inscriptions in Christian art"</title><content type='html'>By defining myth as a stage in the development of language (Mueller) where the etymological root of words are most alive and present in the minds of its speakers, the presentation begins by exploring the etymology of the words “quest” and “conquest” in the English/Latin and Persian/Arabic context to arrive at the nuances of each. Asking to what extent the meaning of words reflect and create the reality that surround them, the paper goes on to uncover the spiritual philosophy behind Islamic inscriptions and turns to a definition of myth as second-order semiological system (Barthes) to contemplate the semiotic process behind the emergence of Islamic inscriptions in Medieval Europe:&lt;br /&gt;&lt;div&gt;&lt;table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"&gt;&lt;tbody&gt; &lt;/tbody&gt;&lt;/table&gt;&lt;/div&gt;&lt;table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"&gt;&lt;tbody&gt;&lt;tr&gt;&lt;td style="text-align: center;"&gt;&lt;a href="http://1.bp.blogspot.com/_Ve44TVYCUkU/TJLu4wQNtaI/AAAAAAAAADU/94TES13gkPc/s1600/Screen+shot+2010-09-16+at+9.29.39+PM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"&gt;&lt;img border="0" src="http://1.bp.blogspot.com/_Ve44TVYCUkU/TJLu4wQNtaI/AAAAAAAAADU/94TES13gkPc/s320/Screen+shot+2010-09-16+at+9.29.39+PM.png" /&gt;&lt;/a&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td class="tr-caption" style="text-align: center;"&gt;&lt;div style="margin-bottom: 0cm;"&gt;&lt;span style="font-size: x-small;"&gt;The Johanneskapelle in Puergg, Austria completed in 1160/65:&lt;/span&gt;&lt;/div&gt;&lt;div style="margin-bottom: 0cm;"&gt;&lt;span style="font-size: x-small;"&gt;Christ on the cross under an arch bearing the name Allah nine times over.&lt;/span&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;&lt;/tbody&gt;&lt;/table&gt;&lt;div&gt;&lt;table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding-bottom: 6px; padding-left: 6px; padding-right: 6px; padding-top: 6px; text-align: center;"&gt;&lt;tbody&gt;&lt;tr&gt;&lt;td style="text-align: center;"&gt;&lt;div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"&gt;&lt;a href="http://3.bp.blogspot.com/_Ve44TVYCUkU/TJLvALMOPoI/AAAAAAAAADc/g2MM_LmMs_8/s1600/Screen+shot+2010-09-16+at+9.29.49+PM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"&gt;&lt;img border="0" src="http://3.bp.blogspot.com/_Ve44TVYCUkU/TJLvALMOPoI/AAAAAAAAADc/g2MM_LmMs_8/s320/Screen+shot+2010-09-16+at+9.29.49+PM.png" style="cursor: move;" /&gt;&lt;/a&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td class="tr-caption" style="font-size: 13px; padding-top: 4px; text-align: center;"&gt;&lt;div style="margin-bottom: 0cm;"&gt;&lt;div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"&gt;&lt;span style="font-size: x-small;"&gt;On the walls of a small church in San Giovanello, dating to 1422, the halo around Mary contains the Muslim profession of faith.&lt;/span&gt;&lt;/div&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;&lt;/tbody&gt;&lt;/table&gt;&lt;div&gt;&lt;br /&gt;&lt;br /&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-1477690915321321172?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/1477690915321321172'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/1477690915321321172'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/08/azadeh-yamini-hamedani-abstract-quest.html' title='Azadeh Yamini-Hamedani: ABSTRACT: &quot;The quest of words unread: Islamic inscriptions in Christian art&quot;'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author><media:thumbnail xmlns:media='http://search.yahoo.com/mrss/' url='http://1.bp.blogspot.com/_Ve44TVYCUkU/TJLu4wQNtaI/AAAAAAAAADU/94TES13gkPc/s72-c/Screen+shot+2010-09-16+at+9.29.39+PM.png' height='72' width='72'/></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-3364063259947015711</id><published>2010-08-16T21:27:00.000-07:00</published><updated>2010-09-17T00:18:09.500-07:00</updated><title type='text'>Amie Kraus</title><content type='html'>Amie Kraus is a PhD student in the Department of French, Hispanic and Italian Studies at the University of British Columbia. She holds a master’s degree in French from UBC (2009) and in linguistics from the University of North Carolina, Chapel Hill (2006). Her current interests include historical linguistics and sociolinguistics, the medieval Anglo-Norman dialect, modern-day Channel Island dialects, and Québécois.&lt;br /&gt;&lt;br /&gt;&lt;div style="text-align: center;"&gt;[&amp;nbsp;&lt;a href="http://ubc2010medieval.blogspot.com/p/participants.html"&gt;return to the List of Participants&lt;/a&gt;&amp;nbsp;]&lt;/div&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-3364063259947015711?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/3364063259947015711'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/3364063259947015711'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/08/amie-kraus.html' title='Amie Kraus'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-6831855237184549730</id><published>2010-08-16T21:26:00.000-07:00</published><updated>2010-09-16T21:27:23.386-07:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='abstracts'/><title type='text'>Amie Kraus: ABSTRACT: “Themes of Conquest and Social Allegory in Medieval Europe: The Game of Chess in Les gius partiz des eschez  (Anglo-norman, 14th century)”</title><content type='html'>The game of chess has a long and varied history. The precursor of our modern game appeared in 5th or 6th century India, passed into Persia in the 6th century, was adopted by the Arabs and subsequently carried into Europe by the Arabs’ conquests in Spain and Portugal at the end of the 10th century.&lt;br /&gt;&lt;br /&gt;The game quickly gained popularity in Europe after its arrival, and it was soon incorporated into medieval European literature. Various systems of symbolism were imposed on the game; and its rules and pieces, which had been evolving over the centuries, continued to change. In spite of these changes and in spite of the efforts of some medieval institutions and authors to downplay the object of winning at the game, chess continued to be associated with the themes of conquest and battle which characterized the game at its very beginning.&lt;br /&gt;&lt;br /&gt;This paper examines the ever-present theme of conquest in an Anglo-Norman chess treatise of the early 14th century, a period when medieval European society often viewed the chess board as an allegory of the ideal society. Every chess piece, therefore, exemplified the individual’s role and obligations towards that society, and the treatise contains lessons which warn against vices such as greed and acting only for one’s own good. Ironically, these lessons are given in problem sets which aim ultimately to teach players how to win at a game of chess, i.e. how to check (or kill) their opponent’s king.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-6831855237184549730?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/6831855237184549730'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/6831855237184549730'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/08/amie-kraus-abstract-themes-of-conquest.html' title='Amie Kraus: ABSTRACT: “Themes of Conquest and Social Allegory in Medieval Europe: The Game of Chess in Les gius partiz des eschez  (Anglo-norman, 14th century)”'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-1257900923883435018</id><published>2010-08-15T21:24:00.000-07:00</published><updated>2010-09-17T00:18:28.624-07:00</updated><title type='text'>Valerio Cappozzo</title><content type='html'>&lt;b&gt;Biosketch&lt;/b&gt;&lt;br /&gt;&lt;br /&gt;Ph. D. candidate, Italian Medieval Literature, Indiana University – present&lt;br /&gt;&lt;br /&gt;Dissertation title: “The Science of Dreams and Early Italian Poetry:  The &lt;i&gt;Somniale Danielis&lt;/i&gt; in Medieval and Humanist Literary Miscellanies”, Advisor: Prof. H. Wayne Storey.&lt;br /&gt;&lt;br /&gt;M.A., Italian Literature, Indiana University - 2007&lt;br /&gt;&lt;br /&gt;B.A., Dante: Philology and Criticism, University of Rome “La Sapienza” - 2003 Thesis title: “L’Espediente Letterario del Sogno nel &lt;i&gt;Purgatorio&lt;/i&gt; di Dante Alighieri”, Advisor: Prof. Achille Tartaro.&lt;br /&gt;&lt;br /&gt;&lt;b&gt;Publications&lt;/b&gt;&lt;br /&gt;&lt;br /&gt;“Incontri Indiani: Lettere Inedite di Giorgio Bassani”, in &lt;i&gt;Poscritto a Giorgio Bassani. Raccolta di saggi critici nel decimo anniversario della morte&lt;/i&gt;, edited by R. Antognini and R. Blumenfeld, Milano: LED Edizioni Universitarie, 2011 [forthcoming].&lt;br /&gt;&lt;br /&gt;“Libri dei Sogni e Geomanzia: la loro Applicazione Letteraria tra Islam, Medioevo Romanzo e Dante”, &lt;i&gt;Quaderni di Studi Indo-Mediterranei,&lt;/i&gt; 2, 2009: 207-226.&lt;br /&gt;&lt;br /&gt;“Libri dei sogni e Letteratura: l’Espediente Narrativo di Dante Alighieri”, in &lt;i&gt;Studi di Letteratura Italiana in Memoria di Achille Tartaro&lt;/i&gt;, edited by G. Natali and P. Stoppelli, Rome: Bulzoni, 2009: 99-119.&lt;br /&gt;&lt;br /&gt;&lt;div style="text-align: center;"&gt;[&amp;nbsp;&lt;a href="http://ubc2010medieval.blogspot.com/p/participants.html"&gt;return to the List of Participants&lt;/a&gt;&amp;nbsp;]&lt;/div&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-1257900923883435018?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/1257900923883435018'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/1257900923883435018'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/08/valerio-cappozzo.html' title='Valerio Cappozzo'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-3702137700597758336</id><published>2010-08-15T21:19:00.000-07:00</published><updated>2010-09-16T21:24:01.866-07:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='abstracts'/><title type='text'>Valerio Cappozzo: ABSTRACT: "Islamic Intersections: the Conquest of Dream Sciences in Medieval Italian Miscellanies"</title><content type='html'>This paper analyzes the connections existing between the Islamic divinatory sciences, Italian Medieval dream-books and early Italian vision poetry. More specifically, it will focus on the conquest of Islamic symbols related to dreams, their integration into Christian culture and the erasure of their origins on the part of catholic censorship. My aim then will be to track the Islamic roots of these buried symbols in six Italian miscellanies of the Thirteenth and Fourteenth century.&lt;br /&gt;&lt;br /&gt;The medieval Dream Interpretation is a popular and widely circulated manual, which guided the interpretation of dreams. It has its origins in early fourth-century Greek manuscripts, and thrived in the High Middle Ages primarily in Arabic, Latin, and the European vernaculars. The material aspects of the unstudied Italian tradition of this dream-book, reveal important factors about the influence of Islamic divinatory sciences in the use of vision or dream motifs by Italian poets. However, the catholic censorship constituted the major opposition to Islamic culture, and led to the oblivion of these dream-books as well as their connection to early Italian poetic production linked to dreams and visions. Therefore, the miscellanies bearing such dream manuals provide essential information about the ways in which popular culture, which is often so hard to describe specifically because it is often untraceable to written witnesses, influenced what we have traditionally identified as the ‘high culture’ of early literary Italy.&lt;br /&gt;&lt;br /&gt;This research will focus on the specific ways in which the dream manual was materially bound with and utilized by early Italian visionary literature. To prove this point, I will examine six miscellany manuscripts conserved in Florence, such as the ms. Martelli 12, a codex which bears the earliest known attestation of this kind of dream-book and Dante’s &lt;i&gt;Vita Nova&lt;/i&gt;, in which associations with ‘high’ and ‘low’ culture claim special significance.&lt;br /&gt;&lt;br /&gt;The Islamic divinatory sciences were integrated in the catholic world, and even if their use remained controversial, their application into poetry confirm how these techniques were of common knowledge.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-3702137700597758336?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/3702137700597758336'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/3702137700597758336'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/08/valerio-cappozzo-abstract-islamic.html' title='Valerio Cappozzo: ABSTRACT: &quot;Islamic Intersections: the Conquest of Dream Sciences in Medieval Italian Miscellanies&quot;'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-2244220162939133213</id><published>2010-08-15T21:15:00.000-07:00</published><updated>2010-09-17T00:18:48.506-07:00</updated><title type='text'>Livia Stoenescu</title><content type='html'>&lt;b&gt;Education and Employment&amp;nbsp;&lt;/b&gt;&lt;br /&gt;&lt;br /&gt;&lt;b&gt;2004–2009 Doctor of Philosophy&amp;nbsp;&lt;/b&gt;&lt;br /&gt;&lt;div&gt;Queen’s University, Art History Department, Kingston, Ontario, Canada&lt;br /&gt;&lt;br /&gt;Dissertation: “The Visual Narratives of El Greco, Annibale Carracci and Rubens: Altarpieces of the Assumption of the Virgin Mary in the Early Modern Age”, successfully defended in April 2009 and available now in library use&lt;br /&gt;&lt;br /&gt;Teaching assistant and course instructor in fifteenth- and sixteenth-century Renaissance art&lt;br /&gt;&lt;br /&gt;Related projects and conference papers:&lt;br /&gt;&lt;ul&gt;&lt;li&gt;“Annibale Carraci and the Modern Reform of Altar Painting,” Cornell University, Annual Symposium, April 2, 2010.&amp;nbsp;&lt;/li&gt;&lt;li&gt;“El Greco’s Washington Laocoon: Re-inventing the Myth in an Early Modern Narrative,” Context and Meaning, Agnes Etherington Art Centre, Kingston, January 27-28, 2006.&amp;nbsp;&lt;/li&gt;&lt;li&gt;“Canadian Photographer William Notman: Looking at Renaissance Prints and Drawings with a North-American Sentiment,” Queen’s University, March, 2005&amp;nbsp;&lt;/li&gt;&lt;/ul&gt;&lt;br /&gt;&lt;b&gt;2002–2004&lt;br /&gt;Special Studies in the late Renaissance&amp;nbsp;&lt;/b&gt;&lt;br /&gt;University of Toronto, Fine Arts Department, Canada&lt;br /&gt;&lt;br /&gt;Main research projects involved seventeenth-century Italian artist Salvator Rosa and his early modern profile examined against his engagements with theater (“Identity and Disguise in Salvator Rosa’s Self-Portraiture”), prints (“Sensi Liberi in Salvator Rosa’s pictorial ideas”), and the Neo-Stoic direction (“Rosa, Rembrandt, Rubens and Poussin: Neo-Stoic Beliefs, Friendship and Memory”)&lt;br /&gt;&lt;br /&gt;&lt;div style="text-align: center;"&gt;[&amp;nbsp;&lt;a href="http://ubc2010medieval.blogspot.com/p/participants.html"&gt;return to the List of Participants&lt;/a&gt;&amp;nbsp;]&lt;/div&gt;&lt;/div&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-2244220162939133213?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/2244220162939133213'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/2244220162939133213'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/08/livia-stoenescu.html' title='Livia Stoenescu'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-8089750860739254897</id><published>2010-08-15T21:14:00.000-07:00</published><updated>2010-09-16T21:15:46.314-07:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='abstracts'/><title type='text'>Livia Stoenescu: ABSTRACT: Re-Interpreting the Myth of Trojan Descent</title><content type='html'>In the early sixteenth century when German humanists overturned many assumptions on the birth of ethnic entities, the attack on the Trojan myth found adherents among those who began to repudiate the notion of Trojan descent as pretentious and outmoded, and sought their roots in the nobility of all Germany. Imperial dedication to the Trojan legend had become an object of derision, and so artists and monarchs were prepared to recast the splendors of the Greco-Roman past in new materials and within new works of art. Late sixteenth-century painting negotiates this novel direction in evocative instances of re-construction and deconstruction of the myth of Trojan descent. My paper seeks to shed light on the efforts to depart from the alluring legacy of classical antiquity, visible in Federico Barocci’s rendition of the flight of Aeneas from Troy and El Greco’s own invented narrative of Laocoon and his sons.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-8089750860739254897?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/8089750860739254897'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/8089750860739254897'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/08/livia-stoenescu-abstract-re.html' title='Livia Stoenescu: ABSTRACT: Re-Interpreting the Myth of Trojan Descent'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-2426489034744989531</id><published>2010-08-15T21:13:00.000-07:00</published><updated>2010-09-17T00:19:07.660-07:00</updated><title type='text'>Marina Lushchenko</title><content type='html'>I received my MA in French Literature from the University of British Columbia (2006) and my BA (Honours) in French and English from Simon Fraser University (2004). I am currently working on my PhD thesis on the medieval French perceptions of Turkey/Asia Minor and the Turks. My research interests lie predominantly at the intersection of literature, history and travel writing, real and imaginary, in the context of cultural relations between the Latin West and the two Turkish empires (Seljuks and Ottomans) during the Middle Ages and early Renaissance.&lt;br /&gt;&lt;br /&gt;&lt;div style="text-align: center;"&gt;[&amp;nbsp;&lt;a href="http://ubc2010medieval.blogspot.com/p/participants.html"&gt;return to the List of Participants&lt;/a&gt;&amp;nbsp;]&lt;/div&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-2426489034744989531?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/2426489034744989531'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/2426489034744989531'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/08/marina-lushchenko.html' title='Marina Lushchenko'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-2338051765679564884</id><published>2010-08-15T21:11:00.000-07:00</published><updated>2010-09-16T21:11:26.566-07:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='abstracts'/><title type='text'>Marina Lushchenko: ABSTRACT: "Searching for the Origins of the Turks in the Medieval West: William of Tyre, Hayton of Corycus and the genre of origo gentis"</title><content type='html'>Myths about the origins of a medieval gens functioned as an important force in political, social and cultural matters throughout the European Middle Ages, national identities having been crafted on the basis of descent of a national group from some great people, family or hero. The case of the Turks, the only Oriental nation said to have the honour of sharing with Europeans a common ancestor, the Trojans, is of particular interest, all the more so because medieval ethnogenetic narrative has also attributed evil, demonic origins to the Turks, alongside some other Asian peoples. While medieval constructions of a diabolical ancestry for the Turks are readily explicable by the long-standing political and religious confrontation between the Latins and the Turks, political and religious approaches fail, however, to explain the existence of myths of common Turco-Latin origins and their coexistence with myths of the Turks’ demonic nature.&lt;br /&gt;&lt;br /&gt;This paper will approach these issues from a cultural perspective, by applying the methodologies of cultural history (or history of mentalities) to medieval ethnogenetic texts of William of Tyre and Hayton of Corycus. It is argued that attention should first focus on the social background of the authors which implies the perception of the Turks according to a specific reference model based either on religious or feudal/knightly values (i.e. prowess in war). It is further suggested that, considering the feudal military mentality of that period, the Turks deserved to figure among the great nations, as exemplified by the tradition of ascribing them Trojan descent and structuring the story of their origins on the rules of the widespread medieval historico-literary genre, the o&lt;i&gt;rigo gentis&lt;/i&gt;.&lt;br /&gt;&lt;br /&gt;&lt;b&gt;Primary Sources&amp;nbsp;&lt;/b&gt;&lt;br /&gt;&lt;br /&gt;Corycos, Hayton of. &lt;i&gt;La Flor d’Estoires d’Orient. Recueil des historiens des croisades, Historiens arméniens. Vol. II&lt;/i&gt;. Paris: Imprimerie Nationale, 1906.&lt;br /&gt;&lt;br /&gt;Tyre, William of. &lt;i&gt;L'Estoire d'Eracles empereur et la conqueste de la terre d'Outremer. Recueil des historiens des croisades, Historiens occidentaux. Vol. I&lt;/i&gt;. Paris: Imprimerie Royale, 1844.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-2338051765679564884?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/2338051765679564884'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/2338051765679564884'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/09/marina-lushchenko-abstract-searching.html' title='Marina Lushchenko: ABSTRACT: &quot;Searching for the Origins of the Turks in the Medieval West: William of Tyre, Hayton of Corycus and the genre of origo gentis&quot;'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-5016845069038530222</id><published>2010-08-15T21:08:00.000-07:00</published><updated>2010-09-17T00:19:36.174-07:00</updated><title type='text'>Roberta Morosini</title><content type='html'>&lt;div&gt;&lt;span class="Apple-style-span" style="line-height: 15px;"&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;Roberta Morosini is Associate Professor of Italian at Wake Forest University.&lt;/span&gt;&lt;/span&gt;&lt;br /&gt;&lt;strong&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;&lt;b&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;/b&gt;&lt;/span&gt;&lt;/strong&gt;&lt;br /&gt;&lt;span class="Apple-style-span" style="line-height: 15px;"&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;/span&gt;&lt;/span&gt;&lt;strong&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;&lt;b&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;Education&lt;/span&gt;&lt;/b&gt;&lt;/span&gt;&lt;/strong&gt;&lt;br /&gt;&lt;ul&gt;&lt;li&gt;&lt;strong&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;Ph.D., Medieval Italian Literature and Culture, McGill University, 1998&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;/strong&gt;&lt;/li&gt;&lt;li&gt;&lt;strong&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;D.E.A., Littératures en langue française, Université de Rennes II, 1995&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;/strong&gt;&lt;/li&gt;&lt;li&gt;&lt;strong&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;Italian Laurea, Foreign Languages and Literatures, Università di Napoli "Federico II", 1994&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;/strong&gt;&lt;/li&gt;&lt;/ul&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;b&gt;Research Interests:&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;&lt;ul&gt;&lt;li&gt;&lt;strong&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;Thirteenth and Fourteenth Century Narrative: Boccaccio and his Contemporaries&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;/strong&gt;&lt;/li&gt;&lt;li&gt;&lt;strong&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;Medieval Mediterranean Italy&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;/strong&gt;&lt;/li&gt;&lt;li&gt;&lt;strong&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;The Literary Representations of the Prophet Muhammad in Thirteenth and Fourteenth Century Italy&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;/strong&gt;&lt;/li&gt;&lt;li&gt;&lt;strong&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;Architecture and Representation of the City in Thirteenth and Fourteenth Century Mediterranean Literature&lt;/span&gt;&lt;/span&gt;&lt;/strong&gt;&lt;/li&gt;&lt;/ul&gt;&lt;strong&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;&lt;/span&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;Books:&lt;/span&gt;&lt;/strong&gt;&lt;br /&gt;&lt;div&gt;&lt;ul&gt;&lt;li&gt;&lt;em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;Boccaccio geografo&lt;/span&gt;&lt;/span&gt;&lt;/em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;, &lt;/span&gt;&lt;/span&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;edition and introduction by R. Morosini&amp;nbsp; (Wake Forest University and Ente Nazionale G. Boccaccio. (&lt;/span&gt;&lt;/span&gt;&lt;a href="http://www.polistampa.com/public/static/sl_5090.htm"&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;Firenze: Polistampa, 2010&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;).&lt;/span&gt;&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;Coming of ages on Film: Stories of Transformation in World Cinema&lt;/span&gt;&lt;/span&gt;&lt;/em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;, eds. A. Hardcastle, R. Morosini, K.Tarte (&lt;/span&gt;&lt;/span&gt;&lt;a href="http://www.amazon.com/Coming-Age-Film-Stories-Transformations/dp/144380987X"&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;Newcastle: Cambridge Scholars Publishing, 2009&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;).&lt;/span&gt;&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;Mediterranoesis. Voci dal Medioevo e Rinascimento Mediterraneo&lt;/span&gt;&lt;/span&gt;&lt;/em&gt;&lt;em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;,&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;/em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;eds.&amp;nbsp; R. Morosini&amp;nbsp; and C. Perissinotto. (Roma: Salerno Editrice, 2007).&lt;br /&gt;see the article/review by Monique O’ Connell,&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;The Italian Renaissance in the Mediterranean, or Between East and&amp;nbsp; West&lt;/span&gt;&lt;/span&gt;&lt;/em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;,&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;California Italian Studies Journal&lt;/span&gt;&lt;/span&gt;&lt;/em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;, 1-2 (2010)&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;a href="http://escholarship.org/uc/ismrg_cisj"&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;http://escholarship.org/uc/ismrg_cisj&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;Maria di Francia.&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;Favole&lt;/span&gt;&lt;/span&gt;&lt;/em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;. An Italian translation from Anglo-Normand. (Roma: Carocci, Biblioteca Medievale, 2006).&lt;/span&gt;&lt;/span&gt;&lt;a href="http://guide.dada.net/bibliofilia/interventi/2007/01/283090.shtml"&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;http://guide.dada.net/bibliofilia/interventi/2007/01/283090.shtml&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;/span&gt;&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;‘Per difetto rintegrare.’ Una lettura del&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;Filocolo&lt;/span&gt;&lt;/span&gt;&lt;/em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;&amp;nbsp;di Giovanni Boccaccio.( Ravenna: Longo, 2004).&lt;/span&gt;&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;In search of Italia,&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;/em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;eds. R. Morosini &amp;amp; A. Vitti., (Pesaro: Metauro, 2003).&lt;/span&gt;&lt;/span&gt;&lt;/li&gt;&lt;/ul&gt;&lt;strong&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;Representative publications&lt;/span&gt;&lt;/strong&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;:&lt;/span&gt;&lt;br /&gt;&lt;ul&gt;&lt;li&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;“Napoli: ‘spazi rappresentativi’ della geografia della memoria”, in&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;Boccaccio geografo&lt;/span&gt;&lt;/span&gt;&lt;/em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;, ed. R. Morosini, (Firenze: &amp;nbsp;Polistampa, 2010) pp, 179-204.&lt;/span&gt;&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;"Penelopi in viaggio ‘fuori rotta’ nel&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;Decameron&lt;/span&gt;&lt;/span&gt;&lt;/em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;&amp;nbsp;e altrove. ‘Metamorfosi’ e scambi&amp;nbsp; nel mediterraneo medievale”,&lt;/span&gt;&lt;/span&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;in&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;California Italian Studies Journal,&lt;/span&gt;&lt;/span&gt;&lt;/em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;&amp;nbsp;1-2, 2010, pp. 1-33 see:&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;a href="http://escholarship.org/uc/ismrg_cisj"&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;http://escholarship.org/uc/ismrg_cisj&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;Alexander Romance in Italy&amp;nbsp; during the Middle Ages,&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;/em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;in&lt;/span&gt;&lt;/span&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;A Companion to Alexander in the Middle Ages&lt;/span&gt;&lt;/span&gt;&lt;/em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;&amp;nbsp;to&amp;nbsp; (Leiden: Brill , forthcoming 2010).&lt;/span&gt;&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;“Fu in Lunigiana ”. La Lunigiana e l’epistola di frate Ilario (Codice 8, Pluteo XXIX, Zibaldone Mediceo-Laurenziano) nella geografia letteraria di Boccaccio, 29.1 (2009): 50-68.&lt;/span&gt;&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;Secrets and lies.&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;Utilitas, civanza&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;/em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;and “recreantise” in Boccaccio’s&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;Allegory of Good and Bad Government&lt;/span&gt;&lt;/span&gt;&lt;/em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;::&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;Decameron&lt;/span&gt;&lt;/span&gt;&lt;/em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;&amp;nbsp;III 4, in&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;Lectura Boccacci, Day III&lt;/span&gt;&lt;/span&gt;&lt;/em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;,ed. P. M. Forni, F. Ciabattoni, (Toronto: Toronto University Press, Forthcoming).&lt;/span&gt;&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;“ ‘Con segni e parole ornate’: il&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;Calonaco da Siena/ o /la Ruffianella&lt;/span&gt;&lt;/span&gt;&lt;/em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;,”&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;LIA (Letteratura Italiana Antica)&lt;/span&gt;&lt;/span&gt;&lt;/em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;,11(2009) forthcoming.&lt;/span&gt;&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;“Maometto, l’ascesa di un antieroe a corte”, in&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;Mediterranoesis&lt;/span&gt;&lt;/span&gt;&lt;/em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;.&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;Voci dal Medioevo e Rinascimento mediterraneo&lt;/span&gt;&lt;/span&gt;&lt;/em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;, eds. R. Morosini &amp;amp; C. Perissinotto, (Roma: Salerno Editrice, 2007), pp. 127-148.&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;“A Literary Muhammad. The prophet of Islam in the cosmography of Fazio degli Uberti”, in&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;Firenze&amp;nbsp; alla vigilia del Rinascimento&lt;/span&gt;&lt;/span&gt;&lt;/em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;&amp;nbsp;(Proceedings of the conference held at McGill University, 22-23 October 2004), ed. M. Bendinelli Predelli, (Firenze: Cadmo, 2006), pp. 199-218. &amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;“Il&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;Roman de Mahomet&lt;/span&gt;&lt;/span&gt;&lt;/em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;&amp;nbsp;(1258) tra tradizione e riscrittura nei Commentari danteschi del XIV secolo e nella&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;Cronica&lt;/span&gt;&lt;/span&gt;&lt;/em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;&amp;nbsp;di Giovanni Villani”, in&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;Letteratura Italiana Antica&lt;/span&gt;&lt;/span&gt;&lt;/em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;, 6,(2005), pp. 293-317. &amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;“Ancora Boccaccio e i ‘franceschi romanzi’. ‘Ki verté trespasse et laisse’ ovvero gli ‘ignoranti’, i maghi e i loro ‘fabulosi parlari’”, in&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;Boccaccio e le letterature romanze tra Medioevo e Rinascimento,&lt;/span&gt;&lt;/span&gt;&lt;/em&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;&amp;nbsp;Atti del Convegno Internazionale “Boccaccio e la Francia” (Università di Firenze Maggio 2004) ed. S.&amp;nbsp; Mazzoni Peruzzi, (Firenze: Alinea, 2006), pp. 135-157. &amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;/li&gt;&lt;/ul&gt;&lt;div&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;For further publications and other information, please see her&lt;/span&gt;&lt;/span&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;span class="Apple-style-span" style="font-weight: normal;"&gt;&lt;a href="http://www.wfu.edu/romancelanguages/faculty/morosini.htm"&gt; faculty profile.&lt;/a&gt;&lt;/span&gt;&lt;/span&gt;&lt;br /&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;br /&gt;&lt;div style="text-align: center;"&gt;&lt;span class="Apple-style-span" style="font-family: inherit;"&gt;[&amp;nbsp;&lt;a href="http://ubc2010medieval.blogspot.com/p/participants.html"&gt;return to the List of Participants&lt;/a&gt;&amp;nbsp;]&lt;/span&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-5016845069038530222?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/5016845069038530222'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/5016845069038530222'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/08/roberta-morosini.html' title='Roberta Morosini'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-1563253354435852444</id><published>2010-08-15T21:05:00.000-07:00</published><updated>2010-09-16T21:08:31.217-07:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='abstracts'/><title type='text'>Roberta Morosini: ABSTRACT: “Alexander the traveler in Medieval and Renaissance Italian tradition : when a conquest is a quest”</title><content type='html'>In a systematic study for a &lt;i&gt;Companion&lt;/i&gt; to the legends of Alexander for Brill publisher, I examined the legends of Alexander the Great in Medieval and Renaissance Italy, from Arci-Bishop Leo (X Century) to Manta’ castle in the region of Piemonte (1430) and Domenico Falugio’s &lt;i&gt;Triompho magno&lt;/i&gt; in the XVI Century. According to the major specialists of Alexander legends, R. Stoneman and G. Cary, the general Medieval secular approach to Alexander was represented in Italy in the late Middle Ages only by dry Alexander-books as drier references to his conquest. However, my aim is to show that the Alexander-books in Medieval Italy were not dry and flat stories with dry references to his conquest, rather proposing a courtly Alexander, a hero in his quest. In the Italian tradition of Alexander-books, we find an Alexander who is curious for world, the other and the unknown, as proved by the approaches in the accounts of his legendary ‘trips’ to the heaven and in the abyss of the sea. The Italian tradition of Alexander-books is influenced by courtly tradition and tales of traveleres from Middle Eastern countries. Alexander is the hero of a quest, a search for himself and a better understanding of the world, among a spectacle of &lt;i&gt;mirabilia&lt;/i&gt; where it is hard to distinguish an animal from a human being. This approach did not disappear, and, in the end, it continued throughout the Renaissance, inspiring the secular portrait of Alexander in a more nostalgic note. Here the quest of the courtly hero encounter the philosophical meditation of the humanist. Finally, at the end of XVI Century, we move from the nostalgic revival of Manta’s verses and images to the malicious and satirical smile of Falugio who in his &lt;i&gt;Triompho magno&lt;/i&gt; celebrates himself and his art of writing, which was worth a prize from pope Leo X. While it is obvious that in the &lt;i&gt;Triompho magno&lt;/i&gt; is all about Alexander’s triumph, this Alexander, however, has little curiosity for the unknown and no love for anybody like in the contemporary manuscript 1751 (BN Rome), proving a decline of the epic and the courtly tradition transmitted by the Italian Alexander-books thus making the reader almost nostalgic for the Alexander among lyophants, snakes wearing diamonds, deers, basilisks, underwater trips and celestial flights.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-1563253354435852444?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/1563253354435852444'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/1563253354435852444'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/08/roberta-morosini-abstract-alexander.html' title='Roberta Morosini: ABSTRACT: “Alexander the traveler in Medieval and Renaissance Italian tradition : when a conquest is a quest”'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-8138426497562350396</id><published>2010-08-15T21:04:00.000-07:00</published><updated>2010-09-17T00:19:52.617-07:00</updated><title type='text'>Marco Prina</title><content type='html'>Marco Prina is a Doctoral Candidate in Italian and Medieval Studies at UC Berkeley. His fields of interest include allegory and hermeneutics in the Middle Ages, early vernacular Italian literature, and the epic and chivalric tradition, especially insofar as it depicts clashes and points of contact between cultures. His approach is interdisciplinary and takes into account literature, art, and history within the cultural context.&lt;br /&gt;&lt;br /&gt;&lt;div style="text-align: center;"&gt;[&amp;nbsp;&lt;a href="http://ubc2010medieval.blogspot.com/p/participants.html"&gt;return to the List of Participants&lt;/a&gt;&amp;nbsp;]&lt;/div&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-8138426497562350396?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/8138426497562350396'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/8138426497562350396'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/08/marco-prina.html' title='Marco Prina'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-9156461829458386232</id><published>2010-08-15T21:03:00.000-07:00</published><updated>2010-09-16T21:04:54.421-07:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='abstracts'/><title type='text'>Marco Prina: ABSTRACT: “Political, aesthetic and symbolic meanings of the domed basilicas of Sicily during the comital Norman reign (1091-1130)”</title><content type='html'>The complexity of the political, aesthetic and symbolic significance of the sacred architecture introduced by Norman rulers in Sicily remains largely unresolved, although it is often considered an intriguing mélange of discordant parts assembled from Western medieval, Byzantine and Islamic architectural traditions.&lt;br /&gt;&lt;br /&gt;This paper focuses on the relationships between political patronage and symbolic meanings of the architectural aesthetics introduced by the Norman conquerors, shedding light on their quest for a new and recognizable spiritual identity within the context of their military conquest of Sicily. This tension between quest and conquest may explain why Sicily’s new rulers were interested in inventing a visual tradition of the sacred buildings comprehensible to their subjects, both the traditionally established Muslims and Orthodox Christians, and the incoming Western Christians.&lt;br /&gt;&lt;br /&gt;In particular, the analysis of the features of the so-called ‘domed basilicas’, or ‘basilian churches’, helps us understand the motivations, attitudes and aspirations of that new regime, whose efforts became particularly apparent within the Val Demòne, a rural area in North-Eastern Sicily previously held by the Arabs, in the period stretching from 1091 to 1130 during the comital reigns of Roger I de Hauteville and his son Roger II. I discuss the significance of visual evidence gleaned from field work conducted on the site of five surviving churches within that area: S. Filippo di Fragalà at Frazzanò, S. Maria at Mili San Pietro, SS. Pietro e Paolo at Itàla, S. Alfio at San Fratello, and SS. Pietro e Paolo d’Agrò near Casalvecchio Siculo.&lt;br /&gt;&lt;br /&gt;When Roger II became King of Sicily in 1130, he supported the construction of more magnificent sacred buildings such as the Cefalù cathedral (1131) and the Cappella Palatina in Palermo (1132), whose political and symbolic value may be better appreciated in the wake of the tension between quest for identity and military conquest, as is apparent from an examination of the earlier and humbler ‘domed basilicas’.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-9156461829458386232?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/9156461829458386232'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/9156461829458386232'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/08/marco-prina-abstract-political.html' title='Marco Prina: ABSTRACT: “Political, aesthetic and symbolic meanings of the domed basilicas of Sicily during the comital Norman reign (1091-1130)”'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-5356603696634280363</id><published>2010-08-15T21:02:00.000-07:00</published><updated>2010-09-17T00:20:15.722-07:00</updated><title type='text'>Gregory Stone</title><content type='html'>Professor, Department of French Studies, Louisiana State University&lt;br /&gt;Director of the Program in Comparative Literature&lt;br /&gt;&lt;br /&gt;&lt;b&gt;Research Interests&amp;nbsp;&lt;/b&gt;&lt;br /&gt;Medieval and Renaissance literature; literary theory and criticism&lt;br /&gt;&lt;br /&gt;&lt;b&gt;Recent and notable publications&lt;/b&gt;&lt;br /&gt;&lt;br /&gt;&lt;i&gt;Dante’s Pluralism and the Islamic Philosophy of Religion&lt;/i&gt;. New York: PalgraveMacmillan, 2006&lt;br /&gt;&lt;br /&gt;&lt;i&gt;The Ethics of Nature in the Middle Ages: On Boccaccio's Poetaphysics&lt;/i&gt;. New York: St. Martin's Press, 1998.&lt;br /&gt;&lt;br /&gt;&lt;i&gt;The Death of the Troubadour: The Late Medieval Resistance to the Renaissance&lt;/i&gt;. Philadelphia: University of Pennsylvania Press, 1994.&lt;br /&gt;&lt;br /&gt;"The Nameless Wild One: The Ethics of Anonymous Subjectivity-- Medieval and Modern." &lt;i&gt;Common Knowledge&lt;/i&gt; 12.2 (Spring 2006): 219-251.&lt;br /&gt;&lt;br /&gt;"The Prick of the Rose: Boccaccio's Bisexual Hermeneutics," in &lt;i&gt;Boccaccio and Feminist Criticism&lt;/i&gt;, ed. T. Stillinger and F. R. Psaki. Chapel Hill NC: Annali d'Italianistica, 2006&lt;br /&gt;&lt;br /&gt;"Ramon Llull," in &lt;i&gt;The Cambridge History of Arabic Literature: The Literature of Al-Andalus&lt;/i&gt;, 345-357. Cambridge: Cambridge University Press, 2005.&lt;br /&gt;&lt;br /&gt;&lt;div style="text-align: center;"&gt;[&amp;nbsp;&lt;a href="http://ubc2010medieval.blogspot.com/p/participants.html"&gt;return to the List of Participants&lt;/a&gt;&amp;nbsp;]&lt;/div&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-5356603696634280363?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/5356603696634280363'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/5356603696634280363'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/08/gregory-stone.html' title='Gregory Stone'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-6844928467031316334</id><published>2010-08-15T20:59:00.000-07:00</published><updated>2010-09-16T21:02:25.512-07:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='abstracts'/><title type='text'>Gregory Stone: ABSTRACT: "Dante's Crusade, World Peace, and the Conquest of Islam"</title><content type='html'>Dante is frequently represented — most notably by Edward Said in the "Introduction" to &lt;i&gt;Orientalism&lt;/i&gt;, but also in the contemporary popular imagination — as a detractor if not an enemy of Islam and Muslims. This paper will explore counterpoints to this portrait of Dante as exemplary of a typically agressive and imperialist Western mentality.&lt;br /&gt;&lt;br /&gt;Beginning with a close analysis of the central cantos of &lt;i&gt;Paradiso&lt;/i&gt; — where Dante is given his military marching orders, his world-historical mission, by one who was famous as a crusader against Muslim peoples (Dante's great-great-grandfather Cacciaguida), I will show how Dante revises the ordinary logic of crusade. Similar to the Brethren of Purity's notion of &lt;i&gt;jihad&lt;/i&gt; as an internally-directed non-violent struggle with the self, Dante's crusade involves an internal and discursive rather than an external and physical violence. After treating the question of crusade in &lt;i&gt;Paradiso&lt;/i&gt;, I will show how Dante's re-thinking his mission as a crusader is the logical correlary of his political vision for global peace. The paper will close by considering other instances, both in Dante and in some of his contemporaries (the political philosopher Marsilius of Padua and certain of the radical Spiritual Franciscans) of a late medieval movement toward a new model of governance--a model according to which one's religious identity would be irrelevant to one's full inclusion in the political community.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-6844928467031316334?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/6844928467031316334'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/6844928467031316334'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/08/gregory-stone-abstract-dantes-crusade.html' title='Gregory Stone: ABSTRACT: &quot;Dante&apos;s Crusade, World Peace, and the Conquest of Islam&quot;'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-1875961843309027726</id><published>2010-08-15T20:55:00.000-07:00</published><updated>2010-09-17T00:20:38.146-07:00</updated><title type='text'>Jean-Luc Nardone</title><content type='html'>Jean-Luc NARDONE graduated in Italian studies at Paris IV-Sorbonne and is now Professor of Italian Literature at the University of Toulouse II, France. After being head of the department from 1994 to 2000, he is now Director of «Il Laboratorio», the research group of Italian studies of Toulouse II, with a strong research focus on manuscripts, publishing practices and the history of the Italian book.&lt;br /&gt;&lt;br /&gt;He is currently working on two major research projects : Petrarca and Petrarchism in Europe (14th-17th centuries) and Relations between Europe and the Orient through the writings of pilgrims, soldiers, merchants and artists during the Renaissance period.&lt;br /&gt;&lt;br /&gt;Among his most recent publications are:&lt;br /&gt;&lt;br /&gt;1. &lt;i&gt;La représentation de Jérusalem chez les voyageurs européens du XVIe siècle&lt;/i&gt;, editor Jean-Luc Nardone. Paris: Champion, 2007. 573 pp + CDRom.&lt;br /&gt;&lt;br /&gt;2. «Riscritture europee e strategie editoriali di un itinerario in Terra santa», in &lt;i&gt;Esperienze letterarie&lt;/i&gt; 2 (2009): 27-37. Roma, Fabrizio Serra editore.&lt;br /&gt;&lt;br /&gt;3. «Nouvelle édition de La Nave (1639), chanson métaphorique de Pompeo Colonna, académicien Humoriste» in &lt;i&gt;La mer dans la culture italienne&lt;/i&gt;, textes réunis par C. CAZALE, S. LONGO et P. GIRARD. Paris: Presses Universitaires de Paris Ouest, 2009. 229-248.&lt;br /&gt;&lt;br /&gt;For a full C.V., see &lt;a href="http://w3.laboratorio.univ-tlse2.fr/cv-nardone.html"&gt;his website&lt;/a&gt;.&lt;br /&gt;&lt;br /&gt;&lt;div style="text-align: center;"&gt;[&amp;nbsp;&lt;a href="http://ubc2010medieval.blogspot.com/p/participants.html"&gt;return to the List of Participants&lt;/a&gt;&amp;nbsp;]&lt;/div&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-1875961843309027726?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/1875961843309027726'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/1875961843309027726'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/08/jean-luc-nardone.html' title='Jean-Luc Nardone'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-972763802157933051</id><published>2010-08-15T20:52:00.000-07:00</published><updated>2010-09-16T20:55:51.658-07:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='abstracts'/><title type='text'>Jean-Luc Nardone: ABSTRACT: Quest and Conquest of the Self: The Pretext of the Crusades from the 'Fioretti' (XXIV) to the 'Decameron' (X, 9)"</title><content type='html'>The successive episodes of the Christian crusades, aiming at taking both Jerusalem and the Holy Land back from the Muslims, offer an infinite variety of military narratives where the enemy embodies Evil. Thanks to narratives devoid of wars and fights, the 14th century sees the advent of an eastern typology focused on the figure of the prince or of the sultan, which intends to act as a mirror to Western society. The Muslim is seen as the Other who can turn either into a Christian (&lt;i&gt;Fioretti&lt;/i&gt;, XXIV) or into a friend (&lt;i&gt;Decameron&lt;/i&gt;, X, 9). However, it remained necessary to give this esoteric reversal a supernatural dimension. The texts I have chosen show that these narratives were retained by their authors because they staged magic and the beyond.&lt;br /&gt;&lt;br /&gt;Although they both deal with episodes that are perfectly comparable from several perspectives these two texts have never been compared to one another before. By focusing on the inner dynamics of these two narratives I intend to re-read the pretext of the military conquest as a quest of the self.&lt;br /&gt;&lt;br /&gt;&lt;div style="text-align: center;"&gt;&lt;b&gt;Quête et conquête de soi :&amp;nbsp;Le prétexte des croisades des &lt;i&gt;Fioretti&lt;/i&gt; (XXIV) au &lt;i&gt;Decameron&lt;/i&gt; (X, 9)&amp;nbsp;&lt;/b&gt;&lt;/div&gt;&lt;br /&gt;Si les épisodes successifs des croisades chrétiennes pour reprendre aux musulmans Jérusalem et la Terre sainte offrent une infinité de récits militaires où l’ennemi incarne le Mal, le XIVe siècle instaure, avec des récits détachés des batailles et des combats, une typologie orientale — centrée sur la figure du sultan ou du prince — en miroir de la société occidentale. Le musulman devient cet autre dont il est possible de faire un ami (&lt;i&gt;Decameron&lt;/i&gt;, X, 9) ou un chrétien (&lt;i&gt;Fioretti&lt;/i&gt;, XXIV). Mais, comme s’il fallait néanmoins donner à ce renversement exotérique une dimension surnaturelle, les textes retenus le sont aussi parce qu’ils mettent en scène magie et au-delà.&lt;br /&gt;&lt;br /&gt;Les deux textes, jamais mis en perspective alors qu’ils relatent, l’un et l’autre, des épisodes par de multiples aspects tout à fait comparables, nous permettront de relire le prétexte de la conquête militaire comme quête de soi.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-972763802157933051?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/972763802157933051'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/972763802157933051'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/08/jean-luc-nardone-abstract-quest-and.html' title='Jean-Luc Nardone: ABSTRACT: Quest and Conquest of the Self: The Pretext of the Crusades from the &apos;Fioretti&apos; (XXIV) to the &apos;Decameron&apos; (X, 9)&quot;'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-8451820154339279209</id><published>2010-08-15T15:49:00.000-07:00</published><updated>2010-09-30T15:56:58.936-07:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='abstracts'/><title type='text'>Kirsten Rusko: ABSTRACT: “Jus Ad Bellum: Slaughter as an act of penitence in 'Sir Gowther' ”</title><content type='html'>&lt;i&gt;Sir Gowther&lt;/i&gt; presents the reader with a unique and troubling situation: what do you do when God tells you to break the 6th Commandment? The eccentric fifteenth-century romance follows the penitence of Gowther-son of the Devil, egregious sinner, and general menace to society. In this paper I will examine one of the most troubling elements of the romance: slaughtering Saracens as an act of penitence. The text seems to equate good knightly behaviour with good Christian behaviour. I will explore the ways in which the text conflates the social and religious imperatives into a hybrid morality that allows for intense aggression within a seemingly pacifist religion. In particular I will examine the socio-religious climate that gave birth to this bizarre form of repentance, as well as the effect of divine sanctioned violence on the text itself.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-8451820154339279209?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/8451820154339279209'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/8451820154339279209'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/09/kirsten-rusko-abstract-jus-ad-bellum.html' title='Kirsten Rusko: ABSTRACT: “Jus Ad Bellum: Slaughter as an act of penitence in &apos;Sir Gowther&apos; ”'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-2092729777747402523</id><published>2010-08-15T15:42:00.000-07:00</published><updated>2010-09-30T15:45:56.883-07:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='abstracts'/><title type='text'>Dorothy-June Fraser: ABSTRACT: “Seeing the Divine Light- Cultural Parallels and Optical Theory in Medieval Glass Mosaic- A Preliminary Study”</title><content type='html'>The author aims to explore the connection between Arabic Islamic and Byzantine cultures during the High Middle Ages as well as the optical theory and practice which made mosaic so spectacular to its medieval viewers. Through examples of mosaic that culminate in the glass works constructed at Cordoba and Orvieto that employed both Byzantine and Islamic workers, we can see the cultural and scientific inheritance of the Hellenic age. Using existing optical theory, the author will elucidate the spiritual and secular reasons behind optically dazzling glass mosaics that appear during the years of cultural interchange between expanding empires. Mosaic work of the medieval world possessed an ability to convey the Divine and was highly prized for its optical complexities.&lt;br /&gt;&lt;br /&gt;The trade and even competition between these two large, looming cultures' fostered an environment in the Mediterranean that was highly charged with energy and innovation. By examining methods, production and optical theory we can see the parallel development of mosaic art approaching its medieval zenith. This parallel evolution of cultural, philosophical and scientific research led to an active combination of efforts in the making of great glass religious works in the High Middle Ages.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-2092729777747402523?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/2092729777747402523'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/2092729777747402523'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/08/dorothy-june-fraser-abstract-seeing.html' title='Dorothy-June Fraser: ABSTRACT: “Seeing the Divine Light- Cultural Parallels and Optical Theory in Medieval Glass Mosaic- A Preliminary Study”'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-4682005865668512894</id><published>2010-08-15T05:30:00.001-07:00</published><updated>2010-09-30T16:25:42.887-07:00</updated><title type='text'>Michael Barry</title><content type='html'>Michael Alexander Barry has lectured in Princeton’s Near Eastern Studies Department since 2004 on the medieval and modern Islamic cultures of Iran, India, Pakistan, and most especially Afghanistan—where his work over more than four decades has ranged from anthropological research to defense of human rights and coordinating humanitarian assistance for the Paris-based International Federation for Human Rights, for Médecins du Monde, and for the United Nations. He has published extensively in both his writing languages, English and French; his academic works have been translated into Persian and a half-dozen European versions; and he holds seven literary prizes from France and Iran.&lt;br /&gt;&lt;br /&gt;While fluent in the Persian language (including the Afghan or “Dari” variant thereof) and deeply committed to reviving the study of its literature in Princeton, he is also keenly interested in the civilization of Islamic or Arabized Spain, and lectures on “Spanish Islam” every other year in Princeton’s Department of Spanish and Portuguese, stressing the transmission of traditional Islamic cultural traits to the civilization of Western Europe through the medieval Iberian peninsula.&lt;br /&gt;&lt;br /&gt;His ongoing courses in Princeton with the Department of Near Eastern Studies since 2004 have included “Afghanistan and the Great Powers, AD 1747–2001” (cross listed with the Program in South Asian Studies); “South Asian Islam, AD 998–1803” (also cross listed with the Program in South Asian Studies); “Spanish Islam, AD 711–1492” (sponsored by the Department of Spanish and Portuguese and cross listed with the Department of Comparative Literature); “Readings in Early Classical Persian Literature, AD 800–1200” and “Readings in Later Classical Persian Literature, AD 1200–1800” (two semester-course, cross listed with the Department of Comparative Literature); and “Introduction to Early Sufism, AD 700–1200” and “Introduction to Later Sufism, AD 1200–1800” (also a two-semester course, focusing on the teachings of Avicenna in the first portion and of Ibn ‘Arabî in the second). Other courses have included “The &lt;i&gt;Thousand and One Nights&lt;/i&gt;” (cross listed with the Department of Comparative Literature) and “Symbols and Allegory in Medieval Islamic Art.”&lt;br /&gt;&lt;br /&gt;A recognized expert on Islamic art, Barry further conceived the reorganization of the New York Metropolitan Museum’s galleries of Islamic art scheduled for reopening in autumn 2011 (as consultative chairman of the Metropolitan Museum’s Department of Islamic Art in 2005–2008), and has served since 2009 as special consultant to the Aga Khan Trust for Culture on museum issues, in view of the forthcoming openings of the Aga Khan’s Museum of Islamic Art in Toronto, and the Aga Khan’s Museum of the Civilizations of the Indian Ocean in Zanzibar. He contributed major chapters to the catalogues of the international exhibitions held in Paris and Lisbon in 1992 and 1998 commemorating the great Iberian discoveries of 1492 and 1498, and also to the catalogues of the Aga Khan exhibitions of Islamic Art in Madrid, Barcelona, and Berlin in 2009–2010. He has lectured on Islamic art at the Accademia Museum in Venice, at the shrine of Rûmî in Konya, Turkey, and for the Aga Khan organizations in the United States, Spain, and Afghanistan; presided with Tunisian scholar Abdelwahhab Meddeb over the Round Table on Islamic Art held by the Fundación de las Tres Culturas in Seville, Spain, in 2008; and has lectured on Islamic art and participated every spring since 2007 in the cultural debates sponsored by the International Festival of Sacred Music in Fez, Morocco.&lt;br /&gt;&lt;br /&gt;Born in New York City in 1948 but raised in France and also partly in Afghanistan (where he lived with an Afghan family in Kabul in 1963 and with nomads of the western highlands in 1970–1972), Barry graduated from Princeton University in 1970 as a major in Near Eastern Studies, and later took higher degrees in anthropology and Islamic studies from Cambridge University in England (post-graduate diploma in anthropology), McGill University in Montreal (MA), and finally the École des Hautes Études en Sciences Sociales in Paris (PhD).&lt;br /&gt;&lt;br /&gt;Barry however interrupted his academic career to serve as an international humanitarian worker in war-torn Afghanistan between 1979 and 2001. Travelling in dangerous conditions on foot or horseback and often even in disguise across the Pakistani border at the head of international relief teams to deliver urgent supplies of food and medicine to deprived populations deep in the Afghan interior, he successively served as Afghan Affairs observer for the Paris-based International Federation for Human Rights (1979–1985), testifying on Soviet war crimes before the US Senate Foreign Relations Committee in December 1982, discussing the same with President Reagan in private audience at the White House in January 1983, and then helping to organize the International Hearings on Afghanistan held by the Norwegian Foreign Ministry in Oslo in March 1983; as coordinating officer for Médecins du Monde’s clandestine field hospitals in the country under Soviet occupation (1985–1989); as consultant and humanitarian team leader in the field (in Paktîkâ, Paktyâ, and Ghaznî provinces) for the United Nations (1989–1991); as special envoy to Kabul of Dr. Bernard Kouchner (founder of Médecins Sans Frontières and Médecins du Monde and current French Foreign Minister) to deliver food and medicine to refugees from Tajikistan’s post-Soviet civil war stranded on remote northeastern Afghan soil and then in the starving Afghan capital itself during the post-Soviet Afghan civil war and under Tâlibân siege (1992–1995); and finally, after the change in Afghan régime in 2001, as adviser for education programs in Kabul to the French Government.&lt;br /&gt;&lt;br /&gt;Since joining Princeton’s Department of Near Eastern Studies in 2004, Barry has concentrated on imparting Afghan history and culture to American and international students and has also lectured in Kabul to Afghan audiences (in their own language) on the medieval art and archaeology of their country under the auspices of the Aga Khan Trust for Culture. His French-language book on Afghanistan, &lt;i&gt;Le royaume de l’insolence&lt;/i&gt; (Paris 1984, 1989, 2002, fourth edition scheduled for 2010), is regarded as the standard Francophone textbook on the country; his French-language biography of Commander Massoud (Paris 2002) was awarded one of France’s most distinguished literary prizes for non-fiction, the Prix Fémina &lt;i&gt;catégorie essai&lt;/i&gt;, in 2002.&lt;br /&gt;&lt;br /&gt;But Barry has at the same time been concerned to pursue his studies of earlier Islamic culture (history, literature, mysticism, art), in light of his profound conviction—which he wishes to share with his Princeton students—that too exclusive a focus on contemporary events can cause one to lose sight of the civilization’s much deeper spiritual roots. He further likes to compare—or to contrast—various aspects of medieval Islamic culture with parallel developments in medieval European Christian civilization, reflecting his persuasion that both closely related cultures, even in their differences, throw considerable light upon each other.&lt;br /&gt;&lt;br /&gt;His medievalist writings mostly dwell on the symbolism underlying much traditional Islamic art and poetry, although he further addresses attention to medieval and 16th-century French, Italian, Castilian and Portuguese art and literatures. The original French version, &lt;i&gt;Faïences d’azur&lt;/i&gt;, of his &lt;i&gt;Design and Color in Islamic Architecture&lt;/i&gt;, a study of the symbolism and recurring patterns in medieval Islamic architectural decoration from Morocco to India, with pictures by renowned French photographers Roland and Sabrina Michaud and also partly based on the author’s own many years of friendship with the traditional master craftsmen and tile-makers of Herât’s Friday Mosque in Afghanistan, won the Académie Française’s Art History Medal in 1997. His French-language verse translation and extensive study of the symbolism of the 12th-century Persian poet Nizâmî’s &lt;i&gt;Haft Paykar&lt;/i&gt; or “Seven Icons”, &lt;i&gt;Le Pavillon des sept princesses&lt;/i&gt;, was in turn awarded the Iranian Government’s Prize for Book of the Year on Persian Civilization in 2002, and the study portion thereof was translated and published in Persian as &lt;i&gt;Tafsîr-i Michael Barry ba-Haft Paykar-i Nizâmî&lt;/i&gt; in Tehran in 2006; in the same year 2006, the collective volume on &lt;i&gt;‘Attâr and the Persian Sufi Tradition&lt;/i&gt;, to which he contributed the chapter on traditional manuscript illuminations to the poet, was also awarded the Iranian Government’s Prize for Book of the Year on Persian Civilization.&lt;br /&gt;&lt;br /&gt;His latest book, &lt;i&gt;Figurative Art in Medieval Islam and the Riddle of Bihzâd of Herât (1465-1535)&lt;/i&gt;, is a lavishly illustrated volume that addresses the allegorical code of 15th- and 16th-century “Persian miniatures,” notably in the light of medieval mystical Persian poetry. In 2006, he contributed to the Metropolitan Museum’s exhibition on &lt;i&gt;Venice and the Islamic World&lt;/i&gt; (directed by Stefano Carboni) with the catalogue chapter on Giorgione’s “Three Philosophers” and the representation of “Averroës” and “Arab philosophy” in late medieval and early Renaissance Italian art. Forthcoming publications in late 2010 return to further studies of medieval Eastern Islamic manuscript illuminations to the great Persian poets, notably `Attâr (with Leili Anvar, Le Cantique des oiseaux), and Hâfiz (collective volume edited by Leonard Lewisohn).&lt;br /&gt;&lt;br /&gt;✧ See also:&amp;nbsp;&lt;a href="http://www.fhis.ubc.ca/fileadmin/user_upload/fhis/news_and_events/Barry.pdf" target="_blank"&gt;printable publicity poster/flyer&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;div style="text-align: center;"&gt;[&amp;nbsp;&lt;a href="http://ubc2010medieval.blogspot.com/p/participants.html"&gt;return to the List of Participants&lt;/a&gt;&amp;nbsp;]&lt;/div&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;div style="color: #444444; font-family: Verdana, 'Times New Roman', Times, serif; font-size: 1em; line-height: 15px;"&gt;&lt;/div&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-4682005865668512894?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/4682005865668512894'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/4682005865668512894'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/08/michael-barry.html' title='Michael Barry'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-7312295032782775496</id><published>2010-08-15T05:00:00.000-07:00</published><updated>2010-09-30T16:24:53.836-07:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='abstracts'/><title type='text'>Michael Barry: ABSTRACT: "The Moor of Venice: Averroes and the Representations of Islamic Philosophy in Medieval and Renaissance European Art"</title><content type='html'>The great 12th-century Cordovan thinker Ibn Rushd, Latinized as "Averroes", became emblematic of "Islamic Philosophy" itself in Late Medieval and Renaissance Christian European perceptions; this rich slideshow retraces the powerful image of Averroes in 14th- and 15th-century Western art that culminated in 1504 in the masterful Venetian painter Giorgione's enigmatic "Three Philosophers": with the Moor as its central figure, and why.&lt;br /&gt;&lt;br /&gt;&lt;div class="separator" style="clear: both; text-align: center;"&gt;&lt;a href="http://2.bp.blogspot.com/_Ve44TVYCUkU/TJcXnwGxKcI/AAAAAAAAAE8/CoHCKl0SaCI/s1600/Screen+shot+2010-09-20+at+1.12.43+AM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"&gt;&lt;img border="0" src="http://2.bp.blogspot.com/_Ve44TVYCUkU/TJcXnwGxKcI/AAAAAAAAAE8/CoHCKl0SaCI/s320/Screen+shot+2010-09-20+at+1.12.43+AM.png" /&gt;&lt;/a&gt;&lt;/div&gt;&lt;div style="text-align: center;"&gt;&lt;br /&gt;&lt;div style="text-align: left;"&gt;✧ See also: &lt;a href="http://www.fhis.ubc.ca/fileadmin/user_upload/fhis/news_and_events/Barry.pdf" target="_blank"&gt;printable publicity poster/flyer&lt;/a&gt;&amp;nbsp;&lt;/div&gt;&lt;/div&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-7312295032782775496?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/7312295032782775496'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/7312295032782775496'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/09/michael-barry-abstract-giorgione-and.html' title='Michael Barry: ABSTRACT: &quot;The Moor of Venice: Averroes and the Representations of Islamic Philosophy in Medieval and Renaissance European Art&quot;'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author><media:thumbnail xmlns:media='http://search.yahoo.com/mrss/' url='http://2.bp.blogspot.com/_Ve44TVYCUkU/TJcXnwGxKcI/AAAAAAAAAE8/CoHCKl0SaCI/s72-c/Screen+shot+2010-09-20+at+1.12.43+AM.png' height='72' width='72'/></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-5271408662866553722</id><published>2010-08-15T04:30:00.000-07:00</published><updated>2010-09-17T00:21:18.379-07:00</updated><title type='text'>Farid Laroussi</title><content type='html'>Farid Laroussi is an Assistant Professor in the Department of French, Hispanic and Italian Studies, UBC. He holds a Ph.D in French literature from the University of Virginia and a Doctorate in American literature from the University of Toulouse. His academic research focuses on contemporary French studies, Maghreb literatures in French and postcolonial studies. He has published extensively on questions pertaining to cultural representations and literary constructions and on issues regarding identity and identification, both in France and the Maghreb. His second book &lt;i&gt;Of Lesser Truths. Orientalism, France and the Maghreb&amp;nbsp;&lt;/i&gt;is due out fall 2010.&lt;br /&gt;&lt;div&gt;&lt;br /&gt;&lt;/div&gt;&lt;div&gt;For further information on his research interests, current projects, and publications, please see his &lt;a href="http://www.fhis.ubc.ca/people/fac/continuing-faculty/laroussi-farid.html"&gt;faculty profile&lt;/a&gt;.&lt;br /&gt;&lt;br /&gt;&lt;div style="text-align: center;"&gt;[&amp;nbsp;&lt;a href="http://ubc2010medieval.blogspot.com/p/participants.html"&gt;return to the List of Participants&lt;/a&gt;&amp;nbsp;]&lt;/div&gt;&lt;/div&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-5271408662866553722?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/5271408662866553722'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/5271408662866553722'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/08/farid-laroussi.html' title='Farid Laroussi'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-7394141116482692633</id><published>2010-08-15T04:00:00.000-07:00</published><updated>2010-09-16T20:47:50.168-07:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='abstracts'/><title type='text'>Farid Laroussi: ABSTRACT: "Struggling with Jihad"</title><content type='html'>To exert oneself with a praiseworthy aim, this is what the word &lt;i&gt;jihad&lt;/i&gt; firstly means in Arabic, according to the &lt;i&gt;Qur'an&lt;/i&gt; and the tradition [&lt;i&gt;sunnah&lt;/i&gt;] of the Prophet. Stemming from such a holistic and personalized construct, it seems that the concept of &lt;i&gt;jihad&lt;/i&gt; has travelled down several stages of development. From the classical age (9th-12th centuries) with jurists like Shamseddin al-Sarakhsi to more politicized figures such as Sayyid Qutb in the 20th century, the interpretations of &lt;i&gt;jihad&lt;/i&gt; have been problematized into an evolutionary theory which appears entangled in temporal issues rather than to embrace spiritual dispositions.&lt;br /&gt;&lt;br /&gt;What we will examine in this presentaton is the religious and moral doctrine of &lt;i&gt;jihad&lt;/i&gt;, the one carried with "the pen" or with "the tongue", as the Prophet put it, as opposed to the one "with arms." Textual evidence point towards &lt;i&gt;jihad&lt;/i&gt; constructed as the struggle against passions and desires (animal nature of man), yet this "greater &lt;i&gt;jihad&lt;/i&gt;", as it is expounded over and over again in the &lt;i&gt;hadiths&lt;/i&gt; tended to be overshadowed by the "lesser &lt;i&gt;jihad&lt;/i&gt;", that of warfare. The contention is a run-off on how the enemy is defined, or more specifically how to switch from a political to a moralist standpoint. No wonder that the soul [&lt;i&gt;nafs&lt;/i&gt;] of the believer, deemed the genuine battlefield, became the spot of accomplishment and fulfilment of Islamic mysticism.&lt;br /&gt;&lt;br /&gt;However, mysticism comes with normative expectations, or at least some legal qualifications (theological knowledge, spiritual training, and so forth). Is it accurate to suggest that the true &lt;i&gt;jihad&lt;/i&gt;, set against one's own ego, stands for Muslim monasticism? To what extent does transcendence turn the believer into a witness [&lt;i&gt;shahid&lt;/i&gt;] of God's mercy? Is &lt;i&gt;jihad&lt;/i&gt; possible at all without trust and surrender? Lastly, what are the practical exigencies of &lt;i&gt;jihad&lt;/i&gt; (for al Ghazali, the [&lt;i&gt;nafs&lt;/i&gt;] was the human being in reality), beyond the spiritual take on the &lt;i&gt;Qur'an&lt;/i&gt;? These are a few questions that will have a bearing of what "fighting" means and encompasses.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-7394141116482692633?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/7394141116482692633'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/7394141116482692633'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/08/farid-laroussi-abstract-struggling-with.html' title='Farid Laroussi: ABSTRACT: &quot;Struggling with Jihad&quot;'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-4401800783201243846</id><published>2010-08-15T03:30:00.000-07:00</published><updated>2010-09-17T00:21:34.934-07:00</updated><title type='text'>Niall Christie</title><content type='html'>Niall Christie received his PhD in Islamic History from the University of St Andrews, Scotland, in 2000. He then held post-doctoral positions at the University of Toronto and Cornell University before moving to Vancouver, where he has taught History, Religious Studies, and Art History at UBC, SFU, Langara College and Corpus Christi College.&lt;br /&gt;&lt;br /&gt;His research deals with the Muslim response to the crusades, with a particular focus on the development of &lt;i&gt;jihad&lt;/i&gt; ideology. He has just completed a full edition, translation and study of al-Sulami’s &lt;i&gt;Kitab al-Jihad&lt;/i&gt;, which will shortly be published by Ashgate Press.&lt;br /&gt;&lt;br /&gt;&lt;div style="text-align: center;"&gt;[&amp;nbsp;&lt;a href="http://ubc2010medieval.blogspot.com/p/participants.html"&gt;return to the List of Participants&lt;/a&gt;&amp;nbsp;]&lt;/div&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-4401800783201243846?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/4401800783201243846'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/4401800783201243846'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/08/niall-christie.html' title='Niall Christie'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-5042083581215020965</id><published>2010-08-15T03:00:00.000-07:00</published><updated>2010-09-16T20:44:22.421-07:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='abstracts'/><title type='text'>Niall Christie: ABSTRACT: "Fighting on Earth to Gain Heaven: The 'Vision of Paradise' Motif in the Kitab al-Jihad of ‘Ali ibn Tahir al-Sulami (d. 1106)"</title><content type='html'>Over the course of the year 1105, six years after the fall of Jerusalem to the forces of the First Crusade, a Damascene jurisprudent called ‘Ali ibn Tahir al-Sulami publicly composed an extended call to the &lt;i&gt;jihad&lt;/i&gt; against the crusaders. In his work he summoned his Muslim brethren both to return to moral rectitude and good conduct, and to march out to fight against the invaders from the west. As a number of scholars have shown, al-Sulami’s work is of vital importance for gaining a full understanding of the initial Muslim response to the First Crusade, containing as it does one of the earliest records of a contemporary Muslim reaction to the events of the time.&lt;br /&gt;&lt;br /&gt;Al-Sulami employs a number of strategies in his efforts to motivate his listeners, including promising each of them a place in heaven if they are killed while fighting. To support his point he provides a number of stories drawn from Muslim tradition in which fighters in the holy war receive a vision of Paradise before they die. In the process al-Sulami links marching out to fight in an earthly battle with a spiritual conquest, a winning of heavenly delights resulting from devotion to the jihad.&lt;br /&gt;&lt;br /&gt;In this paper we will look more closely at the use of these stories in al-Sulami’s work, noting their common features and examining how they serve his wider agenda, encouraging his listeners to participate in the holy war against the crusaders.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-5042083581215020965?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/5042083581215020965'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/5042083581215020965'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/08/niall-christie-abstract-fighting-on.html' title='Niall Christie: ABSTRACT: &quot;Fighting on Earth to Gain Heaven: The &apos;Vision of Paradise&apos; Motif in the Kitab al-Jihad of ‘Ali ibn Tahir al-Sulami (d. 1106)&quot;'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-8148242554178561786</id><published>2010-08-15T02:30:00.000-07:00</published><updated>2010-09-17T00:17:07.385-07:00</updated><title type='text'>Juliet O'Brien</title><content type='html'>O'Brien holds BAs from the Universities of Cambridge and Manchester, and a PhD from Princeton University. She teaches French literature and language. Her research is on medieval French and Occitan poetry, connections between medieval and post-medieval textualities and hypertextuality, the purpose of reading and its practice in interactive communities, and the integration of teaching and research in learning. Her background has also shaped a broader concern with hybridity, migrancy, cosmopolitanism, and tolerance.&lt;br /&gt;&lt;br /&gt;She is part of the &lt;a href="http://earlyromance.wordpress.com/"&gt;UBC Early Romance Studies Research Cluster&lt;/a&gt;, and is currently working on a book about early Medieval French and Occitan romance entitled &lt;i&gt;Courting Excess&lt;/i&gt;.&lt;br /&gt;&lt;br /&gt;&lt;div style="text-align: center;"&gt;[&amp;nbsp;&lt;a href="http://ubc2010medieval.blogspot.com/p/participants.html"&gt;return to the List of Participants&lt;/a&gt;&amp;nbsp;]&lt;/div&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-8148242554178561786?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/8148242554178561786'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/8148242554178561786'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/08/juliet-obrien.html' title='Juliet O&apos;Brien'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-8444778704621395705</id><published>2010-08-15T02:00:00.000-07:00</published><updated>2010-09-16T20:38:16.466-07:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='abstracts'/><title type='text'>Juliet O’Brien: ABSTRACT: "The Cansó de la Crozada and Literary Heresy"</title><content type='html'>The 13th c. Occitan &lt;i&gt;Cansó de la Crozada&lt;/i&gt; — better know as the &lt;i&gt;Chanson de la Croisade albigeoise&lt;/i&gt; — has tended to be read by historians and used as a historical resource, especially when read alongside the two other contemporary accounts of that crusade: Pierre des Vaux-de-Cernay’s &lt;i&gt;Historia Albigensis&lt;/i&gt; and William of Puylaurens’s &lt;i&gt;Chronica&lt;/i&gt;.&lt;br /&gt;&lt;br /&gt;It is also a work of literary importance when read in its literary context.&lt;br /&gt;&lt;br /&gt;This paper examines three aspects of the work as aspects of literary heresy:&lt;br /&gt;&lt;br /&gt;—Firstly, the composition and manuscript transcription coincide with two periods of literary flourishing and experimentation: the time of composition, that is, the first quarter of the 13th c..; and the date of the manuscript, in the last quarter of the 13th c (around 1275).&lt;br /&gt;&lt;br /&gt;Secondly, formally speaking, as the work is in two parts — a first that is pro-Crusade, the second, anti— it may productively be read as a member of a set of double, continued narratives (mainly) in French of that time: the &lt;i&gt;Lancelot-Grail&lt;/i&gt; cycle; early 13th century epigonal romances such as the &lt;i&gt;Roman de Fergus, Bel Inconnu&lt;/i&gt;, and &lt;i&gt;Flamenca&lt;/i&gt;; and the &lt;i&gt;Roman de la Rose.&amp;nbsp;&lt;/i&gt;&lt;br /&gt;&lt;br /&gt;Finally, the &lt;i&gt;Cansó&lt;/i&gt; should be read in the light of its relationship to an intertextually interrelated group of Occitan dialogic poems (&lt;i&gt;descort, tenso&lt;/i&gt;).&lt;br /&gt;&lt;br /&gt;The paper shows how these three elements are connected and why they are unorthodox. So as to understand the Canso, and to do so on its own terms, it is essential to see how it is fundamentally a double text in a dialogic, dissenting, discursive mode of writing — and of thinking. It is by no means one of the finest literary works of its period, and that is not its purpose; rather, it engages with the surrounding literary culture in a most interesting way, inserting itself into a tradition for propaganda ends.&lt;br /&gt;&lt;br /&gt;&lt;span class="Apple-style-span" style="font-family: 'Lucida Grande'; font-size: small;"&gt;&lt;span class="Apple-style-span" style="font-size: 11px;"&gt; &lt;/span&gt;&lt;/span&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-8444778704621395705?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/8444778704621395705'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/8444778704621395705'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/08/juliet-obrien-abstract-canso-de-la.html' title='Juliet O’Brien: ABSTRACT: &quot;The Cansó de la Crozada and Literary Heresy&quot;'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-2609615171512457779</id><published>2010-08-15T01:30:00.000-07:00</published><updated>2010-09-17T00:16:17.752-07:00</updated><title type='text'>Filippo Andrei</title><content type='html'>Most of my past activities have been in literary and philological studies. I earned my Laurea in Lettere at Florence University in 2001 specializing in Medieval Latin Literature under the supervision of Prof. Silvia Cantelli Berarducci. In my &lt;i&gt;tesi di laurea&lt;/i&gt; I realized a critical edition with sources study of the so-called &lt;i&gt;Glossed Psalter&lt;/i&gt; of Saint Romuald, whose first results appeared in a journal article and which is now to be published entirely in the series Corpus Christianorum Continuatio Mediaevalis of Brepols Publishers.&lt;br /&gt;&lt;br /&gt;In 2001 I entered a European doctoral program in Romance Philology at Siena University and other partner universities in France (Paris-IV Sorbonne), Switzerland (Universität Zürich) and Spain (Universidade de Santiago de Compostela). In April 2005, under the supervision of Prof. Maria Luisa Meneghetti, I defended my thesis (&lt;i&gt;Le fonti storiche e letterarie della «Chanson de Jérusalem»&lt;/i&gt;) on one of the most ancient poem of the Old French crusade cycle. This dissertation is now under revision, and a journal article has recently came out in Romance Philology (2010, special issue: Romania Mediterranea II).&lt;br /&gt;&lt;br /&gt;In 2006 I entered a PhD program in Romance Languages and Literature at UC Berkeley. I am now writing a dissertation on the Decameron and Boccaccio’s philosophical sources (&lt;i&gt;Boccaccio the Philosopher: Forms of Knowledge in the Decameron&lt;/i&gt;) under the supervision of Prof. Albert Ascoli and Steven Botterill.&lt;br /&gt;&lt;br /&gt;&lt;div style="text-align: center;"&gt;[ &lt;a href="http://ubc2010medieval.blogspot.com/p/participants.html"&gt;return to the List of Participants&lt;/a&gt; ]&lt;/div&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-2609615171512457779?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/2609615171512457779'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/2609615171512457779'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/08/filippo-andrei.html' title='Filippo Andrei'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-3505547400363880448</id><published>2010-08-15T01:00:00.001-07:00</published><updated>2010-09-30T16:03:47.662-07:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='abstracts'/><title type='text'>Alexis Statz: ABSTRACT: “The Beloved Saracen: Reimagining the Conventional Heroine in 'Sir Bevis of Hampton' ”</title><content type='html'>&lt;i&gt;Sir Bevis of Hampton&lt;/i&gt;, one of the most popular romances to circulate in medieval Europe, is distinctive in its engagement with the Saracen world. In particular, its heroine subverts conventional notions of gender, both historical and modern. Unlike other romantic heroines, Josian, a Saracen, acts as a guide to Bevis, a Christian knight, questioning the assumed Christian moral imperative of the romance. In many ways she is a paradox for both genre and gender: as a Saracen, she is typecast as the 'Other', the enemy, yet her mercy and compassion exceed those of the Christian hero; secondly, where romance females are typified by a lack of means and agency, Josian emerges as a figure of compelling ability and virtue.&lt;br /&gt;&lt;div&gt;&lt;br /&gt;&lt;/div&gt;&lt;div&gt;This paper aims to explore the conflation of saintly characteristics and moral authority that powerfully transform Josian, a product of the 12th century, into a figure who scarcely finds a parallel in the medieval literature of Europe. Finally, I will examine possible conceptual origins of such an enigmatic figure of guidance, one who transcends gender, cultural, and spiritual boundaries.&lt;/div&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-3505547400363880448?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/3505547400363880448'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/3505547400363880448'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/09/alexis-statz-abstract-beloved-saracen.html' title='Alexis Statz: ABSTRACT: “The Beloved Saracen: Reimagining the Conventional Heroine in &apos;Sir Bevis of Hampton&apos; ”'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-8756031480833916831</id><published>2010-08-15T01:00:00.000-07:00</published><updated>2010-09-16T20:38:33.100-07:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='abstracts'/><title type='text'>Filippo Andrei: ABSTRACT: "Albert of Aachen and the Chanson de Jérusalem"</title><content type='html'>The &lt;i&gt;Chanson de Jérusalem&lt;/i&gt; represents the thematic core of the Old French crusade cycle, even if it is not the most ancient poem, and it is unanimously considered an example of an ancient chanson de geste later rewritten by an unknown poet to form part of a broader cycle. Besides the imaginary episodes that induced many early scholars to see the Jérusalem only as legendary work, the poem contains instead a narration that follows closely the historical sources of the First Crusade and provides a reliable account of the French expedition to the Holy City. In this paper compares the poem's account directly with those of all the Latin chronicles in order to identify, within the multiplicity of historical traditions regarding the first crusade, the source that the poet would have used in composing his chanson. The comparative analysis thus shows that the Jérusalem used a text that belonged to the Lotharingian tradition whose most important witness is Albert of Aachen's &lt;i&gt;Historia Hierosolymitana&lt;/i&gt;. Moreover, several analogies between Albert's chronicle and the account of the poem, as well as metrical devices repeated in crucial moments of the narration, reveal the traces of an ancient historical poem on the First Crusade whose aim was the exaltation of the Kingdom of Jerusalem and which primarily concentrated on the figure of Godfrey of Bouillon represented as a sacred and thaumaturge king.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-8756031480833916831?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/8756031480833916831'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/8756031480833916831'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/08/filippo-andrei-abstract-albert-of.html' title='Filippo Andrei: ABSTRACT: &quot;Albert of Aachen and the Chanson de Jérusalem&quot;'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author></entry><entry><id>tag:blogger.com,1999:blog-8627385278573781704.post-8672288416866565237</id><published>2010-03-06T11:59:00.000-08:00</published><updated>2010-09-16T17:10:37.220-07:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='cfp'/><category scheme='http://www.blogger.com/atom/ns#' term='call for papers'/><title type='text'>Call for Papers</title><content type='html'>&lt;div style="text-align: center;"&gt;&lt;div style="text-align: left;"&gt;&lt;span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"&gt;&lt;span class="Apple-style-span"&gt;39th Annual Medieval Studies Workshop&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;&lt;div style="text-align: left;"&gt;&lt;span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"&gt;University of British Columbia&lt;/span&gt;&lt;/div&gt;&lt;/div&gt;&lt;div style="text-align: center;"&gt;&lt;div style="text-align: left;"&gt;&lt;span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"&gt;Vancouver, Canada&lt;/span&gt;&lt;/div&gt;&lt;/div&gt;&lt;div style="text-align: center;"&gt;&lt;div style="text-align: left;"&gt;&lt;span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"&gt;14 - 16 October 2010&lt;/span&gt;&lt;br /&gt;&lt;span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;&lt;/div&gt;&lt;div style="text-align: center;"&gt;&lt;span class="Apple-style-span" style="font-size: x-large;"&gt;&lt;span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"&gt;Quest and Conquest:&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;&lt;div style="text-align: center;"&gt;&lt;span class="Apple-style-span" style="font-size: x-large;"&gt;&lt;span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"&gt;Spiritual Symbols and Myths&amp;nbsp;in the Indo-Mediterranean and European Worlds&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;&lt;span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;br /&gt;&lt;span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"&gt;Myths and symbols are at the core of the sacred—a vision of the world which all cultures share &lt;i&gt;through&lt;/i&gt; their diverse languages. Quest and conquest have been archetypal concepts for all medieval cultures. Though more often than not quest and conquest have opposed each other as key factors in the historical self-fashioning of individuals and communities, they have also merged in that place of heart which all forms of literary and artistic expression seek to reveal.&lt;/span&gt;&lt;br /&gt;&lt;span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;br /&gt;&lt;span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"&gt;The Committee for Medieval Studies at the University of British Columbia solicits contributions for the 39th Annual UBC Medieval Workshop, to be held on Thursday the 14th  through Saturday the 16th of October 2010.&amp;nbsp;&lt;/span&gt;&lt;br /&gt;&lt;span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"&gt;Papers dealing with any aspect of ‘quest and conquest’ are invited, especially those that engage with the continuities and differences in the way in which myths and symbols of the spiritual quest and/or conquest ‘travel’, in all forms of expression and exchange, throughout the Medieval Indo-Mediterranean and European worlds.&lt;/span&gt;&lt;br /&gt;&lt;span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"&gt;The conference will be held at &lt;a href="http://www.greencollege.ubc.ca/" target="_blank"&gt;Green College&lt;/a&gt;, one of the UBC graduate residences, nestled on a forested cliff overlooking ocean and mountains at the edge of the campus in Vancouver, Canada. &amp;nbsp;&lt;/span&gt;&lt;br /&gt;&lt;span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;br /&gt;&lt;span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"&gt;&lt;span class="Apple-style-span" style="font-family: Times, Arial, Helvetica, sans-serif;"&gt;&lt;span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"&gt;Please send proposals (maximum 300 words) plus bio-sketch to &lt;/span&gt;&lt;a href="mailto:daniela.boccassini@ubc.ca"&gt;&lt;span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"&gt;Daniela Boccassini&lt;/span&gt;&lt;/a&gt;&lt;span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"&gt; by the 30th of June 2010.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br /&gt;&lt;span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"&gt;&lt;a href="https://docs.google.com/fileview?id=0BzlPoImo4kRONmMzZDMyMDctYjQ4MC00Y2Q5LWExNDgtYWNlNGVlODNiMzBh&amp;amp;hl=en_GB"&gt;This CFP is also available in PDF&lt;/a&gt;.&lt;/span&gt;&lt;br /&gt;&lt;span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;br /&gt;&lt;span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;br /&gt;&lt;div class="separator" style="clear: both; text-align: center;"&gt;&lt;a href="http://4.bp.blogspot.com/_Ve44TVYCUkU/S7-UAio0oTI/AAAAAAAAAB8/6y6_lHOe0NE/s1600/GreenCollege_Logo_wTagline_RGB.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"&gt;&lt;img border="0" src="http://4.bp.blogspot.com/_Ve44TVYCUkU/S7-UAio0oTI/AAAAAAAAAB8/6y6_lHOe0NE/s320/GreenCollege_Logo_wTagline_RGB.jpg" /&gt;&lt;/a&gt;&lt;/div&gt;&lt;div style="text-align: center;"&gt;&lt;span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;&lt;span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"&gt; &lt;span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/8627385278573781704-8672288416866565237?l=ubc2010medieval.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/8672288416866565237'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/8627385278573781704/posts/default/8672288416866565237'/><link rel='alternate' type='text/html' href='http://ubc2010medieval.blogspot.com/2010/03/call-for-papers.html' title='Call for Papers'/><author><name>obrienatrix</name><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='24' height='32' src='http://1.bp.blogspot.com/_Ve44TVYCUkU/S5KxZrOyK8I/AAAAAAAAAAM/wFj96D8hDBI/S220/180px-Fuchs.margin_(MMW10F50_f6r)_detailed.jpg'/></author><media:thumbnail xmlns:media='http://search.yahoo.com/mrss/' url='http://4.bp.blogspot.com/_Ve44TVYCUkU/S7-UAio0oTI/AAAAAAAAAB8/6y6_lHOe0NE/s72-c/GreenCollege_Logo_wTagline_RGB.jpg' height='72' width='72'/></entry></feed>
