Ubiquity Presstech@ubiquitypress.com20260404T022909Generated by RUA metadata exporter

psup-9-m-15-978-0-271-07645-4030115978-0-271-07645-40610.5325/book901internal-reference900EBE10110Creative Commons Attribution-NonCommercial-NoDerivs (CC BY-NC-ND)02http://creativecommons.org/licenses/by-nc-nd/4.0/1001RUA Series ID20102Penn State Romance Studies0101Weaving NarrativeClothing in Twelfth-Century French Romance1A01Monica L. WrightMonica L.WrightFrench Studies University of Louisiana at Lafayettep.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 10.0px Arial}Joseph P. Montiel Assistant Professor of French at the University of Louisiana at Lafayette01eng001920323User DefinedLiterary Studies23User DefinedHistory23User DefinedEuropean23User DefinedMedieval23User DefinedMedieval and Early Modern Studies12Enide12 Erec12 Yvain12 Lanval12 The Art of Weaving12 Romance12 Perceval010110300<p>Enide’s tattered dress and Erec’s fabulous coronation robe; Yvain’s nudity in the forest, which prevents maidens who know him well clothed from identifying him; Lanval’s fairy-lady parading about in the Arthurian court, scantily dressed, for all to observe: just why is clothing so important in twelfth-century French romance? This interdisciplinary book explores how writers of this era used clothing as a signifier with multiple meanings for many narrative purposes. Clothing figured prominently in twelfth-century France, where exotic fabrics and furs came to define a social elite. Monica Wright shows that representations of clothing are not mere embellishments to the text; they help form the textual weave of the romances in which they appear. This book is about how these descriptions are constructed, what they mean, and how clothing becomes an active part of romance composition—the ways in which writers use it to develop and elaborate character, to advance or stall the plot, and to structure the narrative generally.</p>20200<p>Enide’s tattered dress and Erec’s fabulous coronation robe; Yvain’s nudity in the forest, which prevents maidens who know him well clothed from identifying him; Lanval’s fairy-lady parading about in the Arthurian court, scantily dressed, for all to observe: just why is clothing so important in twelfth-century French romance? This interdisciplinary book explores how writers of this era used clothing as a signifier with multiple meanings for many narrative purposes. Clothing figured prominently in twelfth-century France, where exotic fabrics and furs came to define a social elite. Monica Wright shows that representations of clothing are not mere embellishments to the text; they help form the textual weave of the romances in which they appear. This book is about how these descriptions are constructed, what they mean, and how clothing becomes an active part of romance composition—the ways in which writers use it to develop and elaborate character, to advance or stall the plot, and to structure the narrative generally.</p>33000<p>Enide’s tattered dress and Erec’s fabulous coronation robe; Yvain’s nudity in the forest, which prevents maidens who know him well clothed from identifying him; Lanval’s fairy-lady parading about in the Arthurian court, scantily dressed, for all to observe: just why is clothing so important in twelfth-century French romance? This interdisciplinary book explores how writers of this era used clothing as a signifier with multiple meanings for many narrative purposes. Clothing figured prominently in twelfth-century France, where exotic fabrics and furs came to define a social elite. Monica Wright shows that representations of clothing are not mere embellishments to the text; they help form the textual weave of the romances in which they appear. This book is about how these descriptions are constructed, what they mean, and how clothing becomes an active part of romance composition—the ways in which writers use it to develop and elaborate character, to advance or stall the plot, and to structure the narrative generally.</p>42000Open Access01000302https://storage.googleapis.com/rua-psup/files/media/cover_images/431b2de7-9f76-4c29-8eed-55624c3f34ef.jpg01URLhttps://oa.psupress.orgPenn State University Press01Penn State University Press01Publisher’s corporate websitehttps://oa.psupress.org02Publisher’s website for a specified workhttps://oa.psupress.org/books/m/10.5325/book9Pensylvania040120100325The Author(s)02WORLD0615978-0-271-05663-00615978-0-271-03566-60615978-0-271-03565-9WORLD11Unknown36Supplier’s website for a specified workhttps://oa.psupress.org29Supplier’s website: download the titlehttps://oa.psupress.org/books/9/files/03f98d1f-7c6d-46df-b2a6-3b38dbe68228.epub20082010032501psup-9-m-15-978-0-271-05663-0030115978-0-271-05663-00610.5325/book901internal-reference900EBE10710Creative Commons Attribution-NonCommercial-NoDerivs (CC BY-NC-ND)02http://creativecommons.org/licenses/by-nc-nd/4.0/1001RUA Series ID20102Penn State Romance Studies0101Weaving NarrativeClothing in Twelfth-Century French Romance1A01Monica L. WrightMonica L.WrightFrench Studies University of Louisiana at Lafayettep.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 10.0px Arial}Joseph P. Montiel Assistant Professor of French at the University of Louisiana at Lafayette01eng001920323User DefinedLiterary Studies23User DefinedHistory23User DefinedEuropean23User DefinedMedieval23User DefinedMedieval and Early Modern Studies12Enide12 Erec12 Yvain12 Lanval12 The Art of Weaving12 Romance12 Perceval010110300<p>Enide’s tattered dress and Erec’s fabulous coronation robe; Yvain’s nudity in the forest, which prevents maidens who know him well clothed from identifying him; Lanval’s fairy-lady parading about in the Arthurian court, scantily dressed, for all to observe: just why is clothing so important in twelfth-century French romance? This interdisciplinary book explores how writers of this era used clothing as a signifier with multiple meanings for many narrative purposes. Clothing figured prominently in twelfth-century France, where exotic fabrics and furs came to define a social elite. Monica Wright shows that representations of clothing are not mere embellishments to the text; they help form the textual weave of the romances in which they appear. This book is about how these descriptions are constructed, what they mean, and how clothing becomes an active part of romance composition—the ways in which writers use it to develop and elaborate character, to advance or stall the plot, and to structure the narrative generally.</p>20200<p>Enide’s tattered dress and Erec’s fabulous coronation robe; Yvain’s nudity in the forest, which prevents maidens who know him well clothed from identifying him; Lanval’s fairy-lady parading about in the Arthurian court, scantily dressed, for all to observe: just why is clothing so important in twelfth-century French romance? This interdisciplinary book explores how writers of this era used clothing as a signifier with multiple meanings for many narrative purposes. Clothing figured prominently in twelfth-century France, where exotic fabrics and furs came to define a social elite. Monica Wright shows that representations of clothing are not mere embellishments to the text; they help form the textual weave of the romances in which they appear. This book is about how these descriptions are constructed, what they mean, and how clothing becomes an active part of romance composition—the ways in which writers use it to develop and elaborate character, to advance or stall the plot, and to structure the narrative generally.</p>33000<p>Enide’s tattered dress and Erec’s fabulous coronation robe; Yvain’s nudity in the forest, which prevents maidens who know him well clothed from identifying him; Lanval’s fairy-lady parading about in the Arthurian court, scantily dressed, for all to observe: just why is clothing so important in twelfth-century French romance? This interdisciplinary book explores how writers of this era used clothing as a signifier with multiple meanings for many narrative purposes. Clothing figured prominently in twelfth-century France, where exotic fabrics and furs came to define a social elite. Monica Wright shows that representations of clothing are not mere embellishments to the text; they help form the textual weave of the romances in which they appear. This book is about how these descriptions are constructed, what they mean, and how clothing becomes an active part of romance composition—the ways in which writers use it to develop and elaborate character, to advance or stall the plot, and to structure the narrative generally.</p>42000Open Access01000302https://storage.googleapis.com/rua-psup/files/media/cover_images/431b2de7-9f76-4c29-8eed-55624c3f34ef.jpg01URLhttps://oa.psupress.orgPenn State University Press01Penn State University Press01Publisher’s corporate websitehttps://oa.psupress.org02Publisher’s website for a specified workhttps://oa.psupress.org/books/m/10.5325/book9Pensylvania040120100325The Author(s)02WORLD0615978-0-271-07645-40615978-0-271-03566-60615978-0-271-03565-9WORLD11Unknown36Supplier’s website for a specified workhttps://oa.psupress.org29Supplier’s website: download the titlehttps://oa.psupress.org/books/9/files/85e1510b-7911-4f0f-964a-5a7df490b1c2.pdf20082010032501psup-9-m-15-978-0-271-03566-6030115978-0-271-03566-60610.5325/book901internal-reference900BCB20210026in030.53in080.7495716908lb019inCreative Commons Attribution-NonCommercial-NoDerivs (CC BY-NC-ND)02http://creativecommons.org/licenses/by-nc-nd/4.0/1001RUA Series ID20102Penn State Romance Studies0101Weaving NarrativeClothing in Twelfth-Century French Romance1A01Monica L. WrightMonica L.WrightFrench Studies University of Louisiana at Lafayettep.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 10.0px Arial}Joseph P. Montiel Assistant Professor of French at the University of Louisiana at Lafayette01eng001920323User DefinedLiterary Studies23User DefinedHistory23User DefinedEuropean23User DefinedMedieval23User DefinedMedieval and Early Modern Studies12Enide12 Erec12 Yvain12 Lanval12 The Art of Weaving12 Romance12 Perceval010110300<p>Enide’s tattered dress and Erec’s fabulous coronation robe; Yvain’s nudity in the forest, which prevents maidens who know him well clothed from identifying him; Lanval’s fairy-lady parading about in the Arthurian court, scantily dressed, for all to observe: just why is clothing so important in twelfth-century French romance? This interdisciplinary book explores how writers of this era used clothing as a signifier with multiple meanings for many narrative purposes. Clothing figured prominently in twelfth-century France, where exotic fabrics and furs came to define a social elite. Monica Wright shows that representations of clothing are not mere embellishments to the text; they help form the textual weave of the romances in which they appear. This book is about how these descriptions are constructed, what they mean, and how clothing becomes an active part of romance composition—the ways in which writers use it to develop and elaborate character, to advance or stall the plot, and to structure the narrative generally.</p>20200<p>Enide’s tattered dress and Erec’s fabulous coronation robe; Yvain’s nudity in the forest, which prevents maidens who know him well clothed from identifying him; Lanval’s fairy-lady parading about in the Arthurian court, scantily dressed, for all to observe: just why is clothing so important in twelfth-century French romance? This interdisciplinary book explores how writers of this era used clothing as a signifier with multiple meanings for many narrative purposes. Clothing figured prominently in twelfth-century France, where exotic fabrics and furs came to define a social elite. Monica Wright shows that representations of clothing are not mere embellishments to the text; they help form the textual weave of the romances in which they appear. This book is about how these descriptions are constructed, what they mean, and how clothing becomes an active part of romance composition—the ways in which writers use it to develop and elaborate character, to advance or stall the plot, and to structure the narrative generally.</p>33000<p>Enide’s tattered dress and Erec’s fabulous coronation robe; Yvain’s nudity in the forest, which prevents maidens who know him well clothed from identifying him; Lanval’s fairy-lady parading about in the Arthurian court, scantily dressed, for all to observe: just why is clothing so important in twelfth-century French romance? This interdisciplinary book explores how writers of this era used clothing as a signifier with multiple meanings for many narrative purposes. Clothing figured prominently in twelfth-century France, where exotic fabrics and furs came to define a social elite. Monica Wright shows that representations of clothing are not mere embellishments to the text; they help form the textual weave of the romances in which they appear. This book is about how these descriptions are constructed, what they mean, and how clothing becomes an active part of romance composition—the ways in which writers use it to develop and elaborate character, to advance or stall the plot, and to structure the narrative generally.</p>42000Open Access01000302https://storage.googleapis.com/rua-psup/files/media/cover_images/431b2de7-9f76-4c29-8eed-55624c3f34ef.jpg01URLhttps://oa.psupress.orgPenn State University Press01Penn State University Press01Publisher’s corporate websitehttps://oa.psupress.org02Publisher’s website for a specified workhttps://oa.psupress.org/books/m/10.5325/book9Pensylvania040120100325The Author(s)02WORLD0615978-0-271-07645-40615978-0-271-05663-00615978-0-271-03565-9WORLD11Unknown20082010032508psup-9-m-15-978-0-271-03565-9030115978-0-271-03565-90610.5325/book901internal-reference900BBB20110026in030.78in081.00089866948lb019inCreative Commons Attribution-NonCommercial-NoDerivs (CC BY-NC-ND)02http://creativecommons.org/licenses/by-nc-nd/4.0/1001RUA Series ID20102Penn State Romance Studies0101Weaving NarrativeClothing in Twelfth-Century French Romance1A01Monica L. WrightMonica L.WrightFrench Studies University of Louisiana at Lafayettep.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 10.0px Arial}Joseph P. Montiel Assistant Professor of French at the University of Louisiana at Lafayette01eng001920323User DefinedLiterary Studies23User DefinedHistory23User DefinedEuropean23User DefinedMedieval23User DefinedMedieval and Early Modern Studies12Enide12 Erec12 Yvain12 Lanval12 The Art of Weaving12 Romance12 Perceval010110300<p>Enide’s tattered dress and Erec’s fabulous coronation robe; Yvain’s nudity in the forest, which prevents maidens who know him well clothed from identifying him; Lanval’s fairy-lady parading about in the Arthurian court, scantily dressed, for all to observe: just why is clothing so important in twelfth-century French romance? This interdisciplinary book explores how writers of this era used clothing as a signifier with multiple meanings for many narrative purposes. Clothing figured prominently in twelfth-century France, where exotic fabrics and furs came to define a social elite. Monica Wright shows that representations of clothing are not mere embellishments to the text; they help form the textual weave of the romances in which they appear. This book is about how these descriptions are constructed, what they mean, and how clothing becomes an active part of romance composition—the ways in which writers use it to develop and elaborate character, to advance or stall the plot, and to structure the narrative generally.</p>20200<p>Enide’s tattered dress and Erec’s fabulous coronation robe; Yvain’s nudity in the forest, which prevents maidens who know him well clothed from identifying him; Lanval’s fairy-lady parading about in the Arthurian court, scantily dressed, for all to observe: just why is clothing so important in twelfth-century French romance? This interdisciplinary book explores how writers of this era used clothing as a signifier with multiple meanings for many narrative purposes. Clothing figured prominently in twelfth-century France, where exotic fabrics and furs came to define a social elite. Monica Wright shows that representations of clothing are not mere embellishments to the text; they help form the textual weave of the romances in which they appear. This book is about how these descriptions are constructed, what they mean, and how clothing becomes an active part of romance composition—the ways in which writers use it to develop and elaborate character, to advance or stall the plot, and to structure the narrative generally.</p>33000<p>Enide’s tattered dress and Erec’s fabulous coronation robe; Yvain’s nudity in the forest, which prevents maidens who know him well clothed from identifying him; Lanval’s fairy-lady parading about in the Arthurian court, scantily dressed, for all to observe: just why is clothing so important in twelfth-century French romance? This interdisciplinary book explores how writers of this era used clothing as a signifier with multiple meanings for many narrative purposes. Clothing figured prominently in twelfth-century France, where exotic fabrics and furs came to define a social elite. Monica Wright shows that representations of clothing are not mere embellishments to the text; they help form the textual weave of the romances in which they appear. This book is about how these descriptions are constructed, what they mean, and how clothing becomes an active part of romance composition—the ways in which writers use it to develop and elaborate character, to advance or stall the plot, and to structure the narrative generally.</p>42000Open Access01000302https://storage.googleapis.com/rua-psup/files/media/cover_images/431b2de7-9f76-4c29-8eed-55624c3f34ef.jpg01URLhttps://oa.psupress.orgPenn State University Press01Penn State University Press01Publisher’s corporate websitehttps://oa.psupress.org02Publisher’s website for a specified workhttps://oa.psupress.org/books/m/10.5325/book9Pensylvania040120100325The Author(s)02WORLD0615978-0-271-07645-40615978-0-271-05663-00615978-0-271-03566-6WORLD11Unknown20082010032508