Academic literature on the topic 'Crusades, poetry'
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Journal articles on the topic "Crusades, poetry"
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Khaleel Al-Khalili, Raja, and Maen Ali Al-Maqableh. "Migration of a Cultural Concept: Arabian Knighthood and Saladin as a Model." Advances in Language and Literary Studies 10, no. 4 (August 31, 2019): 118. http://dx.doi.org/10.7575/aiac.alls.v.10n.4p.118.
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This article is a cross-cultural approach that examines the historical and literary significance of the concept of Arabian knighthood during the Crusades (1095-1292 A.D.) and especially during the period of the Islamic leader Saladin who was famous in the West for his bravery and chivalry. The concept of Arabian knighthood for Saladin embodied characteristics of bravery, chivalry, and altruism which were present in Arabic poetry. As for the West, there was a distinct definition of knighthood; however, it changed after the Crusades and the physical encounter of western fighters with the legendary Saladin. The role of knightly values that Saladin embodied in changing the Western perception of knighthood is illustrated in both the historical and literary narratives of both Islamic and Western origins.
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Mustafa, Muhammad Nasir. "http://habibiaislamicus.com/index.php/hirj/article/view/232." Habibia islamicus 5, no. 2 (June 29, 2021): 141–50. http://dx.doi.org/10.47720/hi.2021.0502a12.
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Ibn Al-Saati lived in the second half of the sixth century A.H. He was born in 553 A,H and died in 604 A.H. This era witnessed important political events; like the fall of Fatimid state in Egypt and the establishment of the Ayyubid state on its ruins. It also witnessed the Crusades and the accompanying Arab victories and conquest, led by the conquest of Jerusalem in the year 583 A.H by Salah ul Din Al-Ayyubi. Ibn Al-Saati was a prominent poet of that era. The present article will highlight the main characteristics of his poetry. It is consisted on abstract, time period of the poet, biography of the poet, the characteristics of his poetry, conclusion of the discussion and bibliography. May Allah help us in each and every walk of life. Ameen.
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Khodjaeva`, Rano Umarovna. "The Role Of The Central Asians In The Socio-Political And Cultural Life Of Mamluk Egypt." American Journal of Social Science and Education Innovations 02, no. 10 (October 29, 2020): 227–36. http://dx.doi.org/10.37547/tajssei/volume02issue10-38.
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The article considers the strengthening of the Turkic factor in Egypt after the Mamluk Emirs, natives from the Khwarezm, Turkmen and Kipchak tribes, who came to power in the second half of the XIII century. The influence of the Turkic factor affected all aspects of life in Egypt. Under the leadership of the Turkic Emirs, the Egyptians defeated the crusaders who invaded Egypt in 1248. This defeat of the 7th crusade marked the beginning of the General collapse of the Crusades. Another crushing defeat of the Mamluks led by Sultan Kutuz caused the Mongols, stopping their victorious March through the Arab world. As a result of these brilliant victories, Egypt under the first Mamluk Sultans turned into a fairly strong state, which developed agriculture, irrigation, and foreign trade. The article also examines the factors contributing to the transformation of Egypt in the 13-14th centuries in the center of Muslim culture after the fall of the Abbasid Caliphate. Scientists from all over the Muslim world came to Egypt, educational institutions-madrassas were intensively built, and Muslim encyclopedias were created that absorbed the knowledge gained in various Sciences (geography, history, philology, astronomy, mathematics, etc.). Scholars from Khwarezm, the Golden Horde, Azerbaijan, and other Turkic-speaking regions along with Arab scholars taught hadith, logic, oratory, fiqh, and other Muslim Sciences in the famous madrassas of Egypt. In Mamluk Egypt, there was a great interest in the Turkic languages, especially the Oguz-Kipchak dialect. Arabic and Turkic philologists write special works on the vocabulary and grammar of the Turkic languages, and compile Arabic-Turkic dictionaries. In Egypt, a whole layer of artistic Turkic-language literature was created that has survived to the present day. The famous poet Saif Sarayi, who came from the lower reaches of the Syr Darya river in Mawaraunnahr was considered to be its founder. He wrote in Chigatai (old Uzbek) language and is recognized a poet who stands at the origins of Uzbek literature. In addition to his known the names of eight Turkish-speaking poets, most of whom have nisba “al-Khwarizmi”. Notable changes occurred in Arabic literature itself, especially after the decline of Palace Abbasid poetry. There is a convergence of literature with folk art, under the influence of which the poetic genres, such as “zazhal”, “mavval”, “muvashshah”, etc. emerge in the Egyptian poetry. In Mamluk Egypt, the genre of “adaba” is rapidly developing, aimed at bringing up and enlightening the good-natured Muslim in a popular scientific form. The works of “adaba” contained a large amount of poetic and folklore material from rivayats and hikayats, which makes it possible to have a more complete understanding of medieval Arabic literature in general. Unfortunately, the culture, including the fiction of the Mamluk period of Egypt, has been little studied, as well as the influence of the Turkic factor on the cultural and social life of the Egyptians. The Turkic influence is felt in the military and household vocabulary, the introduction of new rituals, court etiquette, changing the criteria for evaluating beauty, in food, clothing, etc. Natives of the Turkic regions, former slaves, historical figures such as the Sultan Shajarat ad-Durr, Mamluk sultans as Kutuz and Beybars became national heroes of the Egyptian people. Folk novels-Sirs were written about their deeds. And in modern times, their names are not forgotten. Prominent Egyptian writers have dedicated their historical novels to them, streets have been named after them, monuments have been erected to them, and series and TV shows dedicated to them are still shown on national television. This article for the first time examines some aspects of the influence of the Turkic factor on the cultural life of Mamluk Egypt and highlights some unknown pages of cultural relations between Egypt and Mawaraunnahr.
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Blankinship, Kevin. "Suffering the Sons of Eve: Animal Ethics in al-Maʿarrī’s Epistle of the Horse and the Mule." Religions 11, no. 8 (August 10, 2020): 412. http://dx.doi.org/10.3390/rel11080412.
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In the year 1021 CE, blind author and skeptic Abū l-ʿAlāʾ al-Maʿarrī (d. 1057 CE) wrote Risālat al-ṣāhil wa-l-shāḥij (The Epistle of the Horse and the Mule), a winding prose work populated by animal characters who talk about poetry, grammar, riddles, and Syrian society on the eve of the crusades. Traditionally forgotten as a source for al-Maʿarrī’s pacifism, and his vegan worldview, the Ṣāhil lets readers see his thinking on animals more than most other works. After a brief survey of animals in Islam, which shows a mainstream desire for balance between human and non-human needs, as well as exceptional cases that strongly uphold animals as subjects per se and which stand as key inter-texts for al-Maʿarrī, this paper considers how the Ṣāhil champions non-human creatures through images of animal cruelty deployed to shock readers into compassion, and through poetry and popular sayings (amthāl) recast in a zoocentric mold. It, therefore, advocates with more fervor than anthropocentric Islamic writings on animals, such as Kalīlah wa-Dimnah or the letters of the Ikhwān al-Ṣafāʾ. However, this happens in a way that makes it hard to pin down the sources of al-Maʿarrī’s thought. Furthermore, al-Maʿarrī seems to contradict himself when, for example, he employs literal meaning when it comes to animal justice, even as he avoids literalism in other contexts. This calls his concern for animals into question in one sense, but in another, it affirms such concern insofar as his self-contradictions show an active mind working through animal ethics in real time.
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HERMES, Nizar F. "The Byzantines in Medieval Arabic Poetry: Abu Firas’ "Al-Rumiyyat" and the Poetic Responses of al-Qaffal and Ibn Hazm to Nicephore Phocas’ "Al-Qasida al-Arminiyya al-Malʿuna" (The Armenian Cursed Ode)." BYZANTINA SYMMEIKTA 19 (October 6, 2009): 35. http://dx.doi.org/10.12681/byzsym.934.
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<font size="3"><font face="Times New Roman"><span style="font-weight: normal">Up until the Crusades, it was <em>al-Rūm </em>who were universally seen by Arab writers and Arab poets in particular as the Other <em>par excellence</em>. Nowhere is this more conspicuous than in the sub-genre of <em>Al-Rūmiyyat </em>(poems about the Byzantines), namely as found in the <em>Rūmiyyat</em> of Abu Firas al-Hamdani(d.968), and in the poetic responses of al-Qaffal(d</span><span><strong>. </strong></span><span style="font-weight: normal">946</span><span style="font-weight: normal">) and Ibn Hazm(d.</span><span><strong> </strong></span><span style="font-weight: normal">1064</span><span style="font-weight: normal">) to what was described by several medieval Muslim chronicles as <em>Al-Qasida al-Arminiyya al-Malʿuna </em>(The Armenian Cursed Ode). By exploring the forgotten views of the Byzantines in medieval Arabic poetry, this article </span><span style="font-weight: normal">purports to demonstrate that </span><span style="font-weight: normal">contrary to the impression left after reading Edward Said’s groundbreaking <em>Orientalism: Western Conceptions of the Orient</em> (1978) and other postcolonial studies, Orientals have not existed solely to be ‘orientalized’. Perhaps even before this came to be so, they too had ‘occidentalized’</span><span><strong> </strong></span><span style="font-weight: normal">their Euro-Christian Other(s)</span><span><strong> </strong></span><span style="font-weight: normal">in a way that mirrored in reverse the subject/object relationship described as Orientalism.</span></font></font> <h1 style="margin: 0in 0in 0pt 0.5in; direction: ltr; unicode-bidi: embed; text-align: center" align="center"><strong></strong></h1><h1 style="margin: 0in 0in 0pt 0.5in; direction: ltr; unicode-bidi: embed; text-align: center" align="center"><strong></strong></h1>
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Heng, Geraldine. "Reinventing Race, Colonization, and Globalisms across Deep Time: Lessons from the Longue Durée." PMLA/Publications of the Modern Language Association of America 130, no. 2 (March 2015): 358–66. http://dx.doi.org/10.1632/pmla.2015.130.2.358.
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In July 1099, after three years of levantine military adventure during which new latin christian colonies were fashioned at edessa and Antioch, the transnational forces from Europe later known as the First Crusade finally captured their principal target: Jerusalem. Three eyewitness chronicles attest to the bloodbath that followed. Fulcher of Chartres, chaplain to one of the foremost Crusade leaders, estimated that “ten thousand were beheaded” at the Temple of Solomon alone (Chronicle 77). The anonymous author of the Gesta Francorum (The Deeds of the Franks) averred, “No-one has ever seen or heard of such a slaughter of pagans” (92). Raymond d'Aguiliers, chaplain to another Crusade leader, was effusive:Some of the pagans were mercifully beheaded, others pierced by arrows plunged from towers, and yet others, tortured for a long time, were burned to death in searing flames. Piles of heads, hands, and feet lay in the houses and streets, and indeed there was a running to and fro of men and knights over the corpses…. [T]hese are few and petty details…. Shall we relate what took place there? If we told you, you would not believe us. So it is sufficient to relate that in the Temple of Solomon and the portico crusaders rode in blood to the knees and bridles of their horses. In my opinion, this was poetic justice…. Jerusalem was now littered with bodies. (Historia 127-28)
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Ayres, Miriam. "The Mystique of Writing: Mysticism and the Poetic Theory of Paul Valéry." Hawliyat 12 (November 19, 2018): 19–34. http://dx.doi.org/10.31377/haw.v12i0.215.
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In his famous Cahiers, the literary crusader Paul Valéry collected thoughts on literature, culture and himself, wrote in an aphoristic style and in an antago- nistic tone reminiscent of Nietzsche, disavowed philosophers and philosophical writing, mocked French literary tradition and extravagantly praised the poetry of Stéphane Mallarmé and the music of Richard Wagner. Dissatisfied with the course of his own poetry, he renounced it for twenty-one years, a period often referred to by his critical readers as the «Great Silence». He never stopped wri- ting, however, and although his ideas on poetry are far from transparent, he appa- rently never had doubts about what literary art should be. He ultimately became obsessed with what he called the essential musical components of poetry, and he thought of the poem as language reduced to perfection. In Analects he writes: «I have an innate horror of the vague; I cannot like what is not clear to me» (1970, ")2). Because he glorifies the poetic process and points to the rigor of writing, he narrates his own «conversion» to poetry and characterizes the task of the poet in a quasi-missionary tone, as if describing a spiritual calling: My intent was never to be a poet... But I have at times chosen to act as if I was one and as good a one as possible, bringing to bear all the attention and all the powers of combination and analysis at my command, so as to penetrate into a poetic state at its purest, without remaining there: as a proof, as a means, as an exercise, as a sacrifice to certain divinities. (qtd. in Grubbs 84; emphasis added)
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Shepkaru, Shmuel. "Susan L. Einbinder. Beautiful Death: Jewish Poetry and Martyrdom in Medieval France. Princeton and Oxford: Princeton University Press, 2002. x, 219 pp." AJS Review 28, no. 2 (November 2004): 371–73. http://dx.doi.org/10.1017/s0364009404290213.
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Can medieval Jewish poetry teach us history? Asked differently, can scholars draw on medieval poetry (piyyutim) to reconstruct historical events? In Beautiful Death, Einbinder narrows down this matter to the case of Ashkenazic martyrological poetry. To answer this question, Einbinder has analyzed over seventy Hebrew poems from northern France, England, and Germany; they span the period following the First Crusade (1096), ending with the Rindfleisch massacres of 1298 in Germany and King Philip IV's expulsion of the French Jews in 1306.
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BENNETT, MATTHEW. "FIRST CRUSADERS' IMAGES OF MUSLIMS: THE INFLUENCE OF VERNACULAR POETRY?" Forum for Modern Language Studies XXII, no. 2 (1986): 101–22. http://dx.doi.org/10.1093/fmls/xxii.2.101.
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Werle, Dirk, and Uwe Maximilian Korn. "Telling the Truth: Fictionality and Epic in Seventeenth-Century German Literature." Journal of Literary Theory 14, no. 2 (September 25, 2020): 241–59. http://dx.doi.org/10.1515/jlt-2020-2006.
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AbstractResearch on the history of fiction of the early modern period has up to now taken primarily the novel into consideration and paralleled the rise of the novel as the leading genre of narrative literature with the development of the modern consciousness of fictionality. In the present essay, we argue that contemporary reflections on fictionality in epic poetry, specifically, the carmen heroicum, must be taken into account to better understand the history of fiction from the seventeenth century onwards. The carmen heroicum, in the seventeenth century, is the leading narrative genre of contemporary poetics and as such often commented on in contexts involving questions of fictionality and the relationship between literature and truth, both in poetic treatises and in the poems themselves. To reconstruct a historical understanding of fictionality, the genre of the epic poem must therefore be taken into account.The carmen heroicum was the central narrative genre in antiquity, in the sixteenth century in Italy and France, and still in the seventeenth century in Germany and England. Martin Opitz, in his ground-breaking poetic treatise, the Buch von der Deutschen Poeterey (1624), counts the carmen heroicum among the most important poetic genres; but for poetry written in German, he cites just one example of the genre, a text he wrote himself. The genre of the novel is not mentioned at all among the poetic genres in Opitz’ treatise. Many other German poetic treatises of the seventeenth century mention the importance of the carmen heroicum, but they, too, provide only few examples of the genre, even though there were many Latin and German-language epic poems in the long seventeenth century. For Opitz, a carmen heroicum has to be distinguished from a work of history insofar as its author is allowed to add fictional embellishments to the ›true core‹ of the poem. Nevertheless, the epic poet is, according to Opitz, still bound to the truthfulness of his narrative.Shortly before the publication of Opitz’ book, Diederich von dem Werder translated Torquato Tasso’s epic poem Gerusalemme liberata (1580); his translation uses alexandrine verse, which had recently become widely successful in Germany, especially for epic poems. Von dem Werder exactly reproduces Tasso’s rhyming scheme and stanza form. He also supplies the text with several peritexts. In a preface, he assures the reader that, despite the description of unusual martial events and supernatural beings, his text can be considered poetry. In a historiographical introduction, he then describes the course of the First Crusade; however, he does not elaborate about the plot of the verse epic. In a preceding epyllion – also written in alexandrine verse – von dem Werder then poetically demonstrates how the poetry of a Christian poet differs from ancient models. All these efforts can be seen as parts of the attempt to legitimate the translation of fictional narrative in German poetry and poetics. Opitz and von dem Werder independently describe problems of contemporary literature in the 1620s using the example of the carmen heroicum. Both authors translate novels into German, too; but there are no poetological considerations in the prefaces of the novels that can be compared to those in the carmina heroica.Poetics following the model established by Opitz develop genre systems in which the carmen heroicum is given an important place, too; for example, in Balthasar Kindermann’s Der Deutsche Poet (1664), Sigmund von Birken’s Teutsche Rede- bind- und Dicht-Kunst (1679), and Daniel Georg Morhof’s Unterricht von der Teutschen Sprache und Poesie (1682). Of particular interest for the history of fictionality is Albrecht Christian Rotth’s Vollständige Deutsche Poesie (1688). When elaborating on the carmen heroicum, Rotth gives the word ›fiction‹ a positive terminological value and he treats questions of fictionality extensively. Rotth combines two contradictory statements, namely that a carmen heroicum is a poem and therefore invented and that a carmen heroicum contains important truths and is therefore true. He further develops the idea of the ›truthful core‹ around which poetic inventions are laid. With an extended exegesis of Homer’s Odyssey, he then illustrates what it means precisely to separate the ›core‹ and the poetic embellishments in a poem. All these efforts can be seen as parts of the attempt to legitimize a poem that tells the truth in a fictional mode.The paper argues that a history of fictionality must be a history that carefully reconstructs the various and specifically changing constellations of problems concerning how the phenomenon of fictionality may be interpreted in certain historical contexts. Relevant problems to which reflections on fictionality in seventeenth-century poetics of the epic poem and in paratexts to epic poems react are, on the one hand, the question of how the genre traditionally occupying the highest rank in genre taxonomy, the epic, can be adequately transformed in the German language, and, on the other hand, the question of how a poetic text can contain truths even if it is invented.
Dissertations / Theses on the topic "Crusades, poetry"
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Latiff, Osman. "The place of Fasda'il Al-Quds (merits of Jerusalem) : literature and religious poetry in the Muslim effort to recapture Jerusalem during The Crusades." Thesis, Royal Holloway, University of London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540105.
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Cantalupi, Cecilia. "Une nouvelle édition critique du troubadour Guilhem Figueira." Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLEP015.
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La thèse propose une nouvelle édition critique du corpus lyrique du troubadour Guilhem Figueira (BdT 217), originaire de Toulouse mais actif principalement en Italie du Nord dans la première moitié du XIIIe siècle. Poète représentatif du climat historique et culturel toulousain à l’époque de la croisade contre les Albigeois, protagoniste de la diaspora de poètes et intellectuels et membre d’un cercle idéal de troubadours frédériciens, Figueira nous a laissé une chanson d’amour, deux sirventes contre la papauté de Rome et les faux clergés, deux sirventes pour Frédéric II et deux chansons de croisade. Il échangea aussi deux coblas et une tenson avec Aimeric de Peguilhan (BdT 10). Par rapport à l’édition de référence (Emil Levy, 1880) on a inclus une cobla esparsa anonyme contre Sordel (BdT 437) conservé dans le chansonnier P ; par contre, on a décidé de ne pas accueillir les deux pièces qui lui sont attribuées par le chansonnier a2. On a fourni une étude de la tradition manuscrite, qui compte aujourd’hui cinq nouveaux témoins, avec une mise à jour de la bibliographie ; une étude des thèmes, de la métrique et de la langue de Figueira, une traduction des pièces en italien et un commentaire ponctuel des textes ; un glossaire complet et deux annexes (l’édition du sirventes BdT 217.4a qu’on n’a pas jugé authentique mais qui sert pour l’interprétation d’une autre poésie et les premiers résultats d’une recherche sur Emil Levy éditeur de troubadours, avec l’édition de neuf lettres qu’il envoya à Ernesto Monaci entre 1879 et 1887 et que nous avons trouvé à Rome)The thesis proposes a new critical edition of the lyric production by Guilhem Figueira (BdT 217), who was born in Toulouse and active during the first half of the XIIIth century, mainly in Northern Italy. Figueira’s corpus is representative of the historical and cultural climate in Toulouse during the Albigensian crusade; he was himself a protagonist of the diaspora of poets and intellectuals and a member of an ideal circle of Friderician troubadours. He left a love song, two sirventes against the papacy and the false clergy, two sirventes for Frederic II and two crusade songs. He also exchanged two coblas and one tenson with Aimeric de Peguilhan (BdT 10). In comparison with the critical edition by Emil Levy (1880), we have included an anonymous cobla esparsa against Sordel (BdT 437), preserved by the chansonnier P; on the other hand, we have decided not to accept two other poems assigned to him by a2. The thesis opens with a study of the tradition, which today includes five new witnesses, with an update of the bibliography; we have provided a study of themes, metric and language of Figueira, an Italian translation and a punctual commentary of the poems; a complete glossary and two appendices (the edition of sirventes BdT 217.4a, which we considered inauthentic but helpful to the correct interpretation of another poem; and the first results of a research on Emil Levy editor of troubadours, with the edition of nine letters he sent to Ernesto Monaci between 1879 and 1887 that we have found in Rome)
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"The Poets, the Popes, and the Chroniclers: Comparing Crusade Rhetoric in the Songs of the Troubadours and Trouvères with Crusade Literature, 1145-1291." Master's thesis, 2019. http://hdl.handle.net/2286/R.I.53800.
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abstract: The call to crusade in 1145 prompted a movement fueled not only by religious writings and sermons, but by calls to arms in secular song. During the mid-twelfth to thirteenth centuries, French Trouvères and Occitan Troubadours wrote over one hundred crusade songs, the majority of which are rife with propaganda and support for the crusades and the attacks against the Saracens and the East. The crusade song corpus not only deals with sacred motivations to go overseas, such as the crusade indulgence present in papal bulls, but also summons biblical figures and epic persons as motivation to crusade.
Previous scholars have not adequately defined the genre of a crusade song, and have overlooked connections to the crusading rhetoric of the genre of crusade literature. I offer a precise definition of crusade song and examine commonalities between crusade literature and song. During the crusades, troubadours and trouvères wrote crusade songs to draw support for the campaigns. The propaganda in these songs demonstrates that the authors had an understanding of current events and may have had some knowledge of other crusading literature, such as papal calls to crusade, crusade sermons, the Old French Crusade Cycle, and various crusade chronicles. These documents show how the themes and allusions present in crusade song have broader connotations and connections to crusade culture in Medieval Europe.Dissertation/Thesis
Masters Thesis Music 2019
Books on the topic "Crusades, poetry"
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Girardi, Maria Teresa. Tasso e la nuova "Gerusalemme": Studio sulla 'Conquistata' e sul "Giudicio". Napoli: Edizioni scientifiche italiane, 2002.
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Girardi, Maria Teresa. Tasso e la nuova Gerusalemme: Studio sulla Conquistata e sul Giudicio. Napoli: Edizioni scientifiche italiane, 2002.
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Tasso e la nuova Gerusalemme: Studio sulla Conquistata e sul Giudicio. Napoli [etc.]: Edizioni scientifiche italiane, 2002.
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Das Feindbild der Kreuzzugslyrik: Das Aufeinandertreffen von Christen und Muslimen. Bern: Lang, 2009.
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1925-, Nash Ralph, ed. Jerusalem delivered: An English prose version. Detroit: Wayne State University Press, 1987.
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Tasso, Torquato. Jerusalem delivered. Detroit: Wayne State University Press, 1987.
Find full textBook chapters on the topic "Crusades, poetry"
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"Jihad Poetry in the Age of the Crusades." In Crusades – Medieval Worlds in Conflict, 23–38. Routledge, 2017. http://dx.doi.org/10.4324/9781315258768-10.
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England, Samuel. "The Sovereign and the Foreign: Creating Saladin in Arabic Literature of the Counter-Crusade." In Medieval Empires and the Culture of Competition, 67–104. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474425223.003.0003.
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Continues the book’s examination of Arabic poetry as a means for ascent in the court and as a tool for exerting control over the empire. The focus here is the sultan Salah al-Din Yusuf ibn al-Ayyub, often called Saladin. During his transition from vizier to sultan during the twelfth-century Crusades, Saladin oversaw writers and political administrators vying with one another to construct his identity as Islam’s protector. The collapse of the Fatimid caliphate in Egypt and the threat of crusading armies gave the new regime a key opportunity. The Ayyubid system consolidated a previously scattered community of littérateurs. Whereas the Fatimids were seen as incapable eradicating “the Franks” from the Levant and Egypt, now writers challenged each other to poeticize a successful counter-crusade. Modern studies portray the Crusaders as a nagging anxiety of Saladin’s court but, I argue, the presence of a foreign enemy proved extraordinarily useful to him. Writers re-imagined Islamic history as having always included a mysterious threat to pious Muslim people, fully realized in the Franks’ arrival. At the cathartic endpoint of that narrative they placed Saladin and, more subtly, themselves as the chroniclers of Islam’s restoration.
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"Poetry and Poetics in Medieval Arabic Discourse." In The Cutting Edge of the Poet’s Sword: Muslim Poetic Responses to the Crusades, 40–54. BRILL, 2018. http://dx.doi.org/10.1163/9789004345225_003.
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England, Samuel. "Alfonso X: Poetry of Miracles and Domination." In Medieval Empires and the Culture of Competition, 105–40. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474425223.003.0004.
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Chapter three shifts the Crusades analysis from the Middle East to Gibraltar, studying the contentious political and literary career of Alfonso X in Spain. His extraordinary academic projects and intricate relations with Islamic communities have led scholars to minimize his combative lyric persona. A severely tested leader, Alfonso constructed two main targets for his attacks in song, the Muslims of the Mediterranean and his own knights for their failures against the fierce “Moor.” I counter the conventional treatment of this lyric poetry as light verse. This chapter shows how Alfonso used the specter of the enemy to provoke his own chivalric subjects into responding at court. Critics have portrayed Alfonso mostly entertaining his audiences with profane lyric while he completed more substantive religious and legislative manuscripts, but I argue that his aggressive troubadour persona allowed him to rework the imperial narrative. His image as Iberia’s intellectual, pious, combative, and at times slanderous leader expanded the definition of court and king.
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Golden, Rachel May. "Singing Crusade Journeys." In Mapping Medieval Identities in Occitanian Crusade Song, 225–34. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190948610.003.0007.
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In mapping geopolitics and spirituality, Crusade songs enacted motion and travel. Directionality and circularities typify Crusade songs and Crusaders alike. Songs variously embody dialogues between singing and hearing, the actions of Crusaders traveling both outremer and homeward. As songs moved through geographical spaces, bodies, air, and time, they articulated new contexts. Multiply re-created, songs emerged from composite and collective processes that included monks, troubadours, performers, scribes, and listeners. Contrafacture, seen in the relationship between Walther von der Vogelweide’s Palästinalied and Jaufre Rudel’s Lanqan li jorn, demonstrates the dialogic nature of these layers of creation, and how differing Crusade perspectives re-inscribe a song’s expression of striving, movement, or conclusion. Overall, Occitanian songs rendered the Crusade front as areas inflected by regional perspectives, from unknown spaces to meaningful places. Using techniques like deictic language, oppositional rhetoric, and circular motion, Crusade songs reinforced contemporaneous ideologies in both their poetic texts and directed melodic shapes.
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Golden, Rachel May. "Near and Distant Lands in First Crusade Songs." In Mapping Medieval Identities in Occitanian Crusade Song, 155–87. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190948610.003.0005.
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Two First Crusade songs from the turn of the twelfth century—Ierusalem mirabilis and Nomen a solemnibus—demonstrate Occitanian attitudes toward violence, Jerusalem, and dynamic Crusade journeys. Both come from the Aquitanian versus repertory and reference current or recent events pertaining to the First Crusade, and the state of Jerusalem between 1096 and 1099. In this way, they enhance our understanding of the versus repertory, which typically focuses on broader themes of Marian and Christological theology. Both songs rely upon various elements of Pope Urban’s Crusade call and contemporaneous crusading ideologies. They employ musical-poetic rhetorical techniques such as circular motion and dialectic opposition in order to portray the early Crusades as active, vital campaigns. The also employ deictic language to mark positionality and us-versus-them belief systems. In so doing, they position Jerusalem and Occitania—conceptually and geographically—in relation to one another, particularly through spatial notions of nearness and distance.
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Dunbabin, Jean. "Charles of Anjou: Crusaders and Poets." In Literature of the Crusades, 150–57. Boydell and Brewer Limited, 2018. http://dx.doi.org/10.1017/9781787441736.010.
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"6. The Last Crusade." In Poets and Princes, 227–47. Turnhout: Brepols Publishers, 2012. http://dx.doi.org/10.1484/m.courts-eb.4.00008.
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Sweetenham, Carol. "Reflecting and Refracting Reality: The Use of Poetic Sources in Latin Accounts of the First Crusade." In Literature of the Crusades, 25–40. Boydell and Brewer Limited, 2018. http://dx.doi.org/10.1017/9781787441736.003.
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"17 The Maccabees in the Lord’s Temple: Biblical Imagery and Latin Poetry in Frankish Jerusalem." In The Uses of the Bible in Crusader Sources, 421–39. BRILL, 2017. http://dx.doi.org/10.1163/9789004341210_019.
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