Description
The Werewolf in Medieval Romance argues that in Guillaume de Palerne, Bisclavret, Arthur and Gorlagon, Melion, William of Palerne, and Biclarel the werewolf’s identity incorporates a variety of assemblages, including human and animal bodies, and physical spaces and the animate and inanimate beings or objects therein. Whether in lupine or human form, the werewolf’s identity is a perpetual becoming, one with extensive queer, and thus disruptive, potential. Additionally, the werewolf’s identity incorporates political systems and violence, specifically through his status as a knight, prince, and/or king. He is an expression of sovereign power and an extension of the identity the sovereign presents, often functioning as a blunt instrument of the crown.
Table of Contents
1. Introduction.- Part I: Knightly Assemblages.- 2. Guillaume de Palerne.- 3. Bisclavret.- Part II: Arthur and the Werewolf.- 4. Arthur and Gorlagon.- 5. Melion.- Part III: Adapting and Politicizing the Werewolf.- 6. William of Palerne.- 7. Biclarel.
