Jane Chance

Rice University, English, Emerita

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Phone: 409-763-6066
Address: 109 Dennis St
Houston, TX 77006

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Papers by Jane Chance

Erler, Women, Reading, and Piety in Late Medieval England (Jane Chance )

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Mine Is Longer:" Gender Difference and Female Authority in the Academy

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Make it Work": Grants(wo)manship

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The Literary Traditions of Medieval Women (1997 NEH Summer Institute): Introduction, Description, and Reading List

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Tough Love: Teaching the New Medievalisms

Defining Medievalism(s) II, 2009

Nancy Bradley Warren The Embodied Word: Female Spiritualities, Contested Orthodoxies, and English Religious Cultures, 1350–1700 The Embodied Word: Female Spiritualities, Contested Orthodoxies, and English Religious Cultures, 1350–1700 . Nancy Bradley Warren . University of Notre Dame Press, 2010....

Modern Philology, 2013

Review Desiring Bodies: Ovidian Romance and the Cult of Form Heyworth Gregory University of Notre Dame Press Notre Dame

The Journal of English and Germanic Philology, 2012

The Metaphysical Poets

The Metaphysical Poets Sidney Gottlieb, ed. 1990. xii & 177 pp. Cloth ISBN 978-0-87352-529 -9 Pap... more The Metaphysical Poets Sidney Gottlieb, ed. 1990. xii & 177 pp. Cloth ISBN 978-0-87352-529 -9 Paper ISBN 978-0-87352-530-5 Miller's Death of a Salesman Matthew Roudané, ed. 1995. xii & 178 pp. Cloth ISBN 978-0-87352-727-9 Paper ISBN 978-0-87352-728-6 Milton's Paradise Lost Galbraith M. Crump, ed. 1986. x & 201 pp. Cloth ISBN 978-0-87352-493-3 Paper ISBN 978-0-87352-494-0 Milton's Shorter Poetry and Prose Peter C. Herman, ed. 2007. xii & 284 pp. Cloth ISBN 978-0-87352-593-0 Paper ISBN 978-0-87352-594-7 Molière's ...

Re-membering Herself: Christine de Pizan's Refiguration of Isis as Io

format_quoteChristine's evolving interpretations of Io and Isis reflect her growing sophistication in narrativity and feminism.format_quote

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Review of Nancy Warren, The Embodied Word

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected].

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“Editor’s Introduction. Cognitive Alterities: From Cultural Studies to Neuroscience and Back Again,”

Cognitive Alterities/Neuromedievalism, in postmedieval: a journal of medieval cultural studies 3:3 (2012): 247-62.

format_quoteNeuroscientific data shows consistent brain responses across cultures to emotional intensity in filmmaking.format_quote

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From Plato to Lancelot: A Preface to ChrÃ©tien de Troyes (review)

Arthuriana, 2009

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Desiring Bodies: Ovidian Romance and the Cult of Form (review)

Jegp, Journal of English and Germanic Philology, 2012

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[Book Review: Sex and Sexuality in Anglo-Saxon England: Essays in Memory of Daniel Gillmore Calder]

Modern Philology, 2006

Rhetoricalinventio and Ricardian allegories in late middle English literature: A new historical approach to fiction: Ann W. Astell,Political Allegory in Late Medieval

International Journal of The Classical Tradition, 2001

Marilynn Desmond, Ovid’s Art and the Wife of Bath: The Ethics of Erotic Violence

International Journal of The Classical Tradition, 2008

The provocative title of Marilynn Desmond's recent book belies its disappointingly flawed, presen... more The provocative title of Marilynn Desmond's recent book belies its disappointingly flawed, presentist argument. While Ovid's Ars amatoria has long been accepted as one of the misogynist sources for the medieval texts that Desmond examines in five separate chapters-the twelfth-century letters of Heloise and Abelard, Jean de Meun's late thirteenth-century continuation of Guillaume de Lorris's Roman de la Rose (particularly the section involving La Vieille, the Old Woman), fourteenth-century Geoffrey Chaucer's character of the Wife of Bath and the prologue to her tale in the Canterbury Tales, and the early fifteenth-century Querelle de la Rose concerning Jean's Rose and comprised of letters between royal, ecclesiastical, and university officials and Christine de Pizan-Desmond's theoretical take on this literary genealogy of Ovid mistakenly interprets domestic violence against women in the Wife of Bath's prologue (and elsewhere in antiquity and the Middle Ages) as a manifestation of sadomasochism and the fantasy role-play of sexual desire. In her rhetorical positioning of various ancient and medieval sources as illustration for the ideas of other theorists and critics, Desmond, on the one hand, ingeniously presents conclusions that seem to support her conflation and, on the other hand, slights arguments voiced by others about the specific texts that might have anticipated (and, therefore, diminished) the importance of her own.

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The Tolkien Fan's Medieval Reader (review)

Tolkien Studies, 2005

... in characters such as Aelfwine and Earendil) have been translated by Nora Kershaw (1922)the ... more

Reviews of Books:The Holy Grail: Imagination and Belief Richard Barber

American Historical Review, 2005

NATIONAL IDENTITY AND CONVERSION THROUGH MEDIEVAL ROMANCE: THE CASE OF HRAFN GUNNLAUGSSON'S FILM "Í SKUGGA HRAFNSINS" (IN THE SHADOW OF THE RAVEN)

In director Hrafn Gunnlaugsson's 1988 film, "Í Skugga Hrafnsins" [In the shadow of the raven], co... more In director Hrafn Gunnlaugsson's 1988 film, "Í Skugga Hrafnsins" [In the shadow of the raven], conversion to Christianity, despite the promise of spiritual salvation and national unification, is inherently a competition for social dominance. In the opening sequence, Gunnlaugsson juxtaposes midshots of the boat's passengers with voice-overed long shots of the troubled boat to introduce three of the four dramatic tensions in the film--religion, environment, settlement, and, later, romance. Here, an extreme long shot shows a Viking longboat violently tossed by a gray sea and barely visible as it sails seemingly without free will into the camera's frame. The dominant contrast of the shot favors the sound of the ocean emphasized by an initial absence of dialogue and musical score. As the film's establishing shot, it presses the uncertainty of human endeavors while honoring the fortitude of man's desire to settle and to explore a world where gods are present in nature and fate is irrevocably tied to unpredictable forces. A frantic seaman sounds the alarm that the boat is off course and approaching a field of drift ice, as the hero, Trausti, dressed in a clerical hooded cloak, appears resolute, holding his book -a sign of Norwegian literacy, religion, and culture. Recalling the biblical voyage of Noah as well as the saga story of Hrafna-Flóki (Raven-Flóki) from Landnámabók, the scene includes the release of a raven by the crew in hopes that it will guide them to Iceland. There is a moment of hesitation and fear as the bird circles the boat before flying offscreen, leading an overjoyed crew who rejoice that they will "follow the raven" home. Hence, "in the shadow of the raven" -an overt sign of Iceland's pagan past and present--the newly-ordained hero brings Christianity to his home simultaneously threatened and protected by a fate that resides in nature, ever-present, everlasting, and ever-changing.

format_quoteTrausti acknowledges widespread heathenism and shifts to Christianity for personal and political advantage, reflecting social complexities.format_quote

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National Identity and Conversion Through Medieval Romance: The Case of Hrafn Gunnlaugsson's Film "Í Skugga Hrafnsins

Scandinavian Studies, 2003

... S: Can Grandad come back? T: No, but he will always be with you. S: How? ... Trausti's f... more ... S: Can Grandad come back? T: No, but he will always be with you. S: How? ... Trausti's final answer complicates the meaning of the exchange. Sol asks whether or not both her parents believe that "pvi sa sem tuir a astina odlast eilift lif" ["he who believes in love shall live forever"]. ...

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