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<p class="MsoNormal"><em><span lang="EN-US" style="font-family: 'Times New Roman','serif';">The Werewolf in Medieval Romance</span></em><span lang="EN-US" style="font-family: 'Times New Roman','serif';"> argues that in <em>Guillaume de Palerne</em>, <em>Bisclavret</em>, <em>Arthur and Gorlagon</em>, <em>Melion, William of Palerne</em>, and <em>Biclarel </em>the </span><span lang="EN-US" style="font-family: 'Times New Roman','serif'; mso-fareast-font-family: 'ヒラギノ角ゴ Pro W3';">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.</span></p>

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The Werewolf in Medieval Romance

  • 书籍

  • 发表日期：

    2025年

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  • Renée Ward

摘要

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.