Walk on the Wild Side

Walk on the Wild Side © Koninklijke Brill NV, Leiden, 2008 DOI: 10.1163/157006708X366308 Medieval Encounters 14 (2008) 368-389 www.brill.nl/me Medieval Jewish, Christian and Muslim Culture Encounters in Confluence and Dialogue Walk on the Wild Side Simone Pinet Department of Romance Studies, Cornell University, 313 Morrill Hall, Ithaca, NY 14853, USA Abstract Th e figure of the wild man is one that crosses artistic disciplines and genres in the cultures of medieval Iberia. In this article I show how the wild man operates within a variety of meanings in diverse literary contexts that, working simultaneously at different narrative levels, cross over from literature into daily life and spectacles, from legal to political discourses. Th e figure’s continued presence from the medieval period into the sixteenth and seventeenth centuries suggests its use as a commonplace, as a motif with a number of fixed meanings that are put to work through context, providing the possibility of different, perhaps even contradictory readings. As commonplace, then, the wild man is presented as a case study for the reconsid- eration of other elements in the paintings of the Hall of Justice of the Alhambra, often inter- preted to have a specific or fixed meaning, and thus programmed within a http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Medieval Encounters Brill

Walk on the Wild Side

Medieval Encounters, Volume 14 (2-3): 368 – Jan 1, 2008

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Publisher
Brill
Copyright
© 2008 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
1380-7854
eISSN
1570-0674
D.O.I.
10.1163/157006708X366308
Publisher site
See Article on Publisher Site

Abstract

© Koninklijke Brill NV, Leiden, 2008 DOI: 10.1163/157006708X366308 Medieval Encounters 14 (2008) 368-389 www.brill.nl/me Medieval Jewish, Christian and Muslim Culture Encounters in Confluence and Dialogue Walk on the Wild Side Simone Pinet Department of Romance Studies, Cornell University, 313 Morrill Hall, Ithaca, NY 14853, USA Abstract Th e figure of the wild man is one that crosses artistic disciplines and genres in the cultures of medieval Iberia. In this article I show how the wild man operates within a variety of meanings in diverse literary contexts that, working simultaneously at different narrative levels, cross over from literature into daily life and spectacles, from legal to political discourses. Th e figure’s continued presence from the medieval period into the sixteenth and seventeenth centuries suggests its use as a commonplace, as a motif with a number of fixed meanings that are put to work through context, providing the possibility of different, perhaps even contradictory readings. As commonplace, then, the wild man is presented as a case study for the reconsid- eration of other elements in the paintings of the Hall of Justice of the Alhambra, often inter- preted to have a specific or fixed meaning, and thus programmed within a

Journal

Medieval EncountersBrill

Published: Jan 1, 2008

Keywords: NARRATIVE SEQUENCES; ELOQUENCE; COMMONPLACES; WILD MAN; ALHAMBRA; SENTIMENTAL FICTION; LEVELS OF MEANING

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