to Current Evaluations

Acknowledgments

The editors wish to thank the copyright holders of the criticism included in this volume and the permissions managers of many book and magazine publishing companies for assisting us in securing reproduction rights. We are also grateful to the staffs of the Detroit Public Library, the Library of Congress, the University of Detroit Mercy Library, Wayne State University Purdy/Kresge Library Complex, and the University of Michigan Libraries for making their resources available to us. Following is a list of the copyright holders who have granted us permission to reproduce material in this volume of CMLC. Every effort has been made to trace copyright, but if omissions have been made, please let us know.

COPYRIGHTED MATERIAL IN CMLC, VOLUME 66, WAS REPRODUCED FROM THE FOLLOWING PERIODICALS:

Comparative Literature, v. 36, 1984 for “The Audience of the Libro de buen amor” by Jeremy N. H. Lawrance. Reproduced by permission of the author.—Exemplaria: A Journal of Theory in Medieval & Renaissance Studies, v. 9, spring, 1997. Copyright © 1997 by Pegasus Press, Fairview, NC. Reproduced by permission.—Forum for Modern Language Studies, v. 34, January, 1998 for “Self-Reflexiveness and the Category of the Will in Early Troubadour Poetry of Fin’ Amors” by Norman Klassen. Copyright © 1998 Forum for Modern Language Studies. All rights reserved. Reproduced by permission of the publisher and the author.—Harvard Journal of Asiatic Studies, v. 49, 1989 for “Reading Kamo no Ch©

omei” by Thomas Blenman Hare. Reproduced by permission of the author.—Journal of Arabic Literature, v. 10, 1979. Reproduced by permission.—Kentucky Romance Quarterly, v. 21, 1974. Copyright © 1974 by Helen Dwight Reid Educational Foundation. Reproduced with permission of the Helen Dwight Reid Educational Foundation, published by Heldref Publications, 1319 18th Street, NW, Washington, DC 20036-1802.—La Coronica, v. 13, fall, 1984-1985. Reproduced by permission.—Medium Aevum, v. 66, 1997. Reproduced by permission.—Modern Language Notes, v. 96, March, 1981. Copyright © 1981 by The Johns Hopkins University Press. Reproduced by permission.—Modern Language Review, v. 85, 1990. Copyright © 1990 Modern Humanities Research Association. Reproduced by permission of the publisher.—Monumenta Nipponica, v. 23, 1968; v. 27, summer, 1972; v. 42, summer, 1987. Copyright © 1968, 1972, 1987 by Monumenta Nipponica. All reproduced by permission.—Neohelicon, v. 17, 1990. Reproduced by permission.—Philological Quarterly, v. 51, January, 1972 for “Symmetry of Form in the Libro de buen amor” by Oliver T. Myers. Reproduced by permission of the author.—PN Review, v. 24, 1997 for “‘Tricky Turn’: Basil Bunting and Kamo no Ch©omei” by Sasha Hoare. Reproduced by permission of the author.—Revista de Estudios Hispanicos, v. 24, January, 1990. Reproduced by permission.— Romance Notes, v. 25, spring, 1985. Reproduced by permission.

COPYRIGHTED MATERIAL IN CMLC, VOLUME 66, WAS REPRODUCED FROM THE FOLLOWING BOOKS:

Arberry, A. J. From an Introduction to Poems of Al-Mutanabbi. Edited by A. J. Arberry. Cambridge University Press, Inc., 1967. Copyright © 1967 by Cambridge University Press. Reprinted with the permission of Cambridge University Press.— Bonner, Anthony. From an Introduction to Songs of the Troubadours. Edited and translated by Anthony Bonner. Schocken Books, 1972. Copyright © 1972 by Schocken Books Inc. Reproduced by permission of the author.—Briffault, Robert S. From an Introduction to The Troubadours. Edited by Lawrence F. Koons. Indiana University Press, 1965. Copyright © 1965 by Mrs. Joan Briffault Hackelberg. All rights reserved. Reproduced by permission.—Bruckner, Matilda Tomaryn. From an Introduction to Songs of the Women Troubadours. Edited and translated by Matilda Tomaryn Bruckner, Laurie Shepard, and Sarah White. Garland Publishing, Inc., 1995. Copyright © 1995 Matilda Tomaryn Bruckner, Laurie Shepard, and Sarah White. All rights reserved. Reproduced by permission of the publisher and the author.—Burgwinkle, William E. From Love for Sale: Materialist Readings of the Troubadour Razo Corpus. Garland Publishing, Inc., 1997. Copyright © 1997 by William E. Burgwinkle. All rights reserved. Reproduced by permission of the publisher and the author.—Egan, Margarita. From an Introduction to The Vidas of the Troubadours. Translated by Margarita Egan. Garland Publishing, Inc., 1984. Copyright © 1984 by Margarita Egan. All rights reserved. Reproduced by permission of the publisher and the author.—Eisenberg, Daniel. From “Juan Ruiz’s Heterosexual ‘Good Love’” in Queer Iberia: Sexualities, Cultures, and Crossings from the Middle Ages to the Renaissance. Edited by Josiah Blackmore and Gregory S. Hutcheson. Duke University Press, 1999. Copyright © 1999 by Duke University Press, Durham, NC. Used by permission.—Ferrante, Joan

M. From “Notes toward the Study of a Female Rhetoric in the Trobairitz” in The Voice of the Trobairitz: Perspectives on

the Women Troubadours. Edited by William D. Paden. University of Pennsylvania Press, 1989. Copyright © 1989 by the University of Pennsylvania Press. All rights reserved. Reproduced by permission of the author.—Gaddy, Barbara E. From “Myth in the Libro de Buen Amor”in Estudios Alfonsinos y Otros Escritos: En Homenaje a John Esten Keller y a Anibal A. Biglieri. Edited by Nicolas Toscano Liria. National Endowment for the Humanities Alfonso X el Sabio Institute 1990 and National Hispanic Foundation for the Humanities, 1991. Copyright © 1991 National Hispanic Foundation for the Humanities. All rights reserved. Reproduced by permission.—Hamori, A. From “Al-Mutanabbi” in ‘Abbasid Belles-Lettres. Edited by Julia Ashtiany, T. M. Johnstone, J. D. Latham, R. B. Serjeant, and G. Rex Smith. Cambridge University Press, Inc., 1990. Copyright © 1990 Cambridge University Press. Reprinted with the permission of Cambridge University Press.—Hamori, Andras. From “Reading al-Mutanabbi’s ‘Ode on the Siege of al-Hadat’” in Studia Arabica et Islamica: Festschrift for Ihsan ‘Abbas on his Sixtieth Birthday. Edited by Wadad al-Qadi. American University of Beirut, 1981. Copyright © 1981 American University of Beirut. All rights reserved. Reproduced by permission.—LaFleur, William R. From The Karma of Words: Buddhism and the Literary Arts in Medieval Japan. University of California Press, 1983. Copyright © 1983 by the Regents of the University of California. Reproduced by permission of the publisher and the author.—Pandey, Rajyashree. From Writing and Renunciation in Medieval Japan: The Works of the Poet-Priest Kamo no Ch©omei. Center for Japanese Studies, 1998. © 1998 The Regents of the University of Michigan. All rights reserved. Reproduced by permission.—Wormhoudt, Arthur. From The Blessing of Ishmael and Esau in the Diwan of Abu Tayyib ibn al Husain al Kindi al Mutanabbi. William Penn College, 1992. Copyright © 1992 by Arthur Wormhoudt. Reproduced by permission of the author.—Zahareas, Anthony N. From The Art of Juan Ruiz, Archpriest of Hita. Estudios de Literatura Espanola, 1965. Copyright © 1965 by Estudios de Literatura Espanola (Edbigar, S. L.). Reproduced by permission.

PHOTOGRAPHS AND ILLUSTRATIONS APPEARING IN CMLC, VOLUME 66, WERE RECEIVED FROM THE FOLLOWING SOURCES:

Famous troubadours poetry competition, photograph. The Picture Desk, Inc. Reproduced by permission.—Shinto Temple, photograph. Mary Evans Picture Library. Reproduced by permission.

Gale Literature Product Advisory Board

The members of the Gale Group Literature Product Advisory Board—reference librarians from public and academic library systems—represent a cross-section of our customer base and offer a variety of informed perspectives on both the presentation and content of our literature products. Advisory board members assess and define such quality issues as the relevance, currency, and usefulness of the author coverage, critical content, and literary topics included in our series; evaluate the layout, presentation, and general quality of our printed volumes; provide feedback on the criteria used for selecting authors and topics covered in our series; provide suggestions for potential enhancements to our series; identify any gaps in our coverage of authors or literary topics, recommending authors or topics for inclusion; analyze the appropriateness of our content and presentation for various user audiences, such as high school students, undergraduates, graduate students, librarians, and educators; and offer feedback on any proposed changes/enhancements to our series. We wish to thank the following advisors for their advice throughout the year.

Barbara M. Bibel

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