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data-dom-id="ProfileCheckPaperUpdate-react-component-9916f703-1f81-41e9-9ea1-0ace6394614c"></div> <div id="ProfileCheckPaperUpdate-react-component-9916f703-1f81-41e9-9ea1-0ace6394614c"></div> <div class="DesignSystem"><div class="onsite-ping" id="onsite-ping"></div></div><div class="profile-user-info DesignSystem"><div class="social-profile-container"><div class="left-panel-container"><div class="user-info-component-wrapper"><div class="user-summary-cta-container"><div class="user-summary-container"><div class="social-profile-avatar-container"><img class="profile-avatar u-positionAbsolute" border="0" alt="" src="//a.academia-assets.com/images/s200_no_pic.png" /></div><div class="title-container"><h1 class="ds2-5-heading-sans-serif-sm">Kevin Brownlee</h1><div class="affiliations-container fake-truncate js-profile-affiliations"><div><a class="u-tcGrayDarker" href="https://upenn.academia.edu/">University of Pennsylvania</a>, <a class="u-tcGrayDarker" 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href="https://www.academia.edu/84324369/The_Ideology_of_Periodization_Mimesis_10_and_the_Late_Medieval_Aesthetic"><img alt="Research paper thumbnail of The Ideology of Periodization: Mimesis 10 and the Late Medieval Aesthetic" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/84324369/The_Ideology_of_Periodization_Mimesis_10_and_the_Late_Medieval_Aesthetic">The Ideology of Periodization: Mimesis 10 and the Late Medieval Aesthetic</a></div><div class="wp-workCard_item"><span>Literary History and the Challenge of Philology</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" 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Our primary purpose in organizing this colloquium was to put scholars of medieval and Renaissance French in dialogue with one another, and to stress the common culture, concerns, and literary genres and techniques shared by writers from both periods. To facilitate this conversation, our speakers focused primarily on two seminal women writers, Christine de Pizan and Marguerite de Navarre, who bear a number of striking similarities to one another: both are widely acknowledged as proto-feminists who use their writing to challenge the misogynistic tropes and discourse common in both their respective periods, both simultaneously draw heavily on and react strongly against the corpus of courtly love literature and its authoritative texts (particularly Jean de Meun and Alain Chartier), and both reflect on what it means to write as a woman, and on how women writers must present themselves to their readers. As such, we deliberately avoided grouping our speakers according to whether they focused on Christine or Marguerite, instead opting to mingle médiévistes and seiziémistes so as to underscore these commonalities. Part One, \"Gendered Discourses: Polemics and Codes,\" examines how linguistic and discursive registers and modes both govern and are governed by gender roles. Katherine Kong's \"Between meretrix and pute: The polemical uses of gender in the Querelle du Roman de la Rose\" shows how Christine and her opponents use terms denoting prostitutes or courtesans with significantly different connotations in order to articulate their positions in the debate over how to read and understand the Rose, and, in the case of","publication_date":{"day":null,"month":null,"year":2017,"errors":{}},"publication_name":"French Forum","grobid_abstract_attachment_id":89387072},"translated_abstract":null,"internal_url":"https://www.academia.edu/84324348/Querelles_des_femmes_French_Women_Writers_of_the_15th_and_16th_Centuries","translated_internal_url":"","created_at":"2022-08-08T05:36:32.618-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":48312315,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":89387072,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/89387072/thumbnails/1.jpg","file_name":"frf.2017.003520220808-1-1sb7hfa.pdf","download_url":"https://www.academia.edu/attachments/89387072/download_file?st=MTczMjcxMjU1OSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Querelles_des_femmes_French_Women_Writer.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/89387072/frf.2017.003520220808-1-1sb7hfa-libre.pdf?1659963647=\u0026response-content-disposition=attachment%3B+filename%3DQuerelles_des_femmes_French_Women_Writer.pdf\u0026Expires=1732701020\u0026Signature=Z2SqRsL1z8T9E38jgNN1wNPqv5yG8Soc8tSCfCX2Pfi6XLvIhg~TqJuSJ4zCIo5M4UJ5YjX3ZxZvamf1LJYCPMSkszikZQNJUwn~5JGGKXA2u6A9V1B5rTU53SIbovcRMh6bmiTPfsvuc8aNs8gzX0SS0qowWOCzmHMs2pwMVgSF~JvPLM~s8FP84yx4L24XvHxqmsnTqX9H2q9t4fF7qC4d0SaDBtF61A8FbtKYnyrTNBzVIZd30u7ECK8J2TAiJDQ-iC080YfjaitMSOfi9Lrav9Vq~Ob8jCqrJSYTHxy-fowesp5WJxYeyRy3~ZkcoPZV5kr1m6Pn6KTUueu3cA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Querelles_des_femmes_French_Women_Writers_of_the_15th_and_16th_Centuries","translated_slug":"","page_count":4,"language":"en","content_type":"Work","owner":{"id":48312315,"first_name":"Kevin","middle_initials":null,"last_name":"Brownlee","page_name":"KevinBrownlee","domain_name":"upenn","created_at":"2016-05-05T16:54:14.502-07:00","display_name":"Kevin Brownlee","url":"https://upenn.academia.edu/KevinBrownlee"},"attachments":[{"id":89387072,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/89387072/thumbnails/1.jpg","file_name":"frf.2017.003520220808-1-1sb7hfa.pdf","download_url":"https://www.academia.edu/attachments/89387072/download_file?st=MTczMjcxMjU1OSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Querelles_des_femmes_French_Women_Writer.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/89387072/frf.2017.003520220808-1-1sb7hfa-libre.pdf?1659963647=\u0026response-content-disposition=attachment%3B+filename%3DQuerelles_des_femmes_French_Women_Writer.pdf\u0026Expires=1732701020\u0026Signature=Z2SqRsL1z8T9E38jgNN1wNPqv5yG8Soc8tSCfCX2Pfi6XLvIhg~TqJuSJ4zCIo5M4UJ5YjX3ZxZvamf1LJYCPMSkszikZQNJUwn~5JGGKXA2u6A9V1B5rTU53SIbovcRMh6bmiTPfsvuc8aNs8gzX0SS0qowWOCzmHMs2pwMVgSF~JvPLM~s8FP84yx4L24XvHxqmsnTqX9H2q9t4fF7qC4d0SaDBtF61A8FbtKYnyrTNBzVIZd30u7ECK8J2TAiJDQ-iC080YfjaitMSOfi9Lrav9Vq~Ob8jCqrJSYTHxy-fowesp5WJxYeyRy3~ZkcoPZV5kr1m6Pn6KTUueu3cA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art"},{"id":52408,"name":"Literary studies","url":"https://www.academia.edu/Documents/in/Literary_studies"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="84324346"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/84324346/Dialectics_of_Marriage_and_Authorship_in_the_Advision_Cristine"><img alt="Research paper thumbnail of Dialectics of Marriage and Authorship in the Advision Cristine" class="work-thumbnail" src="https://attachments.academia-assets.com/89387074/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/84324346/Dialectics_of_Marriage_and_Authorship_in_the_Advision_Cristine">Dialectics of Marriage and Authorship in the Advision Cristine</a></div><div class="wp-workCard_item"><span>French Forum</span><span>, 2017</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="10fe0012c3215c05da7c79c420a4edc3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":89387074,"asset_id":84324346,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/89387074/download_file?st=MTczMjcxMjU1OSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="84324346"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="84324346"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 84324346; 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This work thus concluded the author's most literarily productive period, which began in 1400. The Advision has been much studied by critics, and exists in superb modern critical edition by Christine Reno and Liliane Dulac, published in 2001. 1 It is divided into three parts, each one devoted to a different part of Christine-protagonist's allegorical dreamvision. In Part 1 (29 chapters), after the opening of her vision followed by the transformation of her body (in Chapters 1-5), Christine-protagonist is asked to record in writing the words of Libera, the Dame Couronné e, whose story is the history of France from the crowing of its first king in 381 AD to the present of the work's composition in 1405-06 (Chapters 6-13). Libera then goes on lament the current troubles of the French kingdom in allegorical terms, with its 3 Good Ladies (Reason, Justice, and Chevalerie) kept imprisoned and inactive by Lust, Fraud and Avarice. At the same time, the country is plagued by a penetrating wind which causes human pride to swell and vice to dominate everywhere. Extensive Biblical parallels imply that divine punishment is soon to come if things do not change. Libera ends by asking for the help of Christine the writer, before ceasing to speak (chapters 14-29). Part II of the Advision (22 chapters) involves the dialogue between Christine-protagonist and dame Opinion, who is not explicitly named until the final chapter. After the perplexed Christine-protagonist observes the female Shadow in the air above the schools of Paris (Chapters 1-2), a dialogue ensues on the former's identity, which involves relative truth as opposed to the absolute truth that is God (chapters 3-5). 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="84324339"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/84324339/Textual_Polyphony_in_Machauts_Motets_8_and_4"><img alt="Research paper thumbnail of Textual Polyphony in Machaut's Motets 8 and 4" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/84324339/Textual_Polyphony_in_Machauts_Motets_8_and_4">Textual Polyphony in Machaut's Motets 8 and 4</a></div><div class="wp-workCard_item"><span>Revista de Musicología</span><span>, 1993</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This paper explores various kinds of intertextuality in two of Machaut&#39;s motets from a litera...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This paper explores various kinds of intertextuality in two of Machaut&#39;s motets from a literary point of view. That is, I read the words of the motets as literary texts; I am concerned with how they work as poems ?both in and of themselves, and within the various larger literary and discursive contexts in which they are situated. My approach focuses on what I see as three different but complementary kinds of intertextuality ?of dialogism? which operate in both of these motets. In each case it is a question of reading texts against each other in accord both with the formal structures of the motet and with other kinds of signals. The first kind of intertextuality that concerns me here involves reading the triplum and the motetus against each other. The second involves literary context, that is, reading the triplum and the motetus considered together against an external textual model. For motets 8 and 4 this model is Machaut&#39;s Remede de Fortune. Third, I read the triplum and the motetus considered together against the tenor ?including the full text of the tenor. A different kind of dialogism is at issue here, a different opposition which results in a ?red?finition? of the triplum/ motetus from the perspective of the tenor. The fact that the motet stages, as it were, these kinds of intertextual dialogues simultaneously is what I attempt to indicate by my title: textual polyphony. My analysis, however, must of necessity proceed sequentially. In motet 8, the triplum (?Qui es promesses de Fortune se fie?) and the motetus (?Ha! Fortune, trop sui mis loing de port?) present two contrasting, opposing, complementary treatments of the same topic: Fortune. The triplum contains a general, clerkly, third-person treatment: the speaking subject is implicit, the voice of an auctor, unmarked as the object of Fortune&#39;s actions (who appears rather, as the impersonal cils).</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="84324339"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="84324339"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 84324339; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=84324339]").text(description); $(".js-view-count[data-work-id=84324339]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 84324339; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='84324339']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 84324339, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=84324339]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":84324339,"title":"Textual Polyphony in Machaut's Motets 8 and 4","translated_title":"","metadata":{"abstract":"This paper explores various kinds of intertextuality in two of Machaut\u0026#39;s motets from a literary point of view. 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Our primary purpose in organizing this colloquium was to put scholars of medieval and Renaissance French in dialogue with one another, and to stress the common culture, concerns, and literary genres and techniques shared by writers from both periods. To facilitate this conversation, our speakers focused primarily on two seminal women writers, Christine de Pizan and Marguerite de Navarre, who bear a number of striking similarities to one another: both are widely acknowledged as proto-feminists who use their writing to challenge the misogynistic tropes and discourse common in both their respective periods, both simultaneously draw heavily on and react strongly against the corpus of courtly love literature and its authoritative texts (particularly Jean de Meun and Alain Chartier), and both reflect on what it means to write as a woman, and on how women writers must present themselves to their readers. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="84324346"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/84324346/Dialectics_of_Marriage_and_Authorship_in_the_Advision_Cristine"><img alt="Research paper thumbnail of Dialectics of Marriage and Authorship in the Advision Cristine" class="work-thumbnail" src="https://attachments.academia-assets.com/89387074/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/84324346/Dialectics_of_Marriage_and_Authorship_in_the_Advision_Cristine">Dialectics of Marriage and Authorship in the Advision Cristine</a></div><div class="wp-workCard_item"><span>French Forum</span><span>, 2017</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="10fe0012c3215c05da7c79c420a4edc3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":89387074,"asset_id":84324346,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/89387074/download_file?st=MTczMjcxMjU1OSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="84324346"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="84324346"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 84324346; 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This work thus concluded the author's most literarily productive period, which began in 1400. The Advision has been much studied by critics, and exists in superb modern critical edition by Christine Reno and Liliane Dulac, published in 2001. 1 It is divided into three parts, each one devoted to a different part of Christine-protagonist's allegorical dreamvision. In Part 1 (29 chapters), after the opening of her vision followed by the transformation of her body (in Chapters 1-5), Christine-protagonist is asked to record in writing the words of Libera, the Dame Couronné e, whose story is the history of France from the crowing of its first king in 381 AD to the present of the work's composition in 1405-06 (Chapters 6-13). Libera then goes on lament the current troubles of the French kingdom in allegorical terms, with its 3 Good Ladies (Reason, Justice, and Chevalerie) kept imprisoned and inactive by Lust, Fraud and Avarice. At the same time, the country is plagued by a penetrating wind which causes human pride to swell and vice to dominate everywhere. Extensive Biblical parallels imply that divine punishment is soon to come if things do not change. Libera ends by asking for the help of Christine the writer, before ceasing to speak (chapters 14-29). Part II of the Advision (22 chapters) involves the dialogue between Christine-protagonist and dame Opinion, who is not explicitly named until the final chapter. After the perplexed Christine-protagonist observes the female Shadow in the air above the schools of Paris (Chapters 1-2), a dialogue ensues on the former's identity, which involves relative truth as opposed to the absolute truth that is God (chapters 3-5). 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="84324339"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/84324339/Textual_Polyphony_in_Machauts_Motets_8_and_4"><img alt="Research paper thumbnail of Textual Polyphony in Machaut's Motets 8 and 4" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/84324339/Textual_Polyphony_in_Machauts_Motets_8_and_4">Textual Polyphony in Machaut's Motets 8 and 4</a></div><div class="wp-workCard_item"><span>Revista de Musicología</span><span>, 1993</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This paper explores various kinds of intertextuality in two of Machaut&#39;s motets from a litera...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This paper explores various kinds of intertextuality in two of Machaut&#39;s motets from a literary point of view. That is, I read the words of the motets as literary texts; I am concerned with how they work as poems ?both in and of themselves, and within the various larger literary and discursive contexts in which they are situated. My approach focuses on what I see as three different but complementary kinds of intertextuality ?of dialogism? which operate in both of these motets. In each case it is a question of reading texts against each other in accord both with the formal structures of the motet and with other kinds of signals. The first kind of intertextuality that concerns me here involves reading the triplum and the motetus against each other. The second involves literary context, that is, reading the triplum and the motetus considered together against an external textual model. For motets 8 and 4 this model is Machaut&#39;s Remede de Fortune. Third, I read the triplum and the motetus considered together against the tenor ?including the full text of the tenor. A different kind of dialogism is at issue here, a different opposition which results in a ?red?finition? of the triplum/ motetus from the perspective of the tenor. The fact that the motet stages, as it were, these kinds of intertextual dialogues simultaneously is what I attempt to indicate by my title: textual polyphony. My analysis, however, must of necessity proceed sequentially. In motet 8, the triplum (?Qui es promesses de Fortune se fie?) and the motetus (?Ha! Fortune, trop sui mis loing de port?) present two contrasting, opposing, complementary treatments of the same topic: Fortune. The triplum contains a general, clerkly, third-person treatment: the speaking subject is implicit, the voice of an auctor, unmarked as the object of Fortune&#39;s actions (who appears rather, as the impersonal cils).</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="84324339"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="84324339"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 84324339; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=84324339]").text(description); $(".js-view-count[data-work-id=84324339]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 84324339; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='84324339']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 84324339, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=84324339]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":84324339,"title":"Textual Polyphony in Machaut's Motets 8 and 4","translated_title":"","metadata":{"abstract":"This paper explores various kinds of intertextuality in two of Machaut\u0026#39;s motets from a literary point of view. 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