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Arguably the single most influential literary work of the European Middle Ages, the Roman de la Rose of Guillaume de Lorris and Jean de Meun has traditionally posed a number of difficulties to modern critics, who have viewed its many interruptions and philosophical discussions as signs of a lack of formal organization and a characteristically medieval predilection for encyclopedic summation. In Fortune's Faces, Daniel Heller-Roazen calls into question these assessments, offering a new and compelling interpretation of the romance as a carefully constructed and far-reaching exploration of the place of fortune, chance, and contingency in literary writing. Situating the Romance of the Rose at the intersection of medieval literature and philosophy, Heller-Roazen shows how the thirteenth-century work invokes and radicalizes two classical and medieval traditions of reflection on language and contingency: that of the Provençal, French, and Italian love poets, who sought to compose their "verses of pure nothing"in a language Dante defined as "without grammar," and that of Aristotle's discussion of "future contingents" as it was received and refined in the logic, physics, theology, and epistemology of Boethius, Abelard, Albert the Great, and Thomas Aquinas.Through a close analysis of the poetic text and a detailed reconstruction of the logical and metaphysical concept of contingency, Fortune's Faces charts the transformations that literary structures (such as subjectivity, autobiography, prosopopoeia, allegory, and self-reference) undergo in a work that defines itself as radically contingent. Considered in its full poetic and philosophical dimensions, the Romance of the Rose thus acquires an altogether new significance in the history of literature: it appears as a work that incessantly explores its own capacity to be other than it is.

A comprehensive survey of mirror-imagery in English literature from the thirteenth to the end of the seventeenth century.

He was looking back every now and then as if someone was following his footsteps on the road. I got up and followed him outside to the garden and called his name... Yahya... Yahya. He looked back at me more than one, but did not answer me. I said to him, "it's night time, where are you going, Yahya? As if he did not hear me, he walked on the passageway going outside. At that moment, I don't know why I looked at the floor and saw a snake following him. I screamed with my full voice to wake you all up, but my scream came out at the same moment the bombing happened. i fell to the floor and Yahya was gone.

In Physiognomy in Ming China: Fortune and the Body, Xing Wang provides an extensive reading of the Ming (1368-1644 C. E.) texts of a well-known body divination technique ‘xiangshu’ (physiognomy), and investigates its unique ‘somatic cosmology’ in Ming religious and intellectual context.