Stolen Song documents the act of cultural appropriation that created a founding moment for French literary history: the rescripting and domestication of troubadour song, a prestige corpus in the European sphere, as French. This book also documents the simultaneous creation of an alternative point of origin for French literary history—a body of faux-archaic Occitanizing songs. Most scholars would find the claim that troubadour poetry is the origin of French literature uncomplicated and uncontroversial. However, Stolen Song shows that the "Frenchness" of this tradition was invented, constructed, and confected by francophone medieval poets and compilers keen to devise their own literary history. Stolen Song makes a major contribution to medieval studies both by exposing this act of cultural appropriation as the origin of the French canon and by elaborating a new approach to questions of political and cultural identity. Eliza Zingesser shows that these questions, usually addressed on the level of narrative and theme, can also be fruitfully approached through formal, linguistic, and manuscript-oriented tools.

My voice doesn't charm forest animals... It predicts death. That's right—I'm a banshee. And I’m locked up in Nightmare Penitentiary with no hope of escape. I don't expect to be rescued by handsome fae princes, either, since the last ones I had a crush on put me here. Now, the princes are here to rattle my cage, and they’re just as handsome and judgmental as I remember. I’d tell them exactly what I think about them, but in addition to stealing my freedom, they’ve taken my voice. **Stolen Song is a paranormal prison reverse harem romance.

Stolen Song documents the act of cultural appropriation that created a founding moment for French literary history: the rescripting and domestication of troubadour song, a prestige corpus in the European sphere, as French. This book also documents the simultaneous creation of an alternative point of origin for French literary history—a body of faux-archaic Occitanizing songs. Most scholars would find the claim that troubadour poetry is the origin of French literature uncomplicated and uncontroversial. However, Stolen Song shows that the "Frenchness" of this tradition was invented, constructed, and confected by francophone medieval poets and compilers keen to devise their own literary history. Stolen Song makes a major contribution to medieval studies both by exposing this act of cultural appropriation as the origin of the French canon and by elaborating a new approach to questions of political and cultural identity. Eliza Zingesser shows that these questions, usually addressed on the level of narrative and theme, can also be fruitfully approached through formal, linguistic, and manuscript-oriented tools.

The story of the beautiful relationship between a little girl and her grandfather. When she asks her grandfather how to say something in his language – Cree – he admits that his language was stolen from him when he was a boy. The little girl then sets out to help her grandfather find his language again. This sensitive and warmly illustrated picture book explores the intergenerational impact of the residential school system that separated young Indigenous children from their families. The story recognizes the pain of those whose culture and language were taken from them, how that pain is passed down, and how healing can also be shared.

Peire Vidal, one of the most celebrated of the Occitan troubadours, was a favorite performer at the courts of France, Spain, Italy, Malta, and Palestine during the late twelfth and early thirteenth centuries. His witty and humorous love-songs and satires provide a fascinating insight into the courtly society of his times. This book includes the first English translation and commentary of the complete works of Peire Vidal. It is a useful and accessible text for students and specialists of medieval literature.