About

Marisa Galvez is a Professor of French and Italian, and by courtesy, of German Studies and of Comparative Literature at Stanford University. She is also the Director of French and Italian and the Director of Structured Liberal Education. Her research interests include Comparative Studies, Medieval Languages, Literatures, and Cultures, Poetry and Poetics. Her work focuses on exploring the intersections of language, literature, and culture within these areas, contributing to the understanding of medieval and comparative literary traditions.

Research topics

• Literature
• Art
• Philosophy
• Computer Science
• History
• World Wide Web
• Linguistics

Selected publications

• Before the Global South

  2026-01-01

  book1st authorCorresponding
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• :<i>French Gothic Ivories: Material Theologies and the Sculptor’s Craft</i>

  West 86th · 2024-09-01

  article1st authorCorresponding
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• Lyric Dispossession as Solitary Presence

  Romanic Review · 2023-05-01

  article1st authorCorresponding

  Abstract While medieval literature offers many models of solitary thinking, vernacular lyric confronts the problem of solitude in a unique mode, grappling and coping with this phenomenon that gives shape and texture to ambivalence and vexation. Comparing the event of lyric dispossession with Petrarch’s idea of solitude, this essay examines solitary presence as a musicopoetic art form across various vernacular traditions, from the Occitan works of Bernart de Ventadorn, William IX, and Arnaut Daniel to lyrics of the Iberian Peninsula, including the Mozarabic kharja (final stanzas of poems written in Arabic or Hebrew in the Romance dialect of Andalusia) and a Galician-Portuguese cantiga d’amigo (songs in which a young girl laments the absence of her lover). Lyric dispossession can affirm female desire despite its dominance as a male solitary presence in the courtly tradition. In the poetic dynamics of the muwashshah, discourses of dispossession compete through the interaction of different languages and social registers. The muwashshah poetics illuminates how the female-voiced solitary presence is maintained not only in the cantiga d’amigo but also in other genres such as trobairitz cansos and Old French crusade departure lyrics from the perspective of women left behind.

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• The French Inheritance

  Romanic Review · 2023-12-01

  article1st authorCorresponding

  Research Article| December 01 2023 The French Inheritance Marisa Galvez Marisa Galvez Stanford University Search for other works by this author on: This Site Google Romanic Review (2023) 114 (3): 531–537. https://doi.org/10.1215/00358118-10807022 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Permissions Cite Icon Cite Search Site Citation Marisa Galvez; The French Inheritance. Romanic Review 1 December 2023; 114 (3): 531–537. doi: https://doi.org/10.1215/00358118-10807022 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsRomanic Review Search Advanced Search medieval literature, inheritance, mediality, Old Occitan, troubadours Copyright © 2023 by the Trustees of Columbia University in the City of New York2023 You do not currently have access to this content.

  PublisherDOI

• Shards in hand: crystal dwelling as ecology

  postmedieval a journal of medieval cultural studies · 2022-06-01 · 1 citations

  article1st authorCorresponding
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• Unthought Medievalism

  Neophilologus · 2021-07-08

  article1st authorCorresponding
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• Conclusion

  2020-01-01

  book-chapter1st authorCorresponding

  Abstract The courtly crusade idiom, embodied in various forms of speaking, manifests complex responses to holy war and to becoming a holy warrior. The book proposes a method that can be applied to a variety of cultures and traditions. Through its figural resilience ("textural residues in diverse media"), the idiom maintains conflicting value systems and resists orthodox ideologies that flatten multiple perspectives of human action and history. The book hopes to assemble a critical community of readers that poses questions, refuses given narratives, and shifts the focus from historical events under the rubric "crusade" to the speaking particular that asks: What is the event? What is the subject? The book asks not whether the courtly crusade idiom resulted in crusade. Rather: What did these materials and events, such as the fall of the Latin East and the Feast of the Pheasant, embody? What was art working through? To see a "crusader-poet" in various cultural and material milieux, the unrepentant crusader as responding to something or someone in a way that we can only partially recover through poetic language—is to offer an account of crusade that refuses to be easily appropriated by successive ideological movements.

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• The Subject of Crusade: Lyric, Romance, and Materials, 1150 to 1500

  2020 · 17 citations

  1st authorCorresponding
  • Computer Science
  • Literature
  • Art
  Publisher

• Introduction. The Courtly Crusade Idiom

  2020

  1st authorCorresponding
  • History
  • Philosophy
  • Literature
  PublisherDOI

• Chapter Five. Three Ways of Describing a Crusader-Poet: Adjacency, Genre-Existence, and Performative Reconfigurations

  2020-04-09

  article1st authorCorresponding
  PublisherDOI

Frequent coauthors

• Courtney Wells

  Universitat de Barcelona

  4 shared

• Anna Alberni

  Universitat de Barcelona

  4 shared

• Laura J. Campbell

  4 shared

• Niklaus Largier

  Deutsche Nationalbibliothek

  2 shared

• A. Albertos Bofarull

  1 shared