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Status and gender are two closely associated concepts within medieval society, which tended to view both notions as binary: elite or low status, married or single, holy or cursed, male or female, or as complementary and cohesive as multiple parts of a societal whole. With contributions on topics ranging from medieval leprosy to boyhood behaviors, this interdisciplinary collection highlights the various ways “status” can be interpreted relative to gender, and what these two interlocked concepts can reveal about the construction of gendered identities in the Middle Ages.
As distinct from the many recent collections and studies of medieval literature and culture that have focused on gender and sexuality as their major themes, this collection considers and serves to re-think and re-situate religion and sexuality together. Including 'traditional' works such as Chaucer and the Pearl-poet, as well as less well known and studied texts - such as alchemical texts and the Wohunge group - the contributors here focus on the meeting point of these two often-examined concepts. They seek an understanding of where sex and religion distinguish themselves from one another, and where they do not. This volume locates the Divine and the Erotic within the continuum of experience and devotion that characterize the paradox of the medieval world. Not merely original in their approaches, these authors seek a new vision of how these two inter-connected themes - sexuality and the Divine - meet, connect, distinguish themselves, and merge within medieval life, language, and literature.
"This study brings together for the first time scholars of Christian, Islamic and Jewish art and music to reconstruct the complex intersection between art, architecture and sound in the medieval world. Case studies explore how ambient and programmatic sound, including chant and speech, and its opposite, silence, interacted with objects and the built environment to create the multisensory experiences that characterized medieval life. While sound is probably the most difficult component of the past to reconstruct, it was also the most pervasive, whether planned or unplanned, instrumental or vocal, occasional or ambient. Acoustics were central to the perception of performance; images in liturgical manuscripts were embedded in a context of song and ritual actions; and architecture provided both visual and spatial frameworks for music and sound. Resounding Images brings together specialists in the history of art, architecture, and music to explore the manifold roles of sound in the experience of medieval art. Moving beyond the field of musical iconography, the contributors reconsider the relationship between sound, space and image in the long Middle Ages."--
This collection of essays focuses attention on how medieval gender intersects with other categories of difference, particularly religion and ethnicity. It treats the period c.800-1500, with a particular focus on the era of the Gregorian reform movement, the First Crusade, and its linked attacks on Jews at home.
The concept of this book involves the application of postcolonial theories and/or concepts used in postcolonial and cognate studies to the field of medieval European art, including Byzantine art, and Byzantine art in Asia Minor.
Five hundred years before “Jabberwocky” and Tender Buttons, writers were already preoccupied with the question of nonsense. But even as the prevalence in medieval texts of gibberish, babble, birdsong, and allusions to bare voice has come into view in recent years, an impression persists that these phenomena are exceptions that prove the rule of the period’s theologically motivated commitment to the kernel of meaning over and against the shell of the mere letter. This book shows that, to the contrary, the foundational object of study of medieval linguistic thought was voxnon-significativa, the utterance insofar as it means nothing whatsoever, and that this fact was not lost on medieval writers of various kinds. In a series of close and unorthodox readings of works by Priscian, Boethius, Augustine, Walter Burley, Geoffrey Chaucer, and the anonymous authors of the Cloud of Unknowing and St. Erkenwald, it inquires into the way that a number of fourteenth-century writers recognized possibilities inherent in the accounts of language transmitted to them from antiquity and transformed those accounts into new ideas, forms, and practices of non-signification. Retrieving a premodern hermeneutics of obscurity in order to provide materials for an archeology of the category of the literary, Medieval Nonsense shows how these medieval linguistic textbooks, mystical treatises, and poems were engineered in such a way as to arrest the faculty of interpretation and force it to focus on the extinguishing of sense that occurs in the encounter with language itself.
Discussing medieval and early modern 'disembodied heads' this collection questions the why and how of the primacy of the head in the bodily hierarchy during the premodern period. On the basis of beliefs, mythologies and traditions concerning the head, they come to an ‘cultural anatomy’ of the head.
This volume provides a comprehensive introduction to postcolonial medieval studies and examines the historical connections between postcolonial studies and medieval studies. Lisa Lampert-Weissig provides new readings of medieval texts including Wolfram von Eschenbach's Parzival, Mandeville's Travels and Guillaume de Palerne, a romance about werewolves set in Norman Sicily. In addition, she examines Walter Scott's Ivanhoe from the perspective of postcolonial medieval studies, as well contemporary novels by Salman Rushdie, Tariq Ali, Juan Goytisolo, and Amitav Ghosh.
This collection examines the intersection of the discourses of “disability” and “monstrosity” in a timely and necessary intervention in the scholarly fields of Disability Studies and Monster Studies. Analyzing Medieval and Early Modern art and literature replete with images of non-normative bodies, these essays consider the pernicious history of defining people with distinctly non-normative bodies or non-normative cognition as monsters. In many cases throughout Western history, a figure marked by what Rosemarie Garland-Thomson has termed “the extraordinary body” is labeled a “monster.” This volume explores the origins of this conflation, examines the problems and possibilities inherent in it, and casts both disability and monstrosity in light of emergent, empowering discourses of posthumanism.
A fully updated and comprehensive companion to Romanesque and Gothic art history This definitive reference brings together cutting-edge scholarship devoted to the Romanesque and Gothic traditions in Northern Europe and provides a clear analytical survey of what is happening in this major area of Western art history. The volume comprises original theoretical, historical, and historiographic essays written by renowned and emergent scholars who discuss the vibrancy of medieval art from both thematic and sub-disciplinary perspectives. Part of the Blackwell Companions to Art History, A Companion to Medieval Art, Second Edition features an international and ambitious range of contributions covering reception, formalism, Gregory the Great, pilgrimage art, gender, patronage, marginalized images, the concept of spolia, manuscript illumination, stained glass, Cistercian architecture, art of the crusader states, and more. Newly revised edition of a highly successful companion, including 11 new articles Comprehensive coverage ranging from vision, materiality, and the artist through to architecture, sculpture, and painting Contains full-color illustrations throughout, plus notes on the book’s many distinguished contributors A Companion to Medieval Art: Romanesque and Gothic in Northern Europe, Second Edition is an exciting and varied study that provides essential reading for students and teachers of Medieval art.