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"In Unmaking Waste, Sarah Newman asks what happens when there are disagreements about what constitutes waste and what one should do with it, both at singular moments in time (for example, when ideas about waste collide in emerging colonial contexts) and across time (such as between those who left things behind in the past and the archaeologists who recover them). Newman examines ancient Mesoamerican understandings of waste, Euro-American perceptions of waste in New Spain, and early modern European ideals of civility and Christian understandings of good and bad, expressed metaphorically through cleanliness and filth. These differing perceptions, Newman argues, demands that we rethink centuries of assumptions imposed on other places, times, and peoples: so long as "waste" remains a category misunderstood to be common-sensical and stable, archaeological methods will prove unequal to their task. Newman instead proposes "anamorphic archaeology," an approach that emphasizes the possibility that archaeological objects have multiple physical and conceptual lives"--
This book is a comprehensive introduction to the landscapes of the Middle Ages within and beyond Europe, paying close attention to the relationship between ‘real’ and imagined landscapes and the ways that medieval people made and inhabited their world. Rather than studying 'nature' in the Middle Ages, the book instead examines the spaces that people constructed through soil, stone, and song; water and wasteland; plants and animals; and timber, textiles, and texts, which in turn made up the medieval world. Likewise, the text emphasises a definition of environment that focuses on ‘living with’, inviting readers to think about the more-than-human worlds that medieval people depended on, cared for, constructed, and damaged. Bringing together a wide range of primary source material, including evidence from texts, material culture, and visual arts, the book reflects the diversity of landscapes and human responses to them throughout the course of this period and considers the role that these medieval worlds have played in shaping the modern, both physically and culturally. Landscapes and Environments of the Middle Ages is an excellent resource for both undergraduate and postgraduate students in medieval studies and history, offering interdisciplinary, transhistorical, and transnational insights into this period of immense change and innovation.
Get a real "sense of the past" with these pungent and hilarious tours through history.
This volume continues the series' engagement with intellectual and cultural pluralism in the Middle Ages, showcasing the best new work in this field. New Medieval Literatures is an annual of work on medieval textual cultures Its scope is inclusive of work across the theoretical, archival, philological, and historicist methodologies associated with medieval literary studies, and embraces the range of European cultures, capaciously defined. Texts analysed here range in date from the late ninth or early tenth centuries to the fifteenth century, and in provenance from the eastern part of the Hungarian kingdom to the British Isles. European understandings of the world are explored in several essays, including historiographical perspectives on the Mongol Empire and "world-building" in the romances of the Round Table. In their consideration of translation - of English diplomatic texts into French, of the Latin Boethius into Old English, of Old Turkic and Mongolian into Latin - several contributors reveal complex medieval multilingual societies, while translatio is shown to be weaponised in international scholarly rivalries. Bibliophilia, book collection, and book production inform identity-formation, shaping both nationalisms and the many-layered identities of fifteenth-century merchants. Several essays engage revealingly with economic humanities. Account books provide traces of book production capacity in the unlikely location of Calais; credit finance provides metaphors for human relations with the divine in the Book of mystic Margery Kempe; and women broker credit in real-world scenarios too. Other essays engage with sensory studies: sight and optics are shown to inform ethnography, while smell and taste - often considered beyond the reach of language - emerge as surprisingly central in some religious and philosophical writings.
The study of pre-modern anthropology requires the close examination of the relationship between nature and human society, which has been both precarious and threatening as well as productive, soothing, inviting, and pleasurable. Much depends on the specific circumstances, as the works by philosophers, theologians, poets, artists, and medical practitioners have regularly demonstrated. It would not be good enough, as previous scholarship has commonly done, to examine simply what the various writers or artists had to say about nature. While modern scientists consider just the hard-core data of the objective world, cultural historians and literary scholars endeavor to comprehend the deeper meaning of the concept of nature presented by countless writers and artists. Only when we have a good grasp of the interactions between people and their natural environment, are we in a position to identify and interpret mental structures, social and economic relationships, medical and scientific concepts of human health, and the messages about all existence as depicted in major art works. In light of the current conditions threatening to bring upon us a global crisis, it matters centrally to take into consideration pre-modern discourses on nature and its enormous powers to understand the topoi and tropes determining the concepts through which we perceive nature. Nature thus proves to be a force far beyond all human comprehensibility, being both material and spiritual depending on our critical approaches.
This lively, accessible book is the first to explore Victorian literature through scent and perfume, presenting an extensive range of well-known and unfamiliar texts in intriguing and imaginative new ways that make us re-think literature's relation with the senses. Concentrating on aesthetic and decadent authors, Scents and Sensibility introduces a rich selection of poems, essays, and fiction, exploring these texts with reference to both the little-known cultural history of perfume use and the appreciation of natural fragrance in Victorian Britain. It shows how scent and perfume are used to convey not merely moods and atmospheres but the nuances of the aesthete or decadent's carefully cultivated identity, personality, or sensibility. A key theme is the emergence of the olfactif, the cultivated individual with a refined sense of smell, influentially represented by the poet and critic Algernon Charles Swinburne, who is emulated by a host of canonical and less well-known aesthetic and decadent successors such as Walter Pater, Edmund Gosse, John Addington Symonds, Lafcadio Hearn, Michael Field, Oscar Wilde, Arthur Symons, Mark André Raffalovich, Theodore Wratislaw, and A. Mary F. Robinson. This book explores how scent and perfume pervade the work of these authors in many different ways, signifying such diverse things as style, atmosphere, influence, sexuality, sensibility, spirituality, refinement, individuality, the expression of love and poetic creativity, and the aura of personality, dandyism, modernity, and memory. A coda explores the contrasting twentieth-century responses of Virginia Woolf and Compton Mackenzie to the scent of Victorian literature.
A Cultural History of Objects in the Medieval Age covers the period 500 to 1400, examining the creation, use and understanding of human-made objects and their consequences and impacts. The power and agency of objects significantly evolved over this time. Exploring objects and artefacts within art, technology, and everyday life, the volume challenges our understanding of both life worlds and object worlds in medieval society. The 6 volume set of the Cultural History of Objects examines how objects have been created, used, interpreted and set loose in the world over the last 2500 years. Over this time, the West has developed particular attitudes to the material world, at the centre of which is the idea of the object. The themes covered in each volume are objecthood; technology; economic objects; everyday objects; art; architecture; bodily objects; object worlds. Julie Lund is Associate Professor at the University of Oslo, Norway. Sarah Semple is Professor at Durham University, UK. Volume 2 in the Cultural History of Objects set. General Editors: Dan Hicks and William Whyte
Medieval literature is to a large degree shaped by orality, not only with regard to performance, but also to transmission and composition. Although problems of orality have been much discussed by medievalists, there is to date no comprehensive handbook on this topic. ‘Medieval Oral Literature’, a volume in the ‘De Gruyter Lexikon’ series, was written by an international team of twenty-five scholars and offers a thorough discussion of theoretical approaches as well as detailed presentations of individual traditions and genres. In addition to chapters on the oral-formulaic theory, on the interplay of orality and writing in the Early Middle Ages, on performance and performers, on oral poetics and on ritual aspects of orality, there are chapters on the Older Germanic, Romance, Middle High German, Middle English, Celtic, Greek-Byzantine, Russian, Hebrew, Arabic, Persian and Turkish traditions of oral literature. There is a special focus on epic and lyric, genres that are also discussed in separate chapters, with additional chapters on the ballad and on drama.
This is the story of John Draper, Andrew White, and the conflict thesis: a centuries-old misconception that religion and science are at odds with one another. Renowned scientist John William Draper (1811-1882) and celebrated historian-politician Andrew Dickson White (1832-1918) were certain that Enlightened Science and Dogmatic Christianity were mortal enemies--and they said as much to anyone who would listen. More than a century later, their grand and sweeping version of history dominates our landscape; Draper and White's conflict thesis is still found in countless textbooks, lecture series, movies, novels, and more. Yet, as it would later be discovered, they were mistaken. Their work has been torn to shreds by the experts, who have declared it totally at odds with reality. So how, if this is the case, does their wrongheaded narrative still live on? Who were these two men, and what, exactly, did they say? What is it about their God-versus-Science conflict thesis that convinced so many? And what--since both claimed to love Science and love Christ--were they actually trying to achieve in the first place? In this book, physicist David Hutchings and historian of science and religion James C. Ungureanu dissect the work of Draper and White. They take readers on a journey through time, diving into the formation and fallacy of the conflict thesis and its polarizing impact on society. The result is a tale of Flat Earths, of anesthetic, and of autopsies; of Creation and Evolution; of laser-eyed lizards and infinite worlds. It is a story of miracles and mathematicians; souls and Great Libraries; the Greeks, the scientific method, the Not-So-Dark-After-All Ages... and, of course, of popes and unicorns.
This engaging interdisciplinary study integrates the deep histories of infectious intestinal disease transmission, the sanitation revolution, and biomedical interventions.