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The computer revolution is upon us. The future of books and of reading are debated. Will there be books in the next millennium? Will we still be reading? As uncertain as the answers to these questions might be, as clear is the message about the value of the book expressed by medieval writers. The contributors to the volume The Book and the Magic of Reading in the Middle Ages explore the significance of the written document as the key icon of a whole era. Both philosophers and artists, both poets and clerics wholeheartedly subscribed to the notion that reading and writing represented essential epistemological tools for spiritual, political, religious, and philosophical quests. To gain a deeper understanding of the cultural significance of the medieval book, the contributors to this volume examine pertinent statements by medieval philosophers and French, German, English, Spanish, and Italian poets.
Reading Ovid in Medieval Wales provides the first complete edition and discussion of the earliest surviving fragment of Ovid's Ars amatoria, or The Art of Love, glossed mainly in Latin but also in Old Welsh. This study discusses the significance of the manuscript for classical studies and how it was absorbed into the classical Ovidian tradition.
Reading Medieval Latin is an introduction to medieval Latin in its cultural and historical context and is designed to serve the needs of students who have completed the learning of basic classical Latin morphology and syntax. (Users of Reading Latin will find that it follows on after the end of section 5 of that course.) It is an anthology, organised chronologically and thematically in four parts. Each part is divided into chapters with introductory material, texts, and commentaries which give help with syntax, sentence-structure, and background. There are brief sections on medieval orthography and grammar, together with a vocabulary which includes words (or meanings) not found in standard classical dictionaries. The texts chosen cover areas of interest to students of medieval history, philosophy, theology, and literature.
This interdisciplinary study of medieval English anchoritism from 1080-1450, explodes the myth of the anchorhold as solitary death-cell, reveals it instead as the site of potential intellectual exchange, and demonstrates an anchoritic spirituality in synch with the wider medieval world.
Just as twenty-first-century technologies like blogs and wikis have transformed the once private act of reading into a public enterprise, devotional reading experiences in the Middle Ages were dependent upon an oscillation between the solitary and the communal. In Reading in the Wilderness, Jessica Brantley uses tools from both literary criticism and art history to illuminate Additional MS 37049, an illustrated Carthusian miscellany housed in the British Library. This revealing artifact, Brantley argues, closes the gap between group spectatorship and private study in late medieval England. Drawing on the work of W. J. T. Mitchell, Michael Camille, and others working at the image-text crossroads, Reading in the Wilderness addresses the manuscript’s texts and illustrations to examine connections between reading and performance within the solitary monk’s cell and also outside. Brantley reimagines the medieval codex as a site where the meanings of images and words are performed, both publicly and privately, in the act of reading.
Annotations in modern books are a phenomenon that often causes disapproval: we are not supposed to draw, doodle, underline, or highlight in our books. In many medieval manuscripts, however, the pages are filled with annotations around the text and in-between the lines. In some cases, a 'white space' around the text is even laid out to contain extra text, pricked and ruled for the purpose. Just as footnotes are an approved and standard part of the modern academic book, so the flyleaves, margins, and interlinear spaces of many medieval manuscripts are an invitation to add extra text. This volume focuses on annotation in the early medieval period. In treating manuscripts as mirrors of the medieval minds who created them - reflecting their interests, their choices, their practices - the essays explore a number of key topics. Are there certain genres in which the making of annotations seems to be more appropriate or common than in others? Are there genres in which annotating is 'not done'? Are there certain monastic centres in which annotating practices flourish, and from which they spread? The volume thus investigates whether early medieval annotators used specific techniques, perhaps identifiable with their scribal communities or schools. It explores what annotators actually sought to accomplish with their annotations, and how the techniques of annotating developed over time and per region.
Examines how medieval and early modern British texts use descriptions of archaeological objects to produce aesthetic and literary responses to questions of historicity and epistemology.
Skin is a multifarious image in medieval culture: the material basis for forming a sense of self and relation to the world, as well as a powerful literary and visual image. This book explores the presence of skin in medieval literature and culture from a range of literary, religious, aesthetic, historical, medical, and theoretical perspectives.
An overlooked aspect of the iconography of the Annunciation investigated - Mary's book.
Reading Literary Animals explores the status and representation of animals in literature from the Middle Ages to the present day. Essays by leading scholars in the field examine various figurative, agential, imaginative, ethical, and affective aspects of literary encounters with animality, showing how practices of close reading provoke new ways of thinking about animals and the texts in which they appear. Through investigations of works by Shakespeare, Aphra Behn, William Wordsworth, Charles Dickens, Virginia Woolf, and Ted Hughes, among many others, Reading Literary Animals demonstrates the value of distinctively literary animal studies.