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'Chiefly an essay in the cultural context of the Decameron.'
The environment--together with ecology and other aspects of the way people see their world--has become a major focus of pre-modern studies. The thirteen contributions in this volume discuss topics across the millennium in Europe from the late 600s to the early 1600s. They introduce applications to older texts, art works, and ideas made possible by relatively new fields of discourse such as animal studies, ecotheology, and Material Engagement Theory. From studies of medieval land charters and epics to the canticles sung in churches, the encyclopedic natural histories compiled for the learned, the hunting parks described and illustrated for the aristocracy, chronicles from the New World, classical paintings from the Old World, and the plays of Shakespeare, the authors engage with the human responses to nature in times when it touched their lives more intimately than it does for people today, even though this contact raised concerns that are still very much alive today.
Is birdsong music? The most frequent answer to this question in the Middle Ages was resoundingly "no." In Sung Birds, Elizabeth Eva Leach traces postmedieval uses of birdsong within Western musical culture. She first explains why such melodious sound was not music for medieval thinkers and then goes on to consider the ontology of music, the significance of comparisons between singers and birds, and the relationship between art and nature as enacted by the musical performance of late-medieval poetry. If birdsong was not music, how should we interpret the musical depiction of birdsong in human music-making? What does it tell us about the singers, their listeners, and the moral status of secular polyphony? Why was it the fourteenth century that saw the beginnings of this practice, continued to this day in the music of Messiaen and others?Leach explores medieval arguments about song, language, and rationality whose basic terms survive undiminished into the present. She considers not only lyrics that have their singers voice the songs or speech of birds but also those that represent other natural, nonmusical, sounds such as human cries or the barks of dogs. The dangerous sweetness of birdsong was invoked in discussions of musical ethics, which, because of the potential slippage between irrational beast and less rational woman in comparisons with rational human masculinity, depict women's singing as less than fully human. Leach's argument comes full circle with the advent of sound recording. This technological revolution-like its medieval equivalent, the invention of the music book-once again made the relationship between music and nature an acute preoccupation of Western culture.
This is a set of essays from many of the leading scholars in the world of medieval studies, which addresses a wide diversity of texts and genres and their diverse perspectives on love. Attention is given to interaction between English writings and putative continental and international influences, with particular emphasis on the works of Chaucer.
In his Problemata, Aristotle provided medieval thinkers with the occasion to inquire into the natural causes of the sexual desires of men to act upon or be acted upon by other men, thus bringing human sexuality into the purview of natural philosophers, whose aim it was to explain the causes of objects and events in nature. With this philosophical justification, some late medieval intellectuals asked whether such dispositions might arise from anatomy or from the psychological processes of habit formation. As the fourteenth-century philosopher Walter Burley observed, "Nothing natural is shameful." The authors, scribes, and readers willing to "contemplate base things" never argued that they were not vile, but most did share the conviction that they could be explained. From the evidence that has survived in manuscripts of and related to the Problemata, two narratives emerge: a chronicle of the earnest attempts of medieval medical theorists and natural philosophers to understand the cause of homosexual desires and pleasures in terms of natural processes, and an ongoing debate as to whether the sciences were equipped or permitted to deal with such subjects at all. Mining hundreds of texts and deciphering commentaries, indices, abbreviations, and marginalia, Joan Cadden shows how European scholars deployed a standard set of philosophical tools and a variety of rhetorical strategies to produce scientific approaches to sodomy.
The author argues that the structure of sexual relationships took its cue from the family and feudalism - both bastions of masculinity - as he presents his interpretation of women, what they represented and what they were in the Middle Ages
This book examines the relationship between humans and nature that evolved in medieval Europe over the course of a millennium. From the beginning, people lived in nature and discovered things about it. Ancient societies bequeathed to the Middle Ages both the Bible and a pagan conception of natural history. These conflicting legacies shaped medieval European ideas about the natural order and what economic, moral, and biological lessons it might teach. This book analyzes five themes found in medieval views of nature - grafting, breeding mules, original sin, property rights, and disaster - to understand what some medieval people found in nature and what their assumptions and beliefs kept them from seeing.
Nature Speaks recovers the common ground shared between physics—what used to be known as "natural philosophy"—and fiction-writing as ways of representing the natural world. In doing so, it traces how nature gained an authoritative voice in the late medieval period only to lose it at the outset of modernity.
In this authoritative, lively book, the celebrated Italian novelist and philosopher Umberto Eco presents a learned summary of medieval aesthetic ideas. Juxtaposing theology and science, poetry and mysticism, Eco explores the relationship that existed between the aesthetic theories and the artistic experience and practice of medieval culture. "[A] delightful study. . . . [Eco's] remarkably lucid and readable essay is full of contemporary relevance and informed by the energies of a man in love with his subject." --Robert Taylor, Boston Globe "The book lays out so many exciting ideas and interesting facts that readers will find it gripping." --Washington Post Book World "A lively introduction to the subject." --Michael Camille, The Burlington Magazine "If you want to become acquainted with medieval aesthetics, you will not find a more scrupulously researched, better written (or better translated), intelligent and illuminating introduction than Eco's short volume." --D. C. Barrett, Art Monthly