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In Imagination, Meditation, and Cognition in the Middle Ages, Michelle Karnes revises the history of medieval imagination with a detailed analysis of its role in the period’s meditations and theories of cognition. Karnes here understands imagination in its technical, philosophical sense, taking her cue from Bonaventure, the thirteenth-century scholastic theologian and philosopher who provided the first sustained account of how the philosophical imagination could be transformed into a devotional one. Karnes examines Bonaventure’s meditational works, the Meditationes vitae Christi, the Stimulis amoris, Piers Plowman, and Nicholas Love’s Myrrour, among others, and argues that the cognitive importance that imagination enjoyed in scholastic philosophy informed its importance in medieval meditations on the life of Christ. Emphasizing the cognitive significance of both imagination and the meditations that relied on it, she revises a long-standing association of imagination with the Middle Ages. In her account, imagination was not simply an object of suspicion but also a crucial intellectual, spiritual, and literary resource that exercised considerable authority.
The notions of other peoples, cultures, and natural conditions have always been determined by the epistemology of imagination and fantasy, providing much freedom and creativity, and yet have also created much fear, anxiety, and horror. In this regard, the pre-modern world demonstrates striking parallels with our own insofar as the projections of alterity might be different by degrees, but they are fundamentally the same by content. Dreams, illusions, projections, concepts, hopes, utopias/dystopias, desires, and emotional attachments are as specific and impactful as the physical environment. This volume thus sheds important light on the various lenses used by people in the Middle Ages and the early modern age as to how they came to terms with their perceptions, images, and notions. Previous scholarship focused heavily on the history of mentality and history of emotions, whereas here the history of pre-modern imagination, and fantasy assumes center position. Imaginary things are taken seriously because medieval and early modern writers and artists clearly reveal their great significance in their works and their daily lives. This approach facilitates a new deep-structure analysis of pre-modern culture.
Note: this is an abridged version of the book with references removed. The complete edition is available on this website. This fascinating study places multiple genres in dialogue and considers both medievalism and genre to be frameworks from which meaning can be produced. It explores works from a wide range of genres-children's and young adult, historical, cyberpunk, fantasy, science fiction, romance, and crime-and across multiple media-fiction, film, television, video games, and music. The range of media types and genres enable comparison, and the identification of overarching trends, while also allowing comparison of contrasting phenomena. As the first volume to explore the nexus of medievalism and genre across such a wide range of texts, this collection illustrates the fractured ideologies of contemporary popular culture. The Middle Ages are more usually, and often more prominently, aligned with conservative ideologies, for example around gender roles, but the Middle Ages can also be the site of resistance and progressive politics. Exploring the interplay of past and present, and the ways writers and readers work engage with them demonstrates the conscious processes of identity construction at work throughout Western popular culture. The collection also demonstrates that while scholars may have by-and-large abandoned the concept of accuracy when considering contemporary medievalisms, the Middle Ages are widely associated with authenticity, and the authenticity of identity, in the popular imagination; the idea of the real Middle Ages matters, even when historical realities do not. This book will be of interest to scholars of medievalism, popular culture, and genre.
To write this history of the imagination, Le Goff has recreated the mental structures of medieval men and women by analyzing the images of man as microcosm and the Church as mystical body; the symbols of power such as flags and oriflammes; and the contradictory world of dreams, marvels, devils, and wild forests. "Le Goff is one of the most distinguished of the French medieval historians of his generation . . . he has exercised immense influence."—Maurice Keen, New York Review of Books "The whole book turns on a fascinating blend of the brutally materialistic and the generously imaginative."—Tom Shippey, London Review of Books "The richness, imaginativeness and sheer learning of Le Goff's work . . . demand to be experienced."—M. T. Clanchy, Times Literary Supplement
Daughter of a poisoned prince and a crafty noblewoman, quiet, bright-minded Hild arrives at the court of King Edwin of Northumbria, where the six-year-old takes on the role of seer/consiglieri for a monarch troubled by shifting allegiances and Roman emissaries attempting to spread their new religion.
It is often assumed that those outside of academia know very little about the Middle Ages. But the truth is not so simple. Non-specialists in fact learn a great deal from the myriad medievalisms - post-medieval imaginings of the medieval world - that pervade our everyday culture. These, like Lord of the Rings or Game of Thrones, offer compelling, if not necessarily accurate, visions of the medieval world. And more, they have an impact on the popular imagination, particularly since there are new medievalisms constantly being developed, synthesised and remade. But what does the public really know? How do the conflicting medievalisms they consume contribute to their knowledge? And why is this important? In this book, the first evidence-based exploration of the wider public's understanding of the Middle Ages, Paul B. Sturtevant adapts sociological methods to answer these important questions. Based on extensive focus groups, the book details the ways - both formal and informal - that people learn about the medieval past and the many other ways that this informs, and even distorts, our present. In the process, Sturtevant also sheds light, in more general terms, onto the ways non-specialists learn about the past, and why understanding this is so important. The Middle Ages in Popular Imagination will be of interest to anyone working on medieval studies, medievalism, memory studies, medieval film studies, informal learning or public history.
Theology and the Scientific Imagination is a pioneering work of intellectual history that transformed our understanding of the relationship between Christian theology and the development of science. Distinguished scholar Amos Funkenstein explores the metaphysical foundations of modern science and shows how, by the 1600s, theological and scientific thinking had become almost one. Major figures like Descartes, Leibniz, Newton, and others developed an unprecedented secular theology whose debt to medieval and scholastic thought shaped the trajectory of the scientific revolution. The book ends with Funkenstein’s influential analysis of the seventeenth century’s “unprecedented fusion” of scientific and religious language. Featuring a new foreword, Theology and the Scientific Imagination is a pathbreaking and classic work that remains a fundamental resource for historians and philosophers of science.
This edited collection brings together new research by world-leading historians and anthropologists to examine the interaction between images of plague in different temporal and spatial contexts, and the imagination of the disease from the Middle Ages to today. The chapters in this book illuminate to what extent the image of plague has not simply reflected, but also impacted the way in which the disease is experienced in different historical periods. The book asks what is the contribution of the entanglement between epidemic image and imagination to the persistence of plague as a category of human suffering across so many centuries, in spite of profound shifts in our medical understanding of the disease. What is it that makes plague such a visually charismatic subject? And why is the medical, religious and lay imagination of plague so consistently determined by the visual register? In answering these questions, this volume takes the study of plague images beyond its usual, art-historical framework, so as to examine them and their relation to the imagination of plague from medical, historical, visual anthropological, and postcolonial perspectives.
Incest is a remarkably frequent theme in medieval literature; it occurs in a wide range of genres, including romances, saints's lives, and exempla. Historically, the Church in the later Middle Ages was very concerned about breaches of the complex laws against incest, which was defined very broadly at the time to cover family relationships outside the nuclear family and also spiritual relationships through baptism. Medieval writers accepted that incestuous desire was a widespread phenomenon among women as well as men. They are surprisingly open about incest, though of course they disapprove of it; in many exemplary stories incest is identified with original sin, but the moral emphasizes the importance of contrition and the availability of grace even to such heinous sinners. This study begins with a brief account of the development of medieval incest laws, and the extent to which they were obeyed. Next comes a survey of classical incest stories and their legacy; many were retold in the Middle Ages, but they were frequently adapted to the purposes of Christian moralizers. In the three chapters that follow, homegrown medieval incest stories are grouped by relationship: mother-son (focusing on the Gregorius legend), father-daughter (focusing on La Manekine and its analogues), and sibling (focusing on the Arthurian legend). The final chapter considers the very common medieval trope of the Virgin Mary as mother, daughter, sister and bride of Christ, the one exception to the incest taboo. In western society today, incest has recently been recognized as a serious social problem, and has also become a frequent theme in both fiction and non-fiction, just as it was in the Middle Ages. This interdisciplinary study is the first broad survey of medieval incest stories in Latin and the vernaculars (mainly French, English and German). It situates the incest theme in both literary and cultural contexts, and offers many thought-provoking comparisons and contrasts to our own society in terms of gender relations, the power of patriarchy, the role of religious institutions in regulating morality, and the relationship between life and literature.
Exploring medieval texts as diverse as Icelandic sagas, Ptolemy's Geography, and Mandeville's Travels, the contributors illustrate the intimate connection between geographical conceptions and the mastery of land, the assertion of doctrine, and the performance of sexuality.