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Whose Middle Ages? is an interdisciplinary collection of short, accessible essays intended for the nonspecialist reader and ideal for teaching at an undergraduate level. Each of twenty-two essays takes up an area where digging for meaning in the medieval past has brought something distorted back into the present: in our popular entertainment; in our news, our politics, and our propaganda; and in subtler ways that inform how we think about our histories, our countries, and ourselves. Each author looks to a history that has refused to remain past and uses the tools of the academy to read and re-read familiar stories, objects, symbols, and myths. Whose Middle Ages? gives nonspecialists access to the richness of our historical knowledge while debunking damaging misconceptions about the medieval past. Myths about the medieval period are especially beloved among the globally resurgent far right, from crusading emblems on the shields borne by alt-right demonstrators to the on-screen image of a purely white European populace defended from actors of color by Internet trolls. This collection attacks these myths directly by insisting that readers encounter the relics of the Middle Ages on their own terms. Each essay uses its author’s academic research as a point of entry and takes care to explain how the author knows what she or he knows and what kinds of tools, bodies of evidence, and theoretical lenses allow scholars to write with certainty about elements of the past to a level of detail that might seem unattainable. By demystifying the methods of scholarly inquiry, Whose Middle Ages? serves as an antidote not only to the far right’s errors of fact and interpretation but also to its assault on scholarship and expertise as valid means for the acquisition of knowledge.
The images devised to accompany medieval commentaries, whether on the Bible or on classical texts, made claims to authority, even inspiration, that at times were even more forceful than those made by the texts themselves. Pictorial prefaces of the twelfth century represent commentaries of their own; they articulate and elaborate complex arguments regarding critical matters of faith. This study examines pictorial programmes in copies of Horace?s poetic works, the Glossa ordinaria, anti-heretical polemics, and Rupert of Deutz?s commentary on the Song of Songs to demonstrate the ways in which they helped to shape understandings of authorship at a critical historical moment.
In addition to sections devoted to Latin paleography, diplomatics, computer-assisted research, numismatics, archaeology, problems in chronology, and prospography, this text describes state-of-the-art research methodology and critical approaches to English literature, Latin philosophies, law, science, art and music.
This volume draws examples of work from around the Mediterranean basin to demonstrate the variety of archaeological studies being carried out, and the benefits each of these studies has enjoyed through the use of an interdisciplinary approach.