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A SUNDAY TIMES HISTORY BOOK OF THE YEAR 'A triumph' Guardian 'Glorious ... makes the past at once familiar, exotic and thrilling.' Dominic Sandbrook 'A brilliant book' Mail on Sunday Just like us, medieval men and women worried about growing old, got blisters and indigestion, fell in love and had children. And yet their lives were full of miraculous and richly metaphorical experiences radically different to our own, unfolding in a world where deadly wounds might be healed overnight by divine intervention, or the heart of a king, plucked from his corpse, could be held aloft as a powerful symbol of political rule. In this richly-illustrated and unusual history, Jack Hartnell uncovers the fascinating ways in which people thought about, explored and experienced their physical selves in the Middle Ages, from Constantinople to Cairo and Canterbury. Unfolding like a medieval pageant, and filled with saints, soldiers, caliphs, queens, monks and monstrous beasts, it throws light on the medieval body from head to toe - revealing the surprisingly sophisticated medical knowledge of the time in the process. Bringing together medicine, art, music, politics, philosophy and social history, there is no better guide to what life was really like for the men and women who lived and died in the Middle Ages. Medieval Bodies is published in association with Wellcome Collection.
Death in Medieval Europe: Death Scripted and Death Choreographed explores new cultural research into death and funeral practices in medieval Europe and demonstrates the important relationship between death and the world of the living in the middle ages. This volume explores overarching topics such as burials, commemorations, revenants, mourning practices and funerals, capital punishment, suspiscious death and death registrations using case studies from across Europe including England, Iceland and Spain. Drawing together and building upon the latest scholarship, this book is essential reading for all students and academics of death in the medieval period.
In this richly illustrated volume, Paul Binski provides an absorbing account of the social, theological, and cultural issues involved in death and dying in Europe from the end of the Roman Empire to the early sixteenth century. He draws on textual, archaeological, and art historical sources to examine pagan and Christian attitudes toward the dead, the aesthetics of death and the body, burial ritual, and mortuary practice. Illustrated throughout with fascinating and sometimes disturbing images, Binski's account weaves together close readings of a variety of medieval thinkers. He discusses the impact of the Black Death on late medieval art and examines the development of the medieval tomb, showing the changing attitudes toward the commemoration of the dead between late antiquity and the late Middle Ages. In one chapter, Binski analyzes macabre themes in art and literature, including the Dance of Death, which reflect the medieval obsession with notions of humility, penitence, and the dangers of bodily corruption. In another, he studies the progress of the soul after death through the powerful descriptions of Heaven, Hell, and Purgatory in Dante and other writers and through portrayals of the Last Judgment and the Apocalypse in sculpture and large-scale painting.
This refreshing new look at Medieval art conveys a very real sense of the impact of art on everyday life in Europe from 1000 to 1500. It examines the importance of art in the expression and spread of knowledge and ideas, including notions of the heroism and justice of war, and the dominant view of Christianity. Taking its starting point from issues of contemporary relevance, such as the environment, the identity of the artist, and the position of women, the book also highlights the attitudes and events specific to the sophisticated visual culture of the Middle Ages, and goes on to link this period to the Renaissance. The fascinating question of whether commercial and social activities between countries encouraged similar artistic taste and patronage, or contributed to the defining of cultural difference in Europe, is fully explored.
This book teaches the reader how to look at medieval art–which aspects of architecture, sculpture, or painting are important and for what reasons. It includes the art and building of what is now Western Europe from the second to the fifteenth centuries.
To what extent are the dead truly dead? In medieval society, corpses were assigned special functions and meanings in several different ways. They were still present in the daily life of the family of the deceased, and could even play active roles in the life of the community. Taking the materiality of death as a point of departure, this book comprehensively examines the conservation, burial and destruction of the corpse in its specific historical context. A complex and ambivalent treatment of the dead body emerges, one which necessarily confronts established modern perspectives on death. New scientific methods have enabled archaeologists to understand the remains of the dead as valuable source material. This book contextualizes the resulting insights for the first time in an interdisciplinary framework, considering their place in the broader picture drawn by the written sources of this period, ranging from canon law and hagiography to medieval literature and historiography. It soon becomes obvious that the dead body is more than a physical object, since its existence only becomes relevant in the cultural setting it is perceived in. In analogy to the findings for the living body in gender studies, the corpse too, can best be understood as constructed. Ultimately, the dead body is shaped by society, i.e. the living. This book examines the mechanisms by which this cultural construction of the body took place in medieval Europe. The result is a fascinating story that leads deep into medieval theories and social practices, into the discourses of the time and the daily life experiences during this epoch.
A unique novel about life in a 14th-century convent by one of England's most original authors. Sylvia Townsend Warner’s The Corner That Held Them is a historical novel like no other, one that immerses the reader in the dailiness of history, rather than history as the given sequence of events that, in time, it comes to seem. Time ebbs and flows and characters come and go in this novel, set in the era of the Black Death, about a Benedictine convent of no great note. The nuns do their chores, and seek to maintain and improve the fabric of their house and chapel, and struggle with each other and with themselves. The book that emerges is a picture of a world run by women but also a story—stirring, disturbing, witty, utterly entrancing—of a community. What is the life of a community and how does it support, or constrain, a real humanity? How do we live through it and it through us? These are among the deep questions that lie behind this rare triumph of the novelist’s art.
Burning Bodies interrogates the ideas that the authors of historical and theological texts in the medieval West associated with the burning alive of Christian heretics. Michael Barbezat traces these instances from the eleventh century until the advent of the internal crusades of the thirteenth century, depicting the exclusionary fires of hell and judicial execution, the purifying fire of post-mortem purgation, and the unifying fire of God's love that medieval authors used to describe processes of social inclusion and exclusion. Burning Bodies analyses how the accounts of burning heretics alive referenced, affirmed, and elaborated upon wider discourses of community and eschatology. Descriptions of burning supposed heretics alive were profoundly related to ideas of a redemptive Christian community based upon a divine, unifying love, and medieval understandings of what these burnings could have meant to contemporaries cannot be fully appreciated outside of this discourse of communal love. For them, human communities were bodies on fire. Medieval theologians and academics often described the corporate identity of the Christian world as a body joined together by the love of God. This love was like a fire, melting individuals together into one whole. Those who did not spiritually burn with God's love were destined to burn literally in the fires of Hell or Purgatory, and the fires of execution were often described as an earthly extension of these fires. Through this analysis, Barbezat demonstrates how presentations of heresy, and to some extent actual responses to perceived heretics, were shaped by long-standing images of biblical commentary and exegesis. He finds that this imagery is more than a literary curiosity; it is, in fact, a formative historical agent.
The national bestselling hit hailed by the New York Times as a "vibrant medieval mystery...[it] outdoes the competition." In medieval Cambridge, England, Adelia, a female forensics expert, is summoned by King Henry II to investigate a series of gruesome murders that has wrongly implicated the Jewish population, yielding even more tragic results. As Adelia's investigation takes her behind the closed doors of the country's churches, the killer prepares to strike again.
Ranging chronologically from the twelfth to the fifteenth centuries and thematically from Latin to vernacular literary modes, this book challenges standard assumptions about the musical cultures and philosophies of the European Middle Ages. Engaging a wide range of premodern texts and contexts, the author argues that medieval music was quintessentially a practice of the flesh. It will be of compelling interest to historians of literature, music, religion, and sexuality, as well as scholars of cultural, gender, and queer studies.