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This multidisciplinary volume illustrates how representations of magic in fourteenth-century romances link the supernatural, spectacle, and morality in distinctive ways. Supernatural marvels represented in vivid visual detail are foundational to the characteristic Middle English genres of romance and hagiography. In Middle English Marvels, Tara Williams explores the didactic and affective potential of secular representations of magic and shows how fourteenth-century English writers tested the limits of that potential. Drawing on works by Augustine, Gervase of Tilbury, Chaucer, and the anonymous poets of Sir Orfeo and Sir Gawain and the Green Knight, among others, Williams examines how such marvels might convey moral messages within and beyond the narrative. She analyzes examples from both highly canonical and more esoteric texts and examines marvels that involve magic and transformation, invoke visual spectacle, and invite moral reflection on how one should relate to others. Within this shared framework, Williams finds distinct concerns—chivalry, identity, agency, and language—that intersect with the marvelous in significant ways. Integrating literary and historical approaches to the study of magic, this volume convincingly shows how certain fourteenth-century texts eschewed the predominant trends and developed a new theory of the marvelous. Williams’s engaging, erudite study will be of special interest to scholars of the occult, the medieval and early modern eras, and literature.
Heroes and Marvels of the Middle Ages is a history like no other: it is a history of the imagination, presented between two celebrated groups of the period. One group consists of heroes: Charlemagne, El Cid, King Arthur, Orlando, Pope Joan, Melusine, Merlin the Wizard, and also the fox and the unicorn. The other is the miraculous, represented here by three forms of power that dominated medieval society: the cathedral, the castle, and the cloister. Roaming between the boundaries of the natural and the supernatural, between earth and the heavens, the medieval universe is illustrated by a shared iconography, covering a vast geographical span. This imaginative history is also a continuing story, which presents the heroes and marvels of the Middle Ages as the times defined them: venerated, then bequeathed to future centuries where they have continued to live and transform through remembrance of the past, adaptation to the present, and openness to the future.
In his Book of Marvels and Travels, Sir John Mandeville describes a journey from Europe to Jerusalem and on into Asia, and the many wonderful and monstrous peoples and practices in the East. A captivating blend of fact and fantasy, Mandeville's Book is newly translated in an edition that brings us closer to Mandeville's worldview.
Heroes and Marvels of the Middle Ages is a history like no other: it is a history of the imagination, presented between two celebrated groups of the period. One group consists of heroes: Charlemagne, El Cid, King Arthur, Orlando, Pope Joan, Melusine, Merlin the Wizard, and also the fox and the unicorn. The other is the miraculous, represented here by three forms of power that dominated medieval society: the cathedral, the castle, and the cloister. Roaming between the boundaries of the natural and the supernatural, between earth and the heavens, the medieval universe is illustrated by a shared iconography, covering a vast geographical span. This imaginative history is also a continuing story, which presents the heroes and marvels of the Middle Ages as the times defined them: venerated, then bequeathed to future centuries where they have continued to live and transform through remembrance of the past, adaptation to the present, and openness to the future.
A multidisciplinary interpretation of representations of magic in fourteenth-century romances, and how these texts link magic, spectacle, and morality in distinctive ways. By representing supernatural marvels in vivid visual detail, these texts encourage reactions of wonder that have moral effects within and beyond the narrative.
Marvel and Artefact examines the three surviving manuscripts of Wonders of the East (London, BL, Cotton Vitellius A. xv; London, BL, Cotton Tiberius B. v; and Oxford, Bodleian Library, Bodley 614). After outlining the learned tradition of writing on monsters and marvels and the family of texts of which the Wonders of the East is part, A. J. Ford offers a forensic reading of each manuscript in which codex, text and image are studied together as a single artefact. By focussing on the materiality of manuscripts whose origin can only be hypothesized, this innovative and challenging work opens new vistas for the study and interpretation of medieval manuscripts and the cultures that produced them.
This collection of essays examines medieval and early modern perceptions of the marvelous and the monstrous. The essays investigate the nature of those phenomena and how people of these periods experienced them and how they recreated that experience for others. The essays trace the development of representations of marvels and explicate individual incarnations of monster and miracles. They analyze the importance of marvelous difference in defining ethnic, racial, religious, class, and gender identities to ask what legacy the medieval confrontations with marvels left for the modern world. These excellent essays look at issues that have long perplexed readers, such as the meaning of marvels, and whether we can read them in earnest or whether they can be appreciated only as play. The different authors bring their expertise to the fore to discuss the development of thoughts on marvels from the classical tradition through the concept's development in the medieval and early modern tradition. This collection is essential reading for any analysis of the marvelous in these periods and the state of scholarship surrounding them.
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.
"It is a commonplace that marvels like enchanted rings and sorcerers' stones were topics of fascination in the Middle Ages, not only in romance and travel literature, but also in the period's philosophic writing: magical objects with hard-to-explain powers abound. This is the first book to analyze these different bodies of writing alongside one another, comparing texts from both the Latin West (including writings in English, French, Italian, and Spanish) and in Arabic on the topic, attempting a unifying theory of marvels across different disciplines and cultures. Michelle Karnes tells an untold story of the parallels between Arabic and Latin thought, reminding us that the strange and the unfamiliar travel unusually well across a range of genres, spanning geographical and conceptual space, and offers an ideal vantage point from which to understand Arabic and Latin intercultural exchange. Employing the notion of the near-impossibility, Karnes traverses this diverse archive, marking the outer boundaries of both nature's capabilities and human creativity. Imagination, she shows, invests marvels with their character and, ultimately, their power. Skirting the distinction between the real and unreal, the true and the false, imagination, for Karnes, endows marvels with indeterminacy and import, imbuing them with inherently interdisciplinary, boundary-resistant, perplexing properties. These near-impossibilities cannot be conclusively discounted; rather, they challenge readers to discover the highest capabilities of both nature and the human intellect. Karnes offers here a rare, comparative perspective and a new methodology to study a topic long recognized to be central to medieval culture"--
The figure of the monster in medieval culture functions as a vehicle for a range of intellectual and spiritual inquiries, from questions of language and representation to issues of moral, theological and cultural value. Monsters embody cultural tensions that go far beyond the idea of the monster as simply an unintelligible and abject other. This text looks at both the representation of literal monsters and the consumption and exploitation of monstrous metaphors in a wide variety of high and late-medieval cultural productions, from travel writing and mystical texts, to sermons, manuscript illuminations and maps. Individual essays explore the ways in which monstrosity shaped the construction of gendered and racial identities, religious symbolism and social prejudice in the Middle Ages. Reading the Middle Ages through its monsters provides an opportunity to view medieval culture from fresh perspectives. It should be of interest in the concept of monstrosity and its significance for medieval cultural production.