A SCHOLARLY BOOK REPOSITORY104 start with S start with S
The School of Chartres was a bold intellectual movement of the twelfth century that introduced the World Soul and the Chartrian cosmology to Christendom. In his controversial book, The Sacred Cosmos, theologian Peter Ellard analyzes the most radical aspects of Chartrian thought and traces their relation to classical and late-antique philosophers such as Boethius and Plato. In addition, Ellard investigates the Cathedral of Chartres as an important proof and example of Chartrian theology in this essential volume for anyone interested in the intersection of spirituality and philosophy.
This volume contains a translation of the version of the Saga of St. Jón of Hólar that is probably closest to the first Latin vita. It is only the second saga of an Icelandic episcopal saint to appear in a modern translation in the present century. The volume consists of two parts, the first comprising a general introduction and a translation by Margaret Cormack. The second part provides a detailed scholarly analysis of the manuscripts, contents, style, and literary connections of the saga by the late Peter Foote, one of the foremost scholars of Old Norse and Icelandic literature.
The Jóns saga was written in the early thirteenth century, nearly a century after the death of its protagonist, the first bishop of the diocese of Hólar in Northern Iceland. The author of the saga combined Latin learning with native folklore to produce a readable narrative that is contemporary with the earliest family and contemporary sagas. This text provides valuable insight into the religious life of ordinary Icelanders in the thirteenth century, and the introduction corrects common misconceptions about ecclesiastical history and the cult of saints in Iceland. It will be of value to scholars of medieval Icelandic literature, hagiography, and history.
In A.D. 986, Earl Hákon, ruler of most of Norway, won a triumphant victory over an invading fleet of Danes in the great naval battle of Hjórunga Bay. Sailing under his banner were no fewer than five Icelandic skalds, the poet-historians of the Old Norse world. Two centuries later their accounts of the battle became the basis for one of the liveliest of the Icelandic sagas, with special emphasis on the doings of the Jómsvikings, the famed members of a warrior community that feared no one and dared all. In Lee M. Hollander's faithful translation, all of the unknown twelfth-century author's narrative genius and flair for dramatic situation and pungent characterization is preserved.
Compact and open to readers of varying backgrounds, this book represents Catalano’s efforts to bring a lifetime of work on Sartre into an accessible consideration of philosophical questions by placing him in conversation with Aquinas, and it serves as a primer on key ideas of both philosophers. By bringing together these two figures, Catalano offers a fruitful space for thinking through some of the central questions about faith, conscience, freedom, and the meaning of life.
Three of these holy women were queens who turned to religion only after a period of intense worldly activity. Others were members of the Carolingian family, deeply implicated in the political ambitions of their male relatives. Some were partners in the great Irish missions to the pagan countryside and others worked for the physical salvation of the poor. From the peril and suffering of their lives they shaped themselves as paragons of power and achievement. Beloved by their sisters and communities for their spiritual gifts, they ultimately brought forth a new model of sanctity.
These biographies are unusually authentic. At least two were written by women who knew their subjects, while others reflect the direct testimony of sisters within the cloister walls. Each biography is accompanied by an introduction and notes that clarify its historical context. This volume will be an excellent source for students and scholars of women's studies and early medieval social, religious, and political history.
A collection of medieval tales of Byzantine saints, including some rejected by the Church, translated into English for the first time.
The legends collected in Saints at the Limits, despite sometimes being viewed with suspicion by the Church, fascinated Christians during the Middle Ages—as related cults, multiple retellings, and contemporary translations attest. Their protagonists span the entire spectrum of Byzantine society, including foreigners, soldiers, ascetics, lustful women, beggars, and the sons and daughters of rulers. They travel to exotic lands, perform outlandish miracles, suffer extraordinary violence, reject family ties, save cities, destroy absolute rulers, and discover the divine. Some saints, like Markos the Athenian, are forgotten nowadays; others, like Saint George the Great Martyr, still command a wide appeal. Each, however, negotiates the limits of Byzantine imagination: the borders that separate the powerful from the outcasts, the real from the imaginary, the human from the beyond human. These stories, edited in Greek and translated into English here for the first time, continue to resonate with readers seeking to understand universal human fears and desires in their Byzantine guise.
Saints of Ninth- and Tenth-Century Greece collects funeral orations, encomia, and narrative hagiography. Together, these works illuminate one of the most obscure periods of Greek history—when holy men played central roles as the Byzantine administration reimposed control on southern and central Greece in the wake of Avar, Slavic, and Arab attacks and the collapse of the late Roman Empire. The bishops of the region provided much-needed leadership and institutional stability, while ascetics established hermitages and faced invaders. The Lives gathered here include accounts of Peter of Argos, which offers insight into episcopal authority in medieval Greece, and Theodore of Kythera, an important source for the history of piracy in the Aegean Sea.
This volume, which illustrates the literary variety of saints’ Lives, presents Byzantine Greek texts written by locals in the provinces and translated here into English for the first time.
The church of San Marco of Venice has long played a central role in Venetian political, ceremonial, and religious life. Its renowned assemblage of mosaics, sculpture, metalwork, and reliquaries are, in origin, Roman, Byzantine, Venetian, or Venetian imitation of Byzantine designs. In San Marco, Byzantium, and the Myths of Venice, the authors assess the significance of the embellishment of the church and its immediate surroundings, especially during the thirteenth and fourteenth centuries, when most of the Byzantine material was acquired, largely from Constantinople. The church and its decoration are studied in relation to Venice’s interests abroad and on mainland Italy. The authors address the diverse styles, sources, meanings, and significance of this art, both individually and as an ensemble.
Building upon developments in scholarship since Otto Demus’s masterly studies of the church, the book offers new insights into the inspiration, purposes, and mutability of San Marco and the myths that inspired and motivated Venetians.
A comprehensive military history of one of the most important empires of Late Antiquity
The Sasanian Empire at War: Persia, Rome, and the Rise of Islam, 224–651 is the first comprehensive study in English examining war and society in one of the most important empires in world history: the Persian Empire of 224-651 AD, ruled by the Sasanian clan. At its height the Sasanians governed lands from the Indus River in the east to Egypt and the Mediterranean in the west. Adversaries of Rome, they also faced grave challenges from nomadic powers from Central Asia, notably the Huns and Turks. The Sasanians were able to maintain their empire for hundreds of years through nearly constant warfare, but when their expansion was checked in the north by the Byzantines at Constantinople in 626, and with the Muslim invasions to their south and west beginning in the 630s, the empire could no longer be sustained, and it finally collapsed.
In this book, Michael J. Decker examines Sasanian warfare, including military capabilities, major confrontations, organization and weapons of the Persian army. In addition to providing a comprehensive overview of the conflicts that marked this vital period in the history of Eurasia, The Sasanian Empire at War challenges long cherished notions of the inferiority of Sasanian military capabilities and renders a new image of a sophisticated, confident culture astride the heart of Eurasia at the end of the ancient world and birth of the Silk Road. Persian arms were among the many features of their culture that drew widespread admiration and was one of the keys to the survival of Iranian culture beyond the Arab Conquest and into the present day.
Depicting this new demonology, Satan the Heretic considers the period between the mid-thirteenth and mid-fourteenth centuries when demons, in the eyes of Church authorities, suddenly burst forth, more real and more terrifying than ever before in the history of Christianity. Boureau argues that the rise in this obsession with demons occurs at the crossroads of the rise of sovereignties and of the individual, a rise that, tellingly, also coincides with the emergence of the modern legal system in the European West.
Teeming with original insights and lively anecdotes, Satan the Heretic is a significant contribution to the history of Christian demonology from one of the most original minds in the field of medieval studies today.
Composed in Germany by a monastic poet steeped in classical lore and letters, the Satires of Amarcius (Sextus Amarcius Gallus Piosistratus) unrelentingly attack both secular vices and ecclesiastical abuses of the late eleventh century. The verses echo Horace and Prudentius, are laced with proverbs and polemic, and portray vividly aspects of contemporary life—the foppery of young nobles, the vainglory of the nouveaux riches, the fastidiousness of debauched gluttons. This is the first English translation of the Satires.
The Eupolemius is a late-eleventh-century Latin epic that recasts salvation history, from Lucifer’s fall through Christ’s resurrection. The poem fuses Greek and Hebrew components within a uniquely medieval framework. At once biblical, heroic, and allegorical, it complements the so-called Bible epics in Latin from late antiquity and the refashionings of biblical narrative in Old English verse. It emulates classical Latin epics by Virgil, Lucan, and Statius and responds creatively to the foundational personification allegory by the Christian poet Prudentius. The poem was composed by an anonymous German monk, possibly the author who used the pseudonym Amarcius. Although it focuses on events of both the Hebrew Bible and New Testament, it is also rooted in its own momentous times.
Advice on sex and marriage in the literature of antiquity and the middle ages typically stressed the negative: from stereotypes of nagging wives and cheating husbands to nightmarish visions of women empowered through marriage. Satiric Advice on Women and Marriage brings together the leading scholars of this fascinating body of literature. Their essays examine a variety of ancient and early medieval writers' cautionary and often eccentric marital satire beginning with Plautus in the third century B.C.E. through Chaucer (the only non-Latin author studied). The volume demonstrates the continuity in the Latin tradition which taps into the fear of marriage and intimacy shared by ancient ascetics (Lucretius), satirists (Juvenal), comic novelists (Apuleius), and by subsequent Christian writers starting with Tertullian and Jerome, who freely used these ancient sources for their own purposes, including propaganda for recruiting a celibate clergy and the promotion of detachment and asceticism as Christian ideals.
Warren S. Smith is Professor of Classical Languages at the University of New Mexico.
By showing how the medieval poet's obsession with the outrageous, the low, and the lewd was intimately bound to poetry, Bloch forces a revision of traditional approaches to Old French literature. His final chapter, on castration anxiety, fetishism, and the comic, links the fabliaux with the development of modern notions of the self and makes a case for the medieval roots of our own sense of humor.
As recounted here with relish by Ingrid D. Rowland, Curzio preyed on the Italian fixation with ancestry to forge an array of ancient Latin and Etruscan documents. For authenticity's sake, he stashed the counterfeit treasure in scarith (capsules made of hair and mud) near Scornello. To the seventeenth-century Tuscans who were so eager to establish proof of their heritage and history, the scarith symbolized a link to the prestigious culture of their past. But because none of these proud Italians could actually read the ancient Etruscan language, they couldn't know for certain that the documents were frauds. The Scarith of Scornello traces the career of this young scam artist whose "discoveries" reached the Vatican shortly after Galileo was condemned by the Inquisition, inspiring participants on both sides of the affair to clash again—this time over Etruscan history.
An expert on the Italian Renaissance and one of only a few people in the world to work with the Etruscan language, Rowland writes a tale so enchanting it seems it could only be fiction. In her investigation of this seventeenth-century caper, Rowland will captivate readers with her sense of humor and obvious delight in Curzio's far-reaching prank. And even long after the inauthenticity of Curzio's creation had been established, this practical joke endured: the scarith were stolen in the 1980s by a thief who mistook them for the real thing.
The account is broken by the gradual replacement of the synthesis of faith and reason that had been achieved in the early Middle Ages by a new one that made use of Aristotle. Pieper gives a thorough and lively account of the struggle between Aristotelians and anti-Aristotelians, and the famous condemnations that put the effort of Saint Thomas Aquinas at risk. But the Summa theologiae is regarded by Pieper as the unique achievement of the period.
If the early centuries, the medieval period, can be seen as moving toward the thirteenth and Thomas's unique achievement, subsequent centuries saw the decline of scholasticism and theappearance of harbingers of modern philosophy.
The book closes with Pieper's thoughts on the permanent philosophical and theological significance of scholasticism and the Middle Ages. Once again, wearing his learning lightly, writing with a clarity that delights, Josef Pieper has taken the field from stuffier and more extended accounts.
In his introduction the author addresses the place of Alfonso's work in its own time, giving the reader a notion of what other works in the genre were like and how they differ. The connecting thread running through these chapters is a continuing focus on the art of the compiler. Medieval historical compilations are by definition scissors-and-paste jobs, stringing older texts together to tell new, different stories. But the Alfonsine editors bend the rules: in the short run they make their work yield the themes they think important, and in the long run they build a literary monument of impressive architecture.
Charles F. Fraker is Professor Emeritus in Romance Languages, University of Michigan.
“How could I allow my soldiers to sail on this disloyal and cruel sea?” These words, attributed to the most powerful caliph of medieval Islam, Umar Ibn al-Khattab (634–644), have led to a misunderstanding in the West about the importance of the Mediterranean to early Islam. This body of water, known in Late Antiquity as the Sea of the Romans, was critical to establishing the kingdom of the caliphs and for introducing the new religion to Europe and Africa. Over time, it also became a pathway to commercial and political dominion, indispensable to the prosperity and influence of the Islamic world. Sea of the Caliphs returns Muslim sailors to their place of prominence in the history of the Islamic caliphate.
As early as the seventh century, Muslim sailors competed with Greek and Latin seamen for control of this far-flung route of passage. Christophe Picard recreates these adventures as they were communicated to admiring Muslims by their rulers. After the Arab conquest of southern Europe and North Africa, Muslims began to speak of the Mediterranean in their strategic visions, business practices, and notions of nature and the state. Jurists and ideologues conceived of the sea as a conduit for jihad, even as Muslims’ maritime trade with Latin, Byzantine, and Berber societies increased.
In the thirteenth century, Christian powers took over Mediterranean trade routes, but by that time a Muslim identity that operated both within and in opposition to Europe had been shaped by encounters across the sea of the caliphs.
The book unfolds in three parts. Busse Berger starts with the origins of comparative musicology circa 1900, when early proponents used ideas from comparative linguistics to test whether parallels could be drawn between nonwestern and medieval European music. She then turns to youth movements of the era—the Wandervogel, Jugendmusikbewegung, and Singbewegung—whose focus on joint music making influenced many musicologists. Finally, she considers case studies of Protestant and Catholic mission societies in what is now Tanzania, where missionaries—many of them musicologists and former youth-group members—extended the discipline via ethnographic research and a focus on local music and communities. In highlighting these long-overlooked transnational connections and the role of global music in early musicology, Busse Berger shapes a fresh conception of music scholarship during a pivotal part of the twentieth century.
A Complete Recreation of the Deadliest Medieval Arm
Dominating medieval battlefields for more than two centuries but requiring long and arduous practice to command, the English war bow and its battle shaft are the symbols of the rise of British power in Europe. Despite being crafted for hundreds of years and wielded by generations of archers, no example of the war bow—the military version of the longbow—exists, outside of a single broken limb. Now for the first time, expert craftsmen use all available evidence including applied archaeology to unlock the secrets of the English war bow. Historian Hugh D. H. Soar is joined by Mark Stretton, master blacksmith, and Joseph Gibbs, bowyer, in order to demonstrate how a war bow and its associated arrow heads and shafts may have been constructed and used. In addition to showing the complete manufacture of a bow from tree selection to stringing and how specialized arrowheads were forged and attached to shafts, Secrets of the English War Bow provides information on the actual performance of the war bow, including the bow's effectiveness against various materials and, for the first time, its use against moving targets, since bows were often drawn against mounted soldiers. Armed with this new information, Soar provides an analysis of both successes and failures of the war bow in several important battles. Illustrated in color and black and white, Secrets of the English War Bow provides an invaluable service for those interested in medieval military history, archery, and technology.
Secrecy has played a role throughout human history and continues to capture the popular imagination. Some of the most seductive aspects of the Byzantine Empire—such as the relics of the imperial palace and the military uses of Greek fire—have been shrouded in mystery for centuries. This book provides a brief history of secrecy in Byzantium and examines the role of the art historian in uncovering the truth, demonstrating how visual evidence can not only reveal new findings but also purposely conceal answers.
Art historians face many challenges in their search for hidden knowledge, including accessing accounts preserved in fragmentary glimpses and reconciling how practices of speculation and reconstruction result in different, and sometimes contradictory, understandings. With pressing urgency, this book asks scholars to consider their role in articulating the stories of marginalized people, particularly for queer and trans history.
At the core of these investigations is the quest to discover how clandestine knowledge was transmitted and how relationships were strengthened by collective secret keeping, as well as how concealment is used as a strategy for exercising power. With insights into the religious, imperial, military, and cultural uses of secrecy, this book offers an intriguing look at the ways secrecy manifested itself during the Byzantine Empire and the implications it has for the issues we face today.
In Seeing Sodomy in the Middle Ages, Robert Mills explores the relationship between sodomy and motifs of vision and visibility in medieval culture, on the one hand, and those categories we today call gender and sexuality, on the other. Challenging the view that ideas about sexual and gender dissidence were too confused to congeal into a coherent form in the Middle Ages, Mills demonstrates that sodomy had a rich, multimedia presence in the period—and that a flexible approach to questions of terminology sheds new light on the many forms this presence took. Among the topics that Mills covers are depictions of the practices of sodomites in illuminated Bibles; motifs of gender transformation and sex change as envisioned by medieval artists and commentators on Ovid; sexual relations in religious houses and other enclosed spaces; and the applicability of modern categories such as “transgender,” “butch” and “femme,” or “sexual orientation” to medieval culture.
Taking in a multitude of images, texts, and methodologies, this book will be of interest to all scholars, regardless of discipline, who engage with gender and sexuality in their work.
Suger, the twelfth century abbot of Saint-Denis, has not received the respect and attention that he deserves. Bernard of Clairvaux and Peter the Venerable have garnered more attention, and students of medieval history know their names well. In one respect, however, Suger has earned due praise, for his architectural innovations to the church of Saint-Denis made it truly one of the most beautiful churches in Europe.
Students of history and architecture know Suger best for his work on Saint-Denis, the burial site of medieval French kings, queens, and nobility. The abbot enlarged, decorated, improved, and redesigned the building so beautifully that it is safe to say that he became the foremost church architect of twelfth-century France.
The man, however, was so much more than an architect. He served as a counselor and member of the courts of King Louis VI and VII, who sent him across Europe on diplomatic missions. He represented those kings at the papal curia and imperial diets. He was also a close friends and confidante of King Henry I of England, whom he often visited on behalf of French royal interests.
Never shy, Suger seems almost obsessed that his works and deeds not be forgotten. He acquired numerous properties and estates for his abbey, as well as improved the ones it already possessed. He built new buildings, barns, walls for villages, and increased the return of grain from all the abbey’s lands. Readers interested in the medieval agricultural system and way of life will also enjoy these texts.
Suger’s texts also provide a wealth of information about the events of his era as well as a large amount of biographical material on his accomplishments. This translation of his writings intends to enhance his reputation and make his name better known by students at all levels and among those interested in medieval topics.
What is particular to these thinkers, Hollywood reveals, is their attention to forms of mysticism associated with women. They regard mystics such as Angela of Foligno, Hadewijch, and Teresa of Avila not as emotionally excessive or escapist, but as unique in their ability to think outside of the restrictive oppositions that continue to afflict our understanding of subjectivity, the body, and sexual difference. Mystics such as these, like their twentieth-century descendants, bridge the gaps between action and contemplation, emotion and reason, and body and soul, offering new ways of thinking about language and the limits of representation.
Drawn from the entire career of this great medievalist, who, more clearly and in greater detail than anyone before him, articulated the singularly allegorical mentality of the Middle Ages, the essays in this collection show the tendency of medieval thinkers and writers to see nature as a diaphanous screen held against God's sacred mysteries, simultaneously illuminating and obscuring. Ohly's work on the hermeneutics of word and image, meanwhile, traces the way his thinking opened philology to new possibilities through the dual interpretation of textual and visual media.
Including penetrating essays on poetic inspiration, the nature of beauty, sacred and profane exegesis, history as typology, and art as both object and text, this volume will be of enormous value to scholars of comparative literature, the history of art, and religion during the Middle Ages and Renaissance.
What is sex exactly? Does everyone agree on a definition? And does that definition hold when considering literary production in other times and places? Sex before Sex makes clear that we cannot simply transfer our contemporary notions of what constitutes a sex act into the past and expect them to be true for the people who were then reading literature and watching plays. The contributors confront how our current critical assumptions about definitions of sex restrict our understanding of representations of sexuality in early modern England.
Drawing attention to overlooked forms of sexual activity in early modern culture, from anilingus and interspecies sex to “chin-chucking” and convivial drinking, Sex before Sex offers a multifaceted view of what sex looked like before the term entered history. Through incisive interpretations of a wide range of literary texts, including Romeo and Juliet, The Comedy of Errors, Paradise Lost, the figure of Lucretia, and pornographic poetry, this collection queries what might constitute sex in the absence of a widely accepted definition and how a historicized concept of sex affects the kinds of arguments that can be made about early modern sexualities.
Contributors: Holly Dugan, George Washington U; Will Fisher, CUNY–Lehman College; Stephen Guy-Bray, U of British Columbia; Melissa J. Jones, Eastern Michigan U; Thomas H. Luxon, Dartmouth College; Nicholas F. Radel, Furman U; Kathryn Schwarz, Vanderbilt U; Christine Varnado, U of Buffalo–SUNY.
It is in exile that Menocal locates the founding conditions for philology--as a discipline that loves origins--and for the genre of love songs that philology reveres. She crosses the boundaries, both temporal and geographical, of 1492 to recover the "original" medieval culture, with its Mediterranean mix of European, Arabic, and Hebrew poetics. The result is a form of literary history more lyrical than narrative and, Menocal persuasively demonstrates, more appropriate to the Middle Ages than to the revisionary legacy of the Renaissance. In discussions ranging from Eric Clapton's adaption of Nizami's Layla and Majnun, to the uncanny ties between Jim Morrison and Petrarch, Shards of Love deepens our sense of how the Middle Ages is tied to our own age as it expands the history and meaning of what we call Romance philology.
Biddick describes how the discipline of medieval studies was defined by a process of isolation and exclusion—a process that not only ignored significant political and cultural issues of the nineteenth century but also removed the period from the forces of history itself. Wanting to separate themselves from popular studies of medieval culture, and valuing their own studies as scientific, nineteenth-century academics created an exclusive discipline whose structure is consistently practiced today, despite the denials of most contemporary medieval scholars. Biddick supports her argument by discussing the unavowed melancholy that medieval Christians felt for Jews and by revealing the unintentional irony of nineteenth-century medievalists’ fabrication of sentimental objects of longing (such as the “gothic peasant”). The subsequent historical distortions of this century-old sentimentality, the relevance of worker dislocation during the industrial revolution, and other topics lead to a conclusion in which Biddick considers the impact of an array of factors on current medieval studies.
Simultaneously displacing disciplinary stereotypes and altering an angle of historical inquiry, The Shock of Medievalism challenges accepted thinking even as it produces a new direction for medieval studies. This book will provoke scholars in this field and appeal to readers who are interested in how historicizing processes can affect the development of academic disciplines.
Introducing a radical new understanding of these plays as "sacramental theater," Beckwith shows how organizing the plays served as a political mechanism for regulating labor, and how theater and sacrament combined in them to do important theological work. She argues, for instance, that the theology of Corpus Christi in the resurrection plays can only be understood as a theatrical exploration of eucharistic absence and presence. Beckwith frames her study with discussions of twentieth-century manifestations of sacramental theater in Barry Unsworth's novel Morality Play and Denys Arcand's film Jesus of Montreal, and the connections between contemporary revivals of the York Corpus Christi plays and England's heritage culture.
The adventures and challenges of Sir Gawain, King Arthur’s nephew and a knight at the Round Table, including his duel with the mysterious Green Knight, are among the oldest and best known of Arthurian stories. Here the distinguished author and poet John Gardner has captured the humor, elegance, and richness of the original Middle English in flowing modern verse translations of this literary masterpiece. Besides the tale of Sir Gawain and the Green Knight, this edition includes two allegorical poems, “Purity” and “Patience”; the beautiful dream allegory “Pearl”; and the miracle story “Saint Erkenwald,” all attributed to the same anonymous poet, a contemporary of Chaucer and an artist of the first rank.
These essays provide a greater understanding of the ways in which gender has played a part in determining relations of power in Western cultures. This volume makes a vital contribution to the current scholarship about women in the Middle Ages.
Employing a comparative social history, Huffman reassesses traditional national historiographies of medieval diplomacy and political life. Germany is integrated into Anglo-French notions of western Europe and shown to be both an integral player in western European political history as well as a political community that was as fully developed as those of medieval England or France.
The Social Politics of Medieval Diplomacy offers a study of the social dynamics of relations between political communities. In particular, the Anglo-French political communities do not appear as state and constitution builders, while the German political community is not as a state and constitution destroyer. The book concludes by encouraging medievalists to integrate the German kingdom into their intellectual constructs of medieval Europe.
This book is an essential history of medieval Germany. It bridges the gaps between Anglo-French and German scholarship and political and social history. Joseph Huffman makes available German-language scholarship. Both English and German history is integrated in an accessible and interesting way. The historiographical implications of this study will be far-reaching.
Joseph P. Huffman is Associate Professor of History and Political Science, Messiah College.
This is the second of a four-volume history of philosophy . . . on ancient, medieval, modern, and contemporary philosophy. After the fourth volume is produced in paper, a one-volume clothbound edition, containing all four paperbound editions, will be published.
Kreeft focuses on the “big ideas” that have influenced present people and present times, and includes relevant biographical data, proportionate to its importance for each thinker. Moreover, the aim of the work is to stimulate philosophizing, controversy, and argument. It uses ordinary language and logic, not jargon and symbolic logic, and it is commonsensical (like Aristotle) and existential in the sense that it sees philosophy as something to be lived and experienced in life. Philosophy, after all, is not about philosophy but reality . . . about wisdom, life and death, good and evil, and God.
Kreeft seeks to be simple and direct and clear. But it is not dumbed down and patronizing. It will stretch the reader, but it is meant for beginnings, not just scholars. It can be used for college classes or do-it-yourselfers. It emphasizes surprises; remember, “philosophy begins in wonder.” And it includes visual aids: charts, cartoons, line drawings, and drawings of each philosopher.
Solomon and Marcolf is known for being both important and mysterious. It pits wise Solomon, famous from the Bible, against a wily peasant named Marcolf. One of its two parts is a dialogue, in which the king and jester, sage and fool, prophet and blasphemer bandy back and forth questions and comments. Whereas Solomon is solemn and pompous, Marcolf resorts to low language and earthy topics. The other part comprises twenty short chapters in which Marcolf tricks Solomon time and again. These episodes are as impudent and scatological as is the dialogue. Together, the two parts constitute a rudimental prose novel or “rogue biography.”
Cited by Bakhtin in Rabelais and His World, Solomon and Marcolf is widely known by name. But until now it has not been translated into any modern language. The present volume offers an introduction, followed by the Latin and English, detailed commentary, and reproductions of woodcut illustrations from the 1514 edition. Appendixes help readers understand the origins and influence of a work that was composed around 1200, that attained its greatest popularity in the fifteenth and sixteenth centuries, and that has the potential still today to delight and instruct.
The Latin prose Solomon and Marcolf, enigmatic in origins, has been a puzzle from long before the sixteenth-century French author François Rabelais through the twentieth-century Russian critic Bakhtin to today. Though often called a dialogue, the second of its two parts comprises a rudimentary novel with twenty episodes. In 2009 the “original” received at last an edition and translation with commentary as the first volume in the Harvard Studies in Medieval Latin series.
Solomon and Marcolf: Vernacular Traditions, the fourth volume in the series, displays the mysteries of the tradition. Solomon relates to the biblical king, but did Marcolf originate in Germanic or Eastern regions? Here lovers of literature and folklore may explore, in English for the first time, relevant texts, from the twelfth through the early eighteenth century. These astonishingly varied and fascinating pieces, from Iceland in the North and West through Russia in the East and Italy in the South, have been translated from medieval and early modern French, Russian, German, Icelandic, Danish, and Italian. The book opens with snapshots of two nineteenth-century polymaths, the Englishman John M. Kemble and Russian Aleksandr Veselovskii, whose hypotheses can now be evaluated. An appendix documents awareness of Solomon and Marcolf in late medieval and early modern times.
The Latin prose Solomon and Marcolf, enigmatic in origins, has been a puzzle from long before the sixteenth-century French author François Rabelais through the twentieth-century Russian critic Bakhtin to today. Though often called a dialogue, the second of its two parts comprises a rudimentary novel with twenty episodes. In 2009 the “original” received at last an edition and translation with commentary as the first volume in the Harvard Studies in Medieval Latin series.
Solomon and Marcolf: Vernacular Traditions, the fourth volume in the series, displays the mysteries of the tradition. Solomon relates to the biblical king, but did Marcolf originate in Germanic or Eastern regions? Here lovers of literature and folklore may explore, in English for the first time, relevant texts, from the twelfth through the early eighteenth century. These astonishingly varied and fascinating pieces, from Iceland in the North and West through Russia in the East and Italy in the South, have been translated from medieval and early modern French, Russian, German, Icelandic, Danish, and Italian. The book opens with snapshots of two nineteenth-century polymaths, the Englishman John M. Kemble and Russian Aleksandr Veselovskii, whose hypotheses can now be evaluated. An appendix documents awareness of Solomon and Marcolf in late medieval and early modern times.
Today we usually think of a book of poems as composed by a poet, rather than assembled or adapted by a network of poets and readers. But the earliest European vernacular poetries challenge these assumptions. Medieval songbooks remind us how lyric poetry was once communally produced and received—a collaboration of artists, performers, live audiences, and readers stretching across languages and societies.
The only comparative study of its kind, Songbook treats what poetry was before the emergence of the modern category “poetry”: that is, how vernacular songbooks of the thirteenth to fifteenth centuries shaped our modern understanding of poetry by establishing expectations of what is a poem, what is a poet, and what is lyric poetry itself. Marisa Galvez analyzes the seminal songbooks representing the vernacular traditions of Occitan, Middle High German, and Castilian, and tracks the process by which the songbook emerged from the original performance contexts of oral publication, into a medium for preservation, and, finally, into an established literary object. Galvez reveals that songbooks—in ways that resonate with our modern practice of curated archives and playlists—contain lyric, music, images, and other nonlyric texts selected and ordered to reflect the local values and preferences of their readers. At a time when medievalists are reassessing the historical foundations of their field and especially the national literary canons established in the nineteenth century, a new examination of the songbook’s role in several vernacular traditions is more relevant than ever.
A collection of ancient Byzantine hymns featuring women as pivotal characters, now in a new translation.
At a time when Christianity was becoming the dominant religion in the Byzantine Roman Empire, Romanos the Melodist (ca. 485–565) was a composer of songs for festivals and rituals in late antique Constantinople. Most of his songs include dramatic dialogues or monologues woven with imagery from ordinary life, and his name became inseparably tied to the kontakion, a genre of dramatic hymn. Later Byzantine religious poets enthusiastically praised his creative virtuosity and a legend claimed that Romanos’s inspiration came directly from the Virgin Mary herself.
Songs about Women contains eighteen works related to the liturgical calendar that feature important female characters, many portrayed as models for Christian life. They appear as heroines and villains, saints and sinners, often as transgressive and bold. Romanos’s songs offer intriguing perspectives on gender ideals and women’s roles in the early Byzantine world.
This edition presents a new translation of the Byzantine Greek texts into English.
The military achievements of the emperors Nikephoros Phokas, John Tzimiskes, and Basil II brought the Byzantine Empire to the height of its power by the early eleventh century. This volume presents new editions and translations of two military treatises—the Praecepta militaria of Nikephoros Phokas and the revised version included in the Taktika of Nikephoros Ouranos—outlining the tactical system used by Byzantine armies in campaigns against Muslim forces in Cilicia and Syria. Products of experienced soldiers, the texts offer a realistic view of Byzantine warfare and reveal the sophistication of Byzantine military science.
Eric McGeer places the treatises in military historical context; explores the factors that led the Byzantine army to fight as it did; and investigates morale, discipline, and leadership—all of which determined the difference between failure and success.
Spinoza initially presents imagination as an inadequate and confused way of thinking, always inferior to ideas that adequately represent things as they are. It would seem to follow that one ought to purge the mind of imaginative ideas and replace them with rational ideas as soon as possible, but as Garver shows, the Ethics don’t allow for this ultimate ethical act until one has cultivated a powerful imagination. This is, for Garver, “the cunning of imagination.” The simple plot of progress becomes, because of the imagination, a complex journey full of reversals and discoveries. For Garver, the “cunning” of the imagination resides in our ability to use imagination to rise above it.
Spiritual Sonnets presents the first English translation of 129 of Coignard's highly autobiographical poems, giving us a startlingly intimate view into the life and mind of this Renaissance woman. The sonnets are all written "in the shadow of the Cross" and include elegies, penitential lyrics, Biblical meditations, and more. Rich with emotion, Coignard's poems reveal anguished moments of loneliness and grief as well as ecstatic experiences of mystical union. They also reveal her mastery of sixteenth-century literary conventions and spiritual traditions.
This edition, printed in bilingual format with Melanie E. Gregg's translations facing the French originals, will be welcomed by teachers and students of poetry, French literature, women's studies, and religious and Renaissance studies.
Yet, in this groundbreaking new book, Eleanor Johnson argues instead for the pervasiveness and accessibility of contemplative works to medieval audiences. By drawing together ostensibly diverse literary genres—devotional prose, allegorical poetry, cycle dramas, and morality plays—Staging Contemplation paints late Middle English contemplative writing as a broad genre that operated collectively and experientially as much as through radical individual disengagement from the world. Johnson further argues that the contemplative genre played a crucial role in the exploration of the English vernacular as a literary and theological language in the fifteenth century, tracing how these works engaged modes of disfluency—from strained syntax and aberrant grammar, to puns, slang, code-switching, and laughter—to explore the limits, norms, and potential of English as a devotional language. Full of virtuoso close readings, this book demonstrates a sustained interest in how poetic language can foster a participatory experience of likeness to God among lay and devotional audiences alike.
Stone maps the force, vivacity, and stories within our most mundane matter, stone. For too long stone has served as an unexamined metaphor for the “really real”: blunt factuality, nature’s curt rebuke. Yet, medieval writers knew that stones drop with fire from the sky, emerge through the subterranean lovemaking of the elements, tumble along riverbeds from Eden, partner with the masons who build worlds with them. Such motion suggests an ecological enmeshment and an almost creaturely mineral life.
Although geological time can leave us reeling, Jeffrey Jerome Cohen argues that stone’s endurance is also an invitation to apprehend the world in other than human terms. Never truly inert, stone poses a profound challenge to modernity’s disenchantments. Its agency undermines the human desire to be separate from the environment, a bifurcation that renders nature “out there,” a mere resource for recreation, consumption, and exploitation.
Written with great verve and elegance, this pioneering work is notable not only for interweaving the medieval and the modern but also as a major contribution to ecotheory. Comprising chapters organized by concept —“Geophilia,” “Time,” “Force,” and “Soul”—Cohen seamlessly brings together a wide range of topics including stone’s potential to transport humans into nonanthropocentric scales of place and time, the “petrification” of certain cultures, the messages fossils bear, the architecture of Bordeaux and Montparnasse, Yucca Mountain and nuclear waste disposal, the ability of stone to communicate across millennia in structures like Stonehenge, and debates over whether stones reproduce and have souls.
Showing that what is often assumed to be the most lifeless of substances is, in its own time, restless and forever in motion, Stone fittingly concludes by taking us to Iceland⎯a land that, writes the author, “reminds us that stone like water is alive, that stone like water is transient.”
Exploring the complex relationship between medieval dance and medieval poetry, Strange Footing argues that the intersection of texts and dance produced an experience of poetic form based in disorientation, asymmetry, and even misstep. Medieval dance guided audiences to approach poetry not in terms of the body’s regular marking of time and space, but rather in the irregular and surprising forces of virtual motion around, ahead of, and behind the dancing body. Reading medieval poems through artworks, paintings, and sculptures depicting dance, Seeta Chaganti illuminates texts that have long eluded our full understanding, inviting us to inhabit their strange footings askew of conventional space and time.
Strange Footing deploys the motion of dance to change how we read medieval poetry, generating a new theory of poetic form for medieval studies and beyond.
The Stranger in Medieval Society was first published in 1998. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
The Stranger in Medieval Society examines the presence of outsiders in medieval Europe. Whether welcome or unwelcome, voluntary or involuntary, strangers appear in every society; they leave their own communities, venture into new environments, confront differences, and often spark changes. The first collection in medieval studies to concentrate on the notion of the stranger, these essays show how outsiders influenced the culture of Europe in the Middle Ages.
Among the topics explored are Edward III and Sir Gawain and the Green Knight as historical and literary instances of chivalric skill and courage; political conflict in the late French epic Renaut de Montauban; and a group of people who were doubly strangers-some thirty thousand Jews, who after being expelled from France in 1306 returned under an experimental agreement a few years later.
Contributors: William Calin, U of Florida; Susan Crane, Rutgers; Maria Dobozy, U of Utah; Edward R. Haymes, Cleveland State U; William Chester Jordan, Princeton U; Derek Pearsall, Harvard U; William D. Phillips Jr., U of Minnesota; Kathryn L. Reyerson, U of Minnesota; and Janet L. Solberg, Kalamazoo College.
F. R. P. Akehurst is professor of French in the Department of French and Italian at the University of Minnesota. Stephanie Cain Van D'Elden is director of graduate studies for the program in Germanic philology at the University of Minnesota.
This is volume 12 in the Medieval Cultures Series
The Strozzi correspondence tells the story of the decline and recovery of one Florentine patrician family. Eventually, the Strozzi brothers earned the greatest fortune of their era, and, after the repeal of their exile, Filippo, the eldest, most successful, and longest lived, spent the last years of his life in Florence as one of its foremost citizens. Set in the context of other documentary evidence and of modern historical and anthropological studies, Crabb's study illuminates the role of women, kinship, solidarity, honor, and profit. These letters provide nuanced insights into values and practices that more impersonal sources cannot rival.
As well as appealing to those interested in the Renaissance, Florence, and Italy, this book will attract those wanting to read about topics in social history that cross time periods: women, family and kinship, business, and honor. It confronts issues of Renaissance Florentine historiography by presenting a more positive view of the role of women than does current orthodoxy, by providing evidence of the impact of extended kinship ties, a controversial issue, and by illuminating further the value placed on honor and profit.
Ann Crabb teaches medieval history at James Madison University.
The Study of al-Andalus is a collection of essays by students and colleagues of James T. Monroe, Professor Emeritus of Comparative Literature and Arabic at the University of California, Berkeley, and the premier scholar of Andalusi (Hispano-Arabic) literature in the United States. The introduction by the editors explains the impact Monroe’s scholarship has had on the fields of Arabic, Spanish, and comparative literatures.
The first essay in the collection explains the impact of Monroe’s watershed study Islam and Arabs in Spanish Scholarship (1971). The ten essays that follow explore the many ways in which Monroe’s scholarship has inspired further study in topics including Hispano-Arabic, Hebrew, and Romance literatures; Persian epic poetry; the impact of Andalusi literature in Egypt and the Arab East; and the lasting legacy of the expulsion of Spain’s last Muslims (the Moriscos) in the Early Modern and Modern Arab world.
"Bold, deeply learned, and important, offering a provocative thesis that is worked out through legal and archival materials and in subtle and original readings of literary texts. Absolutely new in content and significantly innovative in methodology and argument, Stumbling Blocks Before the Blind offers a cultural geography of medieval blindness that invites us to be more discriminating about how we think of geographies of disability today."
---Christopher Baswell, Columbia University
"A challenging, interesting, and timely book that is also very well written . . . Wheatley has researched and brought together a leitmotiv that I never would have guessed was so pervasive, so intriguing, so worthy of a book."
---Jody Enders, University of California, Santa Barbara
Stumbling Blocks Before the Blind presents the first comprehensive exploration of a disability in the Middle Ages, drawing on the literature, history, art history, and religious discourse of England and France. It relates current theories of disability to the cultural and institutional constructions of blindness in the eleventh through fifteenth centuries, examining the surprising differences in the treatment of blind people and the responses to blindness in these two countries. The book shows that pernicious attitudes about blindness were partially offset by innovations and ameliorations---social; literary; and, to an extent, medical---that began to foster a fuller understanding and acceptance of blindness.
A number of practices and institutions in France, both positive and negative---blinding as punishment, the foundation of hospices for the blind, and some medical treatment---resulted in not only attitudes that commodified human sight but also inhumane satire against the blind in French literature, both secular and religious. Anglo-Saxon and later medieval England differed markedly in all three of these areas, and the less prominent position of blind people in society resulted in noticeably fewer cruel representations in literature.
This book will interest students of literature, history, art history, and religion because it will provide clear contexts for considering any medieval artifact relating to blindness---a literary text, a historical document, a theological treatise, or a work of art. For some readers, the book will serve as an introduction to the field of disability studies, an area of increasing interest both within and outside of the academy.
Edward Wheatley is Surtz Professor of Medieval Literature at Loyola University, Chicago.
This volume provides a generic description, based on a formal analysis of narrative structures, of the Middle English noncyclic verse romances. As a group, these poems have long resisted generic definition and are traditionally considered to be a conglomerate of unrelated tales held together in a historical matrix of similar themes and characters. As single narratives, they are thought of as random collections of events loosely structured in chronological succession. Susan Wittig, however, offers evidence that the romances are carefully ordered (although not always consciously so) according to a series of formulaic patterns and that their structures serve as vehicles for certain essential cultural patterns and are important to the preservation of some community-held beliefs.
The analysis begins on a stylistic level, and the same theoretical principles applied to the linguistic formulas of the poems also serve as a model for the study of narrative structures. The author finds that there are laws that govern the creation, selection, and arrangement of narrative materials in the romance genre and that act to restrict innovation and control the narrative form.
The reasons for this strict control are to be found in the functional relationship of the genre to the culture that produced it. The deep structure of the romance is viewed as a problem-solving pattern that enables the community to mediate important contradictions within its social, economic, and mythic structures. Wittig speculates that these contradictions may lie in the social structures of kinship and marriage and that they have been restructured in the narratives in a “practical” myth: the concept of power gained through the marriage alliance, and the reconciliation of the contradictory notions of marriage for power’s sake and marriage for love’s sake.
This advanced, thorough, and completely original study will be valuable to medieval specialists, classicists, linguists, folklorists, and Biblical scholars working in oral-formulaic narrative structure.
In The Subject of Crusade, Marisa Galvez offers a nuanced view of holy war and crusade poetry, reading these lyric works within a wider conversation with religion and culture. Arguing for an interdisciplinary treatment of crusade lyric, she shows how such poems are crucial for understanding the crusades as a complex cultural and historical phenomenon. Placing them in conversation with chronicles, knightly handbooks, artworks, and confessional and pastoral texts, she identifies a particular “crusade idiom” that emerged out of the conflict between pious and earthly duties. Galvez fashions an expanded understanding of the creative works made by crusaders to reveal their experiences, desires, ideologies, and reasons for taking up the cross.
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