Search results for ""medieval institute publications""

It is fast becoming dogma that French prose emerged out of poetry by a process of deversification in the thirteenth century. Since the earliest extant example of written French prose dates back to the eighth century, this premise cannot be taken at face value. Prose had been the medium of the clercs for many centuries before the thirteenth. It had been honed by constant use to all manner of functions whether legal, diplomatic, epistolary, or edificatory (to name only those exemplified in this study). Early Prose in France is above all a reevaluation, an attempt to call into question the assumption that deversification could have been responsible for the emergence of such lengthy prose works as the crusading chronicles and the encyclopedic translations of the early thirteenth century. In this volume Beer demonstrates the sophisticated stylistic propensities of Early French prose, an effort long needed that does a great service to all French literary scholars.

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This volume explores the will-making process in late medieval England for all levels of society. Wills are some of the most studied records of the late Middle Ages and capture the evidence of what people owned and the patterns of family relationships. These documents, compiled from several archives and city records, cast a light on many aspects of medieval life, including gender distinctions and the heavy influence of the church. Included are wills from widows, tradespeople and artisans, clergy, and high-ranking wealthy people, and through these sources he shows how wills, inventories, and testaments prepared people and their souls for the afterlife.

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The Destruction of Jerusalem, also called Titus and Vespasian, is a fifteenth-century fictionalised version of the historical Roman siege of Jerusalem. Marked by antisemitism, Christian nationalism and violence, this Middle English poem weaves together sources both medieval and classical, transforming first-century Romans into Christian agents of divine vengeance. This new edition expands our understanding of fall of Jerusalem narratives in later medieval England, bringing attention to a long-ignored English retelling of these first-century events that captivated Christian audiences. Here presented in the most comprehensive edition to date, the poem will be of particular interest to scholars and students of Middle English romance, the Crusades, medieval antisemitism and literary reimaginings of historical events. The edition will be of value particularly in courses focused on Crusades traditions, traditions of medieval anti-Semitism, vernacular theology, or late medieval depictions of difference more broadly. The work complements other volumes in the METS series such as The King of Tars, Richard Coer de Lion and Crusades romances such as Three Middle English Charlemagne Romances.

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This volume contains the first critical edition of The Honourable, Pleasant and Rare Conceited Historie of Palmendos (London, 1589), a chivalric romance translated into English by Anthony Munday. The original text, Primaleón de Grecia I (Salamanca, 1512), soon became a best-seller on the Spanish market and was translated into many continental languages. Munday’s translation derives from the French version by François de Vernassal (1550). It comprises the first thirty-two chapters of the French text and focuses on the adventures of Palmendos on his journey to Constantinople. This is an original-spelling edition that produces a text as close as possible to Munday’s original manuscript.

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This edition contains four Middle English Charlemagne romances from the Otuel cycle: Roland and Vernagu, Otuel a Knight, Otuel and Roland, and Duke Roland and Sir Otuel of Spain. A translation of the romances' source, the Anglo-French Otinel, is also included. The romances centre on conflicts between Frankish Christians and various Saracen groups, and deal with issues of racial and religious difference, conversion, and faith-based violence.

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In the early ninth century Theodulf of Orleans and Smaragdus of Saint Mihiel served as advisers to Charlemagne. This book provides English translations of a Latin commentary on the Apocalypse written by Theodulf and three homilies on the Apocalypse by Smaragdus. A comprehensive essay introduces these texts, their authors, sources and place in ninth-century biblical exegesis.

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Guillaume de Machaut, a pioneer of a new school of lyric compositions, is the most important poet and composer of late medieval France. This long overdue new edition of Machaut's twenty-three motets, the largest surviving collection of such works by a single composer in this period, is based on the most authoritative of the surviving manuscripts and is designed to meet the needs both of advanced scholars and musicians as well as students and performers. This user-friendly format indicates variants on the scores and has a layout that makes each work's structure clearly visible; the lyrics, with full English translation, are presented at the end of each work. The supporting materials include: an introduction that discusses the life of the author and his artistic achievement and provides fresh insights into the poetry and music of the motets; notes for their performance and pronunciation; an art-historical commentary on the accompanying manuscript illuminations; and detailed commentaries, including collation of manuscript variants, for each motet.

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Ethan Campbell argues that a central feature of the Gawain-poet's Middle English works' moral rhetoric is anticlerical critique. Written in an era when clerical corruption was a key concern for polemicists such as Richard FitzRalph and John Wyclif, as well as satirical poets such as John Gower, William Langland, and Geoffrey Chaucer, the Gawain poems feature an explicit attack on hypocritical priests in the opening lines of Cleanness as well as more subtle critiques embedded within depictions of flawed priest-like characters.

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Rabbi Eliezer of Beaugency represents the pinnacle of twelfth-century rabbinic exegesis of the Bible. A proponent of the literal school, Eliezer completely abandoned traditional rabbinic midrash in his explication of biblical texts, and innovated a literary approach that anticipated the fruits of modern scholarship in virtually every paragraph. This volume presents, for the first time in English translation, an extended window into the oeuvre of this master interpreter.

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In the late medieval and early modern periods, Scottish latinity had its distinctive stamp, most intriguingly so in its effects upon the literary vernacular and on themes of national identity. This volume shows how, when viewed through the prism of latinity, Scottish textuality was distinctive and fecund. The flowering of Scottish writing owed itself to a subtle combination of literary praxis, the ideal of eloquentia, and ideological deftness, which enabled writers to service a burgeoning national literary tradition.

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This book examines the late sixteenth- and early seventeenth-century engagement with a crucial part of Britain's past, the period between the withdrawal of the Roman legions and the Norman Conquest. A number of early modern plays suggest an underlying continuity, an essential English identity linked to the land and impervious to change. This book considers the extent to which ideas about early modern English and British national, religious, and political identities were rooted in cultural constructions of the pre-Conquest past.

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The Jeu d'Adam is an Anglo-Norman mid-twelfth-century representation of several biblical stories, including the temptation of Adam and Eve and the subsequent fall, Cain and Abel, and the prophets Isaiah and Daniel. Its framework builds on the Latin responses of the mass during the liturgical season of Septuagesima, from before Lent to Easter. This collection of essays explores whether this early play was monastic or secular, its Anglo-Norman character, and the text's musical provenance.

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The expression "liturgical drama" was formulated in 1834 as a metaphor and hardened into formal category only later in the nineteenth century. Prior to this invention, the medieval rites and representations that would forge the category were understood as distinct and unrelated classes: as liturgical rites no longer celebrated or as theatrical works of dubious quality. This ground-breaking work examines "liturgical drama" according to the contexts of their presentations within the manuscripts and books that preserve them.

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This study explores how the themes of the disperata genre - including hopelessness, death, suicide, doomed love, collective trauma, and damnations - are creatively adopted by several generations of poets in Italy and France, to establish a tradition that at times merges with, and at times subverts, Petrarchism.

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Guillaume de Machaut is the most important poet and composer of late medieval France. His unique and inventive output is the subject of this new, integrated edition of Machaut's complete poetry and music. Volume 1, The Debate Series, presents the two "judgment" poems, which are among his most important artistically in terms of their formal innovations and their influence on contemporaries, notably Geoffrey Chaucer, and the associated Lay de plour, presented here with its music. This volume includes the French originals and facing English translations.

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The Trappist abbey of Our Lady of Gethsemani in Kentucky (the house of Thomas Merton) owns the eclectic Dom Edmond Obrecht Collection of manuscripts, which contains not only medieval manuscripts but materials of interest for the study of the French Revolution. Most items are of Cistercian origin, but other monastic traditions are represented as well. Produced between 1140-1960, the collection was brought to the USA during the first part of the twentieth century. This catalogue is the first and only full codicological description of these manuscripts.

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The medieval German poet called Neidhart is one of the most important poets of his time. Set in the village among peasant maidens and their boorish male counterparts, Neidhart's satirical songs stand in marked contrast to courtly love song and enrich our understanding of medieval literary culture. This book presents for the first time annotated English translations of a substantial collection of songs attributed to this prolific poet. Its source is the thirteenth-century Riedegg manuscript, the oldest extensive collection of songs attributed to Neidhart. This book presents a representative survey of the songs in order to make this material accessible to a broad audience of students and scholars of medieval studies.

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In this extensively illustrated book, Rose Walker reconsiders Spanish and Portuguese art and architecture from the time of the Romans to the turn of the eleventh century. Challenging earlier overviews, Walker highlights the artistic unities shared by Christians and Muslims that culminated in the later tenth century and went on to inform aspects of Romanesque art. The book draws together an exceptionally diverse range of academic studies, including work previously familiar only to Hispanophone audiences.

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Brunetto Latini's La rettorica is the first Italian translation of Cicero's early and widely influential De inventione, and this volume is a translation of Latini's translation, including both Cicero's work and Brunetto's commentary.

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The King of Tars, an early Middle English romance (ca. 1330 or earlier), emphasizes ideas about race, gender, and religion. A short poem, its purpose is to celebrate the power of Christianity, and yet it defies classification.

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British Library MS Harley 2253 is one of the most important literary works to survive from the English medieval era. In rarity, quality, and abundance, its secular love lyrics comprise an unrivaled collection. Intermingled with them are contemporary political songs as well as delicate lyrics designed to inspire religious devotion.

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Lybeaus Desconus (the Fair Unknown) is the mid-fourteenth-century Middle English version of the classic narrative of the handsome and mysterious young outsider who comes to the court of King Arthur to prove himself worthy of joining Arthur's knights. The young knight is tested in a variety of ways, and in the course of this testing he learns both chivalric codes of conduct and the truth of his parentage. Six extant manuscripts of the poem attest to its popularity, placing it in company with Guy of Warwick, Bevis of Hampton, and Sir Isumbras among the most popular of Middle English Romances. The current edition offers readers a chance to compare two manuscript versions of the poem, one preserved in Lambeth MS 306 and the other in the Biblioteca Nazionale in Naples.

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"Books Most Needful to Know" is the newest edition in the Richard Rawlinson Center's OEN Subsidia series. It includes essays covering topics such as Old English, Old Norse, Anglo-Latin literature, and Early Medieval Ireland.

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Ars musice, composed in Paris during the late thirteenth century, reflects Johannes de Grocheio's awareness of the complexity of the task of describing music. As the editors note in their introduction, "Grocheio is aware of the enormous range of types of music performed in different ways in different places. How can he impose order on this enormous subject matter? He decided to resolve this question by structuring his discussion around the practice of music that he observed in the city of Paris, organized into three main 'branches': music of the people (musica vulgalis), composite or regular, 'which they call measured music' (musica mensurata), and ecclesiastical music (musica ecclesiastica), which he claims derives from the other two (AM 6.2). The originality of Grocheio's treatise has attracted considerable scholarly interest. It has long been recognized as a unique source of information about musical life in medieval Paris. Through his treatise, Grocheio enables a modern reader to become aware of the complex auditory environment of that city in the late thirteenth century as well as of its intellectual vitality at a particularly vibrant moment in its history."

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As Hanks and Jesmok note in their introduction, "pursuing opponents and pursuing love move the Morte's narrative, but the work's richness comes from its romance and tragic elements: the human quest for maturity and fulfillment and those uncontrollable forces that undermine the quest and destroy the dream. Malory's use of myth and magic to explore these themes has received extensive scholarly attention, but his views on and thematic use of Christianity have long needed a closer look."

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Just as Brainard's interests and scholarship crossed several disciplines, the essays collected here acknowledge her range of influence and her inclusive spirit. Performative dance and dance history, social history, and musicological issues are all explored, touching on topics from the later Renaissance back through the Carolingian Empire. The interconnected themes are presented in three sections: first creating the repertory, by looking at the contexts of musical creation; then interpreting it, through the performance, meaning, and social identity of dances; and finally discussing potential reevaluations, based on the location of musical performances, aspects of transcription difficulties and compositional techniques, dance-historical scrutiny, and a comparison of a shared genre in music and dance.

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Gower's imaginative French poetry is now available in a new edition with facing page translation, annotations, and introduction. Gower's Traitié employs the French poetic form of balade, typically used for courtly verses, to avow instead the virtues of loving marriage, characteristic of Gower's signature moralizing. His Cinkante balades confront the tradition of the French Livre de cent balades, by describing the feelings of a young man towards his lady, but eventually offering a praise of love insofar as it is subject to reason and morality. Together the two works offer an excellent introduction to the Anglo-Norman works of Gower and are perfect for classroom use.

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Like the Bible upon which it is based, the metrical paraphrase is unlikely to be a text read cover-to-cover by the faint-hearted. The Paraphrase is, in several ways, a remarkable artifact of the Chaucerian period, one that can reveal a great deal about vernacular biblical literature in Middle English, about readership and lay understandings of the Bible, about the relationship between Christians and Jews in late medieval England, about the environment in which the Lollards and other reformers worked, about perceived roles of women in history and in society, and even about the composition of medieval drama. The Paraphrase-poet's proclamation that he intends to write stories "for sympyll men" (line 19) to understand the Scriptures and be engaged by them—"That men may lyghtly leyre / to tell and undertake yt" (lines 23–24)—thus combines the profit of sacred literature with the pleasure of the secular. This is Horace's utile et dulce ("both useful and pleasing") principle at its clearest, a singular example of the didacticism that characterizes so much of medieval literature, an aesthetic of pedagogic efficacy that is inseparably linked to the essential component of true pleasure in the text.

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This edition is based upon a new transcription of The Castle of Perseverance, now published with a gloss, notes, glossary, and an introduction, to enable classroom study of this classic morality play. The Castle of Perseverance, like the other surviving morality plays, deals allegorically with the life of man, his struggle against temptation and sin, and his hope of final redemption. The play begins before Mankind's birth and concludes with his salvation after death, presented as a close call, and features both the traditional enemies of Mankind, the World, the Flesh and the Devil, as well as his two advisors, the Good Angel and the Bad Angel. Students of Middle English at all levels will find this edition useful in their studies of medieval morality plays.

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Whereas some literary motifs such as the tyrant, the beggar, and the crone have equivalents in the real world, the Loathly Lady is a creature of the imagination. Yet she is not merely a whimsical fantasy. This volume concentrates on the medieval English Loathly Lady tales, which develop the motif as a vehicle for social ideology. One of the primary agendas of this collection is to promote the non-canonical Loathly Ladies as worthwhile subjects for scholarly consideration. The examinations here of the medieval English Loathly Lady tales engage with a myriad of concerns, including anxieties about virginity and sex, power and assimilation, beauty and beastliness. These broad examinations of this enigmatic literary motif are an excellent contribution to the field and will be of great interest to scholars.

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The twelve essays in this volume proceed from a modern fantasy-epic back in time to oral epics that have been transmitted through the technology of manuscripts, and central in the collection are two articles that address Chaucer's Middle English courtly epic, Troilus and Criseyde. Each, in its own way, presents a global perspective on its subject, whether by comparing texts, by considering textual transmission through translation, or by contrasting medieval issues with developing global movements. . . . These articles are presented as evidence of the international cooperation that has been fostered by the work of Paul Szarmach in the international community of medievalists and of the success of his vision in opening up the borders of a discipline that too long has been Eurocentric and not global in its perspective. - from the Introduction

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What destructive powers did the tongue and its speech have for medievals? It could damn humans through blasphemy. It could occlude penitential knowledge of the self, especially of the misdirected will, by generating excuses for what the medieval clergy regarded as sin. It could disrupt monastic disciplines of meditation or distract parishioners during sermons. It could turn good repute to ill, destroying a woman's chances for marriage, a man's masculine self, a merchant's credit, or a defendant's status in a court of law. However, speech could maintain or restore credit, status, and masculinity, and it could also preserve honor in knights or women, in their particular roles as faithful feudal wives. Many of the essays in The Hands of the Tongue: Essays on Deviant Speech bridge disciplines, with social historians adducing evidence from lyrics, narrative poetry, and plays, or literary historians working from moral theology and biblical exegesis. Certainly the whole set of essays works to remind medievalists that any aspects of medieval culture worth studying must be explored collectively. Together the contributors present a clear picture of what we know about deviant speech in medieval culture, offering a critical perspective on the state of the scholarship.

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In the late 1400s in eastern England, a scribe was in the process of compiling a large dramatic manuscript of over two hundred vellum folios. The manuscript contains components of an independent Mary Play, parts one and two of an independent Passion Play and an independent Assumption of Mary Play, as well as ten play subjects that appear in no other English cycles - the killing of Lamech in the Noah Play, the Root of Jesse, the story of Joachim and Anne, the Presentation of Mary in the Temple, the Parliament of Heaven, the Trial of Mary and Joseph, the scene of Mary and the cherry tree in the Nativity Play, the Death of Herod, the scene of Veronica's handkerchief in the Procession to Calvary, and the appearance of the risen Christ to the Virgin Mary in her Assumption Play. This edition acknowledges the N-Town compiler who took plays from various contexts and integrated them into an existing cycle of plays, thus treating the manuscript as if it were a superstructure whose parts could be replaced, renovated, and supplemented without altering the fundamental coherence of the overarching design.

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It would not be an exaggeration to observe that in the last two decades Gower studies have developed in response to a widening appreciation of his poetry. On John Gower: Essays at the Millennium represents the third volume of essays originating from sessions of the John Gower Society at the International Congress on Medieval Studies at Kalamazoo, Michigan. The contributions here and in the previous volumes provide insight into the shifts and trends in Gower studies over time. This collection offers a vibrant and fresh view of the field of Gower studies today, making it and its companion volumes an essential set for Gower scholars.

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Gower's achievement in writing substantially in all three primary languages of his time-Anglo-French, English, and Latin-was a source of pride to others and, undoubtedly, to him too: into the final years of his life he continued to produce poetry in all three languages. Certainly there is reason to know these poems for the light they shed on the intense partisanship and events of great moment surrounding the usurpation 1399-1400. It was during these parlous times that Gower composed most of the poems included here. All are important documents historically; but they are also poems admirable equally for their skill and craft. In Praise of Peace is in the same position as the shorter Latin works edited and translated in this volume: ignored, neglected, reduced, or relegated to the dusty realm of footnotes. But there is far more at work in this complex poem, as Gower's verse deftly weaves in and out of the historical, political, social, and religious contexts and controversies of its day. In tone, In Praise of Peace is, if not triumphant, determinedly optimistic. In this light, we might view the poem as a coda to Gower's long career, restating and reinvigorating his famously moral principles about just rule of self and society.

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This volume is conceived as a complement to another Middle English Texts series text, Sherry Reames' Middle English Legends of Women Saints. This selection is intended to be broadly representative of saints' lives in Middle English and of the classic types of hagiographic legend as these were presented to the lay public and less-literate clergy of late medieval England.

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In this translation of glosses on the Song of Songs, Mary Dove offers a readily accessible and inexpensive resource for students and scholars. Anselm of Laon, possibly assisted by his brother Ralph, is credited with compiling the Glossa Ordinaria on the Song of Songs, drawing from earlier commentaries by Origen, Gregory the Great, Bede, Alcuin, Hrabanus Maurus, Haimo of Auxerre, and Robert of Tombelaine as well as contributing his own readings of the text. As Dove notes in her introduction, the text is quite complicated, with each manuscript page divided into three columns - the biblical text in large letters in the center column, with space left for interlinear glosses, and glosses in smaller letters in both the right- and left-hand columns. (This format is not reproduced in this translation.) The number of surviving manuscripts (over seventy) shows that plenty of readers enjoyed the challenges the text offered, and for modern readers, the Glossa Ordinaria is the first place to go to find medieval interpretation of biblical texts.

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The poem, which survives only in the Auchinleck Manuscript, deals with the later years of Guy's life, beginning with his return to Warwick after having established himself on the Continent as a pre-eminent model of knighthood. After his marriage, however, he is stricken by remorse for the very actions that have brought him fame, and he sets out anonymously on a series of pilgrimages of atonement.

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Although nearly everyone has heard the name of Robin Hood, few have actually read any medieval tales about the legendary outlaw. Stephen Knight and Thomas Ohlgren set out to correct this discrepancy in their comprehensive collection of all pre-seventeenth-century Robin Hood tales. The editors include such other "outlaw" figures as Hereward the Wake, Eustache the Monk, and Fouke le Fitz Waryn to further contextualize the tradition of English outlaw tales. In this text the figure of Robin Hood can be viewed in historical perspective, from the early accounts in the chronicles through the ballads, plays, and romances that grew around his fame and impressed him on our fictional and historical imaginations. This edition is particularly useful for classrooms, with its extensive introductions, notes, and glosses, enabling students of any level to approach the texts in their original Middle English.

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Studies in the Harley Manuscript is the first comprehensive examination of a manuscript that is of supreme value to literary scholars of medieval English literature. In an Introduction and fifteen essays a team of scholars considers many aspects of the 140 folios of this trilingual miscellany that preserves 121 items (or 122 depending on how one counts) from which we get a strange and privileged glimpse into the rich literary heritage that existed in England prior to the flourishing of vernacular poetry in the Richardian era. As the Contents indicates, the history and composition of the manuscript are considered, as are the Anglo-Norman, English, and Latin compositions that it preserves. This is a companion volume to the three volume complete edition of Harley 2253.

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The Worlde and the Chylde, issued by the press of Wynkyn de Worde in 1521, is one of the very earliest plays published in England. It also has very considerable interest for its adaptation of the Ages of Man iconography, which is extensively treated in the introduction, notes, and illustrations.

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One impression that stands out from this collection is the extent to which improvisation was an important factor in all of the arts. As each of the authors assembles a case by ferreting out bits and pieces of information having to do with a single art, the weight of the assembled material lends additional strength to each case. By considering the overall picture that results, as well as that made by each of the individual studies, the reader is able to see much more clearly the role played by improvisation from the late Middle Ages through to the time of Shakespeare and beyond. A careful reading of the essays brings with it the awareness that to ignore improvisation is to distort the art in a major way. In light of the present volume, the very concept of faithful historical re-creation takes on a much broader and more complex character.

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Pearl resists identification by author, date, occasion, or place of composition; still it is almost unanimously hailed as one of the masterpieces of our literature, so skilled is its author, so eloquent its language. It is a story, according to Sarah Stanbury, "of crossing-over, the stepping out from the ordinary life into a parallel universe where things operate by different natural laws: down the rabbit hole, through the wardrobe or looking glass, across the ocean to be shipwrecked on Prospero's island, or more recently, across a bridge to the island of Willow Springs in Gloria Naylor's haunting novel, Mama Day, where the crossing-over moves into a place of memory and hope, the nostalgic space of home as well as Beulah or Eden, the earthly paradise."

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Fifteen years in the making, Ann Eljenholm Nichols's The Early Art of Norfolk: A Subject List of Extant and Lost Art Including Items Relevant to Early Drama is the most comprehensive listing of early art from Norfolk ever compiled. It is based on careful examination of the painted glass, wall paintings, woodcarvings, and other art in the 600 or so churches of this county and also on thorough searching of archival records and antiquarian accounts. The book (double columns, 357 pages, plus plates) will serve as a standard reference source for students of the ecclesiastical arts and also will provide an essential dimension for drama scholars. Appendices treating angels, Norwich Cathedral bosses, apostles and prophets, liturgical estates, painted panels, christocentric sequences, and Te Deum as well, and there are glossaries (including terms used in describing costume) and a contribution by Barbara Green on the antiquaries whose notes provided essential information about lost examples of Norfolk art.

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Gesture and movement on stage in early drama have previously received very little attention in scholarship. The present collection of essays is the first book to present sensible, penetrating, and wide-ranging discussions of the gestural effects that were integral to the early stage. In addition to consideration of the influence of classical rhetoric and reference to medieval texts and documents, the essays carefully bring to bear evidence from the art of the period and hence will be of great importance for those interested in the visual arts as well as the theater; eschewing both the naive methodologies promoted in past criticism and ephemeral theoretical concerns, the book is truly ground-breaking. These essays will need to be perused by every serious theater historian or student of art concerned with the late Middle Ages.

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This volume contains collected papers on medieval England's "names and naming patterns - mostly forenames or Christian names, but with some attention to family names." According to Rosenthal, there are "three lines of assault upon the culture and practice by way of analysis of names and naming" - "micro-social or family dynamic, village life, and limited name stock that confronts us when we tally the range of names that served the bulk of the population."—from the Introduction

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The Assembly of Gods, which was published near the end of the fifteenth century, is an allegorical dream vision poem. It is notable for its strange mixture of both classical and Christian sources, in which the classical pantheon debates over the moral state of an individual, in an attempt to bring Reson and Sensualyte into balance in the individual. This text is suitable for all levels of students with its introduction explaining the cultural and linguistic context of the text, as well as a gloss and notes. This volume is invaluable to those teaching courses on late medieval allegory and dream poems.

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Apocalyptic speculation, in one form or another, is as persistent at the turn of this millennium as it was at the last. The commentaries of Haimo of Auxerre and Thietland of Einsiedeln offer glimpses of two links in [the] unbroken chain of the apocalyptic tradition.

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