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Reading sacred space in late medieval England
Laura Varnam

Introduction: Reading sacred space in late medieval England In the anonymous fifteenth-century continuation of Chaucer’s Canterbury Tales known as The Canterbury Interlude and the Merchant’s Tale of Beryn, the pilgrims finally arrive at the sacred destination of their pilgrimage, Canterbury Cathedral, their terrestrial Jerusalem (Figure 1). The Knight and his companions make for the shrine of St Thomas Becket but the Pardoner, the Miller, and the Host linger in the nave and look around them in wonder at the architecture and the stained glass: The Pardoner and

in The church as sacred space in Middle English literature and culture
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Reappraising nineteenth-century stained glass
Jasmine Allen

184 Conclusion: reappraising nineteenth-​century stained glass [I]‌t is no sin in modern work that it belongs to its day –​it is its virtue. – Lewis Foreman. Day, 19091 As the first study to consider the importance of stained glass in a global, not just European, context, this book has highlighted and re-​evaluated the importance of decorative arts (such as stained glass) in the formulation and visualisation of nineteenth-​century culture on both a national and international scale. Globalisation, imperialism, and industrialism –​themes that permeated the

in Windows for the world
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Jasmine Allen

1 Introduction The term ‘revival’ has become synonymous with nineteenth-​ century stained glass. A combination of the social, religious, technological, artistic, and industrial conditions of this era created an environment in which the art of stained glass flourished, in Britain and beyond. At the beginning of the century there was little demand for stained glass windows and few trained artists working in the medium, but by 1851, the year of the Great Exhibition, the industry was reinvigorated, and fast expanding beyond Europe to countries without a medieval

in Windows for the world
Author: Helen Barr

What happens when Chaucer turns up where we don’t expect him to be? Transporting Chaucer draws on the work of the British sculptor Antony Gormley alongside more traditional literary scholarship to show that Chaucer’s play with textual history and chronological time prefigures how his poetry becomes incorporate with later (and earlier) texts. The shuttling of bodies, names, and sounds in and amongst works that Chaucer did write anticipates Chaucerian presences in later (and earlier) works that he did not. Chaucer’s characters, including ‘himself’ refuse to stay put in one place and time. This book bypasses the chronological borders of literary succession to read The Canterbury Tales and Chaucer’s Dream Vision poetry in present company with Chaucerian ‘apocrypha’, and works by Shakespeare, Davenant and Dryden. Conventional models of source and analogue study are re-energised to reveal unexpected (and sometimes unsettling) literary cohabitations and re-placements. Transporting Chaucer presents innovative readings of relationships between medieval texts and early modern drama, and between literary texts and material culture. Associations between medieval architecture, pilgrim practice, manuscript illustration, and the soundscapes of dramatic performance reposition how we read Chaucer’s oeuvre and what gets made of it. Written for scholars and students (undergraduate and graduate) who work in medieval English literary studies and early modern drama, Transporting Chaucer offers a new approach to how we encounter texts through time.

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Sonja Tiernan

Constance had died on 15 July 1927; she instantly returned to Dublin for the funeral. Constance had outlived her sister by only one year. A Catholic bible was found by her bedside, it was inscribed in her own hand ‘to Mother and Eva 1927 – They are not dead, they do not sleep. They have awakened from the dream of life.’19 After Markievicz’s funeral, Esther returned to London and began arranging a memorial in honour of Eva. She commissioned a stained glass window from Sarah Purser’s workshop in Dublin, An Túr Gloine (the tower of glass). This seemed most appropriate as

in Eva Gore-Booth
Author: Zoë Thomas

Women Art Workers constitutes the first comprehensive history of the network of women who worked at the heart of the English Arts and Crafts movement from the 1870s to the 1930s. Challenging the long-standing assumption that the Arts and Crafts simply revolved around celebrated male designers like William Morris, this book instead offers a new social and cultural account of the movement, which simultaneously reveals the breadth of the imprint of women art workers upon the making of modern society. Thomas provides unprecedented insight into how women – working in fields such as woodwork, textiles, sculpture, painting, and metalwork – navigated new authoritative roles as ‘art workers’ by asserting expertise across a range of interconnected cultures so often considered in isolation: from the artistic to the professional, intellectual, entrepreneurial, and domestic. Through examination of newly discovered institutional archives and private papers, and a wide range of unstudied advertisements, letters, manuals, photographs, and calling cards, Women Art Workers elucidates the critical importance of the spaces around which women conceptualised alternative creative and professional lifestyles: guild halls, exhibitions, homes, studios, workshops, and the cityscape. Shattering the traditional periodisation of the movement as ‘Victorian’, this research reveals that the early twentieth century was a critical juncture at which women art workers became ever more confident in promoting their own vision of the Arts and Crafts. Shaped by their precarious gendered positions, they opened up the movement to a wider range of social backgrounds and interests, and redirected the movement’s radical potential into contemporary women-centred causes.

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Steve Hanson

mechanism, swept such ancient belief away. When you strip everything except the aesthetic frontage away, the history can be conveniently reconstructed too. The facades mean that a mythical version of the city can be created, and we can all conveniently sidestep living in the reality of Manchester. 228 60  Stained-glass windows of the Presentation Sisters convent in Collyhurst

in Manchester
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Something rich and strange

Manchester: Something rich and strange challenges us to see the quintessential post-industrial city in new ways. Bringing together twenty-three diverse writers and a wide range of photographs of Greater Manchester, it argues that how we see the city can have a powerful effect on its future – an urgent question given how quickly the urban core is being transformed. The book uses sixty different words to speak about the diversity of what we think of as Manchester – whether the chimneys of its old mills, the cobbles mostly hidden under the tarmac, the passages between terraces, or the everyday act of washing clothes in a laundrette. Unashamedly down to earth in its focus, this book makes the case for a renewed imaginative relationship that recognises and champions the fact that we’re all active in the making and unmaking of urban spaces.

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Thomas Tolley

upper nobility. Spectacular complexes involving a fusion of the arts (architecture, sculpture, painting and stained glass) – such as Edward III’s completion of St Stephen’s Chapel at Westminster (1350–63) or the Beauchamp tomb and chapel at St Mary’s, Warwick (1441–52) – evidently required resources far beyond the means of most landed families. The gentry, however, certainly

in Gentry culture in late-medieval England
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Transporting Chaucer
Helen Barr

Introduction: Transporting Chaucer At the gate of Canterbury Cathedral in February 2011, a porter informed me that access to the Becket stained glass in Trinity Chapel I had come to research was off limits. There was a service happening. There was, however, a new statue of Becket in the crypt that might interest me. The statue seemed some compensation for having to wait for the glass so I dutifully trotted off to the crypt and searched with increasing puzzlement for the new artwork. Only, there was no statue. Nor, seemingly, Thomas Becket. At first. The

in Transporting Chaucer