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Temporal origami in the Towneley Herod the Great
Daisy Black

year, which together brought distant moments into close proximity. 15 With its propensity to bring different moments together, Serres’ topology is particularly suited to the discussion of intermediary spaces, or what Kathleen Biddick calls ‘unhistorical temporalities’. 16 The Nativity plays partake of such an intermediary space because Christ has come, but has not yet died. As the following examination of the gospel shows, this is a moment which falls awkwardly between Passover and Passion, Hebrew and Christian law, Incarnation and Crucifixion, and prophecy and

in Play time
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Thomas A. Prendergast and Stephanie Trigg

medieval, love for the past became abjected with the professionalism of literary studies as an embarrassing sign of amateurism. As a result, the world of medieval studies was divided between those who valued enlightenment thinking and reason and those who relied on antiquarian models of passion. 7 This model is enormously powerful and seems to have the advantage of describing the creation of medieval

in Affective medievalism
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Susan M. Johns

way for writers to come to terms with female agency. By giving the narrative a classical allusion it legitimised events and explained them by recourse to gender roles. The incorporation of romance elements in later explanations suggests that commentators, following the sources, felt it necessary to embroider and relate a dramatic tale of resistance and passion. It characterised Owain ap Cadwgan as a youthful, adventurous lover who sought his fair, beautiful lady, in a landscape which was fraught and contested. The portrayal of the abduction

in Gender, nation and conquest in the high Middle Ages
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Irene O'Daly

through which vice can be resisted. In this respect, the intention to follow nature is as important as the act of actually following nature. The Greek Stoics recommended the pursuit of apatheia , that is, the ability to reject the significance of the passions as true goods. The desired end was to avoid being ruled by morally indifferent externals, things that did not contribute to the cultivation of virtue, among which the passions were counted – even eupatheiai , ‘good emotions’ – and to regard only true goods as worthy, notably the rational adherence to virtue

in John of Salisbury and the medieval Roman renaissance
Susan M. Johns

certain exoticism: his reference to Indian ivory suggests rarity, and purity is evoked in the references to fallen snow. Further, lilies were associated with the Virgin Mary and family lineage in contemporary aesthetics. Geoffrey’s descriptions, while drawing on the familiar literary topos of white skin as an indication of beauty, thus contain a mix of allusions to moral qualities which are linked with the literary motifs. Estrildis’s beauty caused political dispute, and Locrinus’s passion was such that he wanted to become her ‘lawful husband’ and to ‘share his bed with

in Gender, nation and conquest in the high Middle Ages
Susan M. Johns

Iestyn’s wife was a passive victim of Rhys’s duplicitous and scheming behaviour: it was his passion that was the cause of the dispute. Rhys, under the pretext of other causes, used covert talk to tell her ‘his secret suit and determinate purpose’. Iestyn’s wife then told her husband about Rhys’s plan ‘and lest violence be offered to her, which she mistrusted’ persuaded her husband to leave secretly in the night. Rhys was furious that he was ‘disappointed of his hoped prey’ and returned to Deheubarth in a rage ‘complaining of Iestyn’s discourtesy and ingratitude

in Gender, nation and conquest in the high Middle Ages
Susan M. Johns

honour of Jesus Christ. And when the feast was ended, Owain heard that Nest, daughter of the lord Rhys ap Tewdwr, wife of Gerald the officer, was in the said castle [of Cenarth Bychan]. And when he heard, he went, and with him a small force, to visit her as though she were a kinswoman – and so she was, for Cadwgan ap Bleddyn and Gwladus, daughter of Rhiwallon, who was mother to Nest, were first cousins: for Bleddyn and Rhiwallon were brothers, sons of Cynfyn by Angharad, daughter of king Maredudd. And after that, at the instigation of the Devil, he was moved by passion

in Gender, nation and conquest in the high Middle Ages
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The Scottish Legendary and narrative art
Eva von Contzen

–89; Introduction 23 Simon Lavery, ‘The Story of Mary the Egyptian in Medieval England’, in Erich Poppe and Bianca Ross (eds), The Legend of Mary of Egypt in Medieval Insular Hagiography (Blackrock:  Four Courts Press, 1996), pp. 113–48. 21 Katherine J.  Lewis, The Cult of St Katherine of Alexandria in Late Medieval England (Woodbridge:  Boydell & Brewer, 2000); Karen A.  Winstead (ed.), Chaste Passions:  Medieval English Virgin Martyr Legends (Ithaca: Cornell University Press, 2000), pp. 70–81. 22 See Brian Lacey, Colum Cille and the Columban Tradition (Dublin: Four Courts

in The Scottish Legendary
Deborah Youngs

effect of making the young man generous and hopeful, the hot, moist humours also served to destabilise him, turning him into a victim of passion who was driven to extremes. In medieval romances, ballads and madrigals, love is the natural and laudable pursuit of young heroes and heroines. Nothing is finer than youth’s pursuit of a maid’s love in the fourteenth-century Welsh poetry of Dafydd ap Gwilym, while

in The life–cycle in Western Europe, c.1300-c.1500
Mind, soul and intellectual disability
Irina Metzler

while þey slepe. Whanne þey bene iwassche of filthe and hore anon þey defoulen hemself eft. Whanne þe modir wasschiþ and kembiþ hem þey kyken [kick] and praunsen [sprawl] and putte with feet and hondis, and wiþstonde with al here my3t and strengþe. 115 The immature ‘childish’ behaviour, not knowing about consequences or ignoring them, led by their passions, no control over emotive outbursts, no forward thinking, no concept of the worth of things as defined by adults, not knowing what is good for them, driven by desire and passions, bursting

in Fools and idiots?