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Gender, anti-Semitism and temporality in medieval biblical drama
Author: Daisy Black

This book produces an important re-theorisation of the ways gender, time and Judaism have been considered in late medieval biblical drama. It employs theories of gender, performance, antisemitism, queer theory and periodisation to complicate readings of early theatre’s biblical matriarchs and patriarchs. It argues that the conflicts staged by these plays provide crucial evidence of the ways late medieval lay producers, performers and audiences were themselves encouraged to question, experience, manipulate and understand time. Interrogating medieval models of supersession and typology alongside more contemporary models of ‘queer’ and topological time, this book charts the conflicts staged between dramatic personae in plays that represent theological transitions or ruptures, such as the Incarnation, Flood, Nativity and Bethlehem slaughter. While these plays reflect a Christian preoccupation with what it asserted was a ‘superseded’ Jewish past, this book asks how these models are subverted when placed in dialogue with characters who experience alternative readings of time.

Emily and Arcite in A Midsummer Night’s Dream
Helen Barr

4 ‘Wrinkled deep in time’: Emily and Arcite in A Midsummer Night’s Dream When Theseus is offered the show of a drunken mob of women tearing the poet Orpheus limb from limb for his nuptial celebrations he dismisses it thus: That is an old device, and it was played When I from Thebes came last a conqueror. (A Midsummer Night’s Dream 5.1.50–1)1 How old and when? Theseus’s allusion to his own backstory presents a temporal puzzle. In Chaucer’s The Knight’s Tale, Theseus returns in triumph from his conquest of Thebes, after he has married his Amazonian bride

in Transporting Chaucer
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Queering the Nativity in the Towneley Second Shepherds’ Play
Daisy Black

This voice, wanting and unfulfilled in the now as it is conventionally construed, this voice whose desire requires, even demands, another kind of time beyond such linearity, empty and homogenous, is a queer voice. 1 MAK:   And ilke yere that commys to man She bryngys furth a lakan, And some yeres two. 2 Carolyn Dinshaw’s ground-breaking work How Soon is Now? provides an insight into how it might feel to be an anachronism in the Middle Ages. Identifying ‘forms of desirous, embodied being that are out of sync with the ordinary linear

in Play time
Thomas A. Prendergast and Stephanie Trigg

Did it start with Bergson, or before? Space was treated as the dead, the fixed, the undialectical, the immobile. Time, on the contrary, was richness, fecundity, life, dialectic. Michel Foucault 1 The traditional ontology of the

in Affective medievalism
Linguistic difference and cinematic medievalism
Carol O’Sullivan

the co-existence of languages, particularly Latin and the vernaculars, in medieval society; and, above all, in relation to the widespread cinematic depiction of the Middle Ages as a time of high mobility and intercultural contact. The present chapter will explore to what extent medieval film engages with questions of language, and to what extent these engagements may be distinctive. 2 Three principal

in Medieval film
James Paz

59 2 The ‘thingness’ of time in the Old English riddles of the Exeter Book and Aldhelm’s Latin enigmata What do we make of the transformation of things over time? Maybe one also ought to ask what things make of us over time: how are human beings transformed by the things that carry the traces of our voices and our bodies when we are gone? The Old English and Anglo-​Latin riddling traditions give voice to things, as if they could answer such a question. Yet, for the most part, criticism has focused on the rhetorical device of prosopopoeia, whereby the human

in Nonhuman voices in Anglo-Saxon literature and material culture
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.

Open Access (free)
Susan M. Johns

sources at a time when the historical discourse was evolving, owing to broader societal cultural shifts.8 Likewise the complex portrayals of noblewomen and the way that such images present particular views of noblewomen are set into an appreciation of the broader issues of authorial bias and political, social and cultural contexts. This analysis is above all concerned with the difficulty of measuring the power of noblewomen, given the complexities of the sources.9 Noblewomen appear in twelfth-century texts as both active subjects and passive objects, in complex ways

in Noblewomen, aristocracy and power in the twelfth-century Anglo-Norman realm
Open Access (free)
Susan M. Johns

. What they have in common is that the women who were married to the earls were of high aristocratic status, Constance of Brittany’s marriage marking the twelfth-century apogee in the Chester marriage strategy. More interestingly, and reflective of the disparity of age between men and women at the time of their marriage in the twelfth century, most of the women who married the earls then managed to survive their husbands – and it is during these periods of relative independence that they are most visible. 54 Matilda, d. of Stephen of Blois and Adelaide, d. of

in Noblewomen, aristocracy and power in the twelfth-century Anglo-Norman realm
Open Access (free)
Susan M. Johns

Century; F. Pollock and F. W. Maitland, A History of English Law before the Time of Edward I (Cambridge, 1985; 2nd edn, 1898, repr. London: Cambridge University Press, 1968); F. M. Stenton, The First Century of English Feudalism, 1066–1166 (Oxford: Clarendon Press, 1932; 2nd edn, Oxford: Clarendon Press, 1961). 5 Bloch, Etymologies and Genealogies, pp. 13–15. 6 As cited in G. B. Ladner, Images and Ideas in the Middle Ages: Selected Studies in History and Art (2 vols, Rome: Edizioni di Storia e Letteratura, 1983), 1. 241. 7 Hugonis Abbatis Flaviancensis Chronicon, ed. J

in Noblewomen, aristocracy and power in the twelfth-century Anglo-Norman realm