This book destabilises the customary disciplinary and epistemological oppositions
between medieval studies and modern medievalism. It argues that the twinned
concepts of “the medieval” and post-medieval “medievalism” are mutually though
unevenly constitutive, not just in the contemporary era, but from the medieval
period on. Medieval and medievalist culture share similar concerns about the
nature of temporality, and the means by which we approach or “touch” the past,
whether through textual or material culture, or the conceptual frames through
which we approach those artefacts. Those approaches are often affective ones,
often structured around love, abjection and discontent. Medieval writers offer
powerful models for the ways in which contemporary desire determines the
constitution of the past. This desire can not only connect us with the past but
can reconnect present readers with the lost history of what we call the
medievalism of the medievals. In other words, to come to terms with the history
of the medieval is to understand that it already offers us a model of how to
relate to the past. The book ranges across literary and historical texts, but is
equally attentive to material culture and its problematic witness to the reality
of the historical past.
Medieval film' forces us into a double-take on chronology. This book argues that such a playful confusion of temporalities is a fundamental characteristic not just of the term but also of medieval films themselves. Medieval films reflect on the fact that they make present a past that was never filmable and offer alternatives to chronological conceptions of time. The book examines the contrasting uses, or non-uses, of medieval art objects in two medieval films and assesses how they contribute to the films' overall authenticity-effects. It makes tentative contribution to a list of such characteristics: that the fragmented visual profile of the medieval makes medieval authenticity-effects particularly troublesome to produce. The reliance of film theory on medievalism has never been acknowledged by film scholars. The book shows the ways in which preconceived notions of the Middle Ages filtered into and were influenced by film theory throughout the twentieth century; and to what extent film theory relies on knowledge about the Middle Ages for its basic principles. It explores to what extent medieval film engages with questions of language, and to what extent these engagements may be distinctive. Cinematic medievalism participated in and drew on a wider cultural and political preoccupation with the Middle Ages. Romanticism posited the Middle Ages as an alternative, utopian realm promising creative and political possibility. The book argues that certain films with medieval themes and settings, mostly dating from the 1940s to the 1960s, demonstrate a surprising affinity with the themes and techniques associated with film noir.
Medieval – Clare Hartwell
By the early nineteenth century, Manchester had already established
itself as a prodigy of industrial and mercantile power; as an unimaginably different future took shape, it was also an age of re-evaluation
of the past. There was growing national interest in native traditions,
as romantic notions of a medieval past were developed in Walter
Scott’s novels, in Romantic poetry, and with the scholarly study
of English medieval architecture. Appreciation of a home-grown
Gothic style was popularised and validated by the decision in
This book explores, through medieval literature, modern poetry, and theologies both medieval and modern, the ways in which bodies, very much including literary bodies, may become apparent as more than they at first had seemed. Transfiguration, traditionally understood as the revelation of divinity in community, becomes for this book a figure for those splendours, mundane as much as divine, that wait within the read, lived, and loved world. The riddle of the body, which is to say the deep and superficial mystery of its pleasures and complications, invites a kind of patience, as medieval and modern languages reach toward, and break away from, something at their deepest centre and on their barest surface. By bringing together medieval sources with lyric medievalism, this book argues for the porousness of time and flesh. In this way, Augustine, Cassian, Bernard of Clairvaux, Dante, Boccaccio, and the heroes of Old French narrative, no more or less than their modern lyric counterparts, come to light in new and newly complicated ways. They become, in a word, transfigured.
The argument of this chapter is that certain films with
medieval themes and settings, mostly dating from the 1940s to the 1960s,
demonstrate a surprising affinity with the themes and techniques
associated with film noir . The apocalyptic landscapes of these
films are often bleak mirrors of the empty streets of film noir
and sometimes allude to the sense of impending doom that haunted the
, already look upon the face of God; the purged, on the other hand, look forward to that vision but, for now, are still very much, as the poem puts it, “evolving,” subject to time—or, at least, to process—and, of course, traditionally, to pain. If you said “ And here ” to a seraph, she’d probably tell you: No shit; I’m there already . If you said “ And here ” to a soul in purgatory, she’d probably say: Polish it in every corner.
The book of hours is therefore both an object in a museum—technically, a medieval object in a presumably modern museum—and a word for that
This is the first of a two-volume textbook that is aimed at first-year undergraduates as they begin their study of medieval history. It covers the period from the so-called ‘fall of Rome’ in the course of the fifth century through to the ‘Norman moment’ in the course of the eleventh. The textbook covers the broad geographical area defined by the former Western Roman Empire in an even-handed fashion, giving equal attention to Iberia and to Sicily as to England and to Francia. Each chapter deals with a given region within a defined chronological framework, but is structured thematically, and deliberately avoids a narrative presentation. The topics of governmentality, identity and religiosity serve as broad overarching categories with which to structure each chapter. The authors outline the scholarly debates within each field, explaining to a student audience what is at stake in those debates, and how different bodies of evidence and different interpretations of that evidence give rise to different perspectives upon early medieval European history. Medieval history can seem to the student as if it were an impenetrable thicket of agreed fact that just has to be learned: nothing could be further from the truth, and this textbook sets out to open the way to an engaged understanding of the period and its sources.
This book is the first collection of translated sources on towns in medieval England between 1100 and 1500. Drawing on a variety of written evidence for the significan and dynamic period, it provides an overview of English medieval urban history. Readers are invited to consider the challenges and opportunities presented by a wide range of sources. The merchant, for example, is seen from different angles - as an economic agent, as a religious patron and in Chaucer's fictional depiction. The prominence of London and the other major cities is reflected in the selection, but due attention is also given to a number of small market towns. Occasions of conflict are represented, as are examples of groups and societies which both contributed to and helped to contain the tensions within urban society. Changing indicators of wealth and poverty are considered, together with evidence for more complex questions concerning the quality of life in the medieval town. The book moves between the experience of urban life and contemporary perceptions of it - from domestic furnishings to legends of civic origins and plays in which townspeople enacted their own history.
This book is intended as both a history of judicial developments in the
thirteenth and fourteenth centuries and as a contribution to the intellectual
history of the period. The dates 1215 and 1381 mark significant turning points
in English history. The product of legal culture and experiences, 'legal
consciousness' can be seen both as an active element shaping people's
values, beliefs and aspirations and also as a passive agent providing a reserve
of knowledge, memory and reflective thought, influencing not simply the
development of the law and legal system, but also political attitudes. Focusing
on the different contexts of law and legal relations, the book aims to shift the
traditional conceptual boundaries of 'law', portraying both the
law's inherent diversity and its multi-dimensional character. By offering a
re-conceptualisation of the role of the law in medieval England, the book aims
to engage the reader in new ways of thinking about the political events
occurring during these centuries. It considers the long-term effects of civil
lawyer, Master John Appleby's encounter with forces questioning royal
government and provides a new explanation for the dangerous state of affairs
faced by the boy-king during the Peasants' Revolt over a century and a half
later. The book puts forward the view that the years subsequent to the signing
of Magna Carta yielded a new (and shifting) perspective, both in terms of
prevailing concepts of 'law' and 'justice' and with regard
to political life in general.
financial investment necessary for the stone structure implies inhabitation at least most of the time. As pastoralism increased, arable agriculture, or crop growing, has been said to have decreased, with only some regions of the Pale continuing with the farming practices developed by the Anglo-Normans in the high Middle Ages.
In contrast to these long-accepted conventions of late medieval Irish agriculture, there is strong documentary evidence for water mills located close to, and controlled from, tower houses. This demonstrates that grain was