Search results

You are looking at 1 - 10 of 36 items for :

  • "medieval architecture" x
  • Refine by access: All content x
Clear All
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.

Abstract only
Clare Hartwell

Relics 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

in Manchester
Author: Laura Varnam

The church as sacred space places the reader at the heart of medieval religious life, standing inside the church with the medieval laity in order to ask what the church meant to them and why. It examines the church as a building, idea, and community, and explores the ways in which the sanctity of the church was crucial to its place at the centre of lay devotion and parish life. At a time when the parish church was facing competition for lay attention, and dissenting movements such as Lollardy were challenging the relevance of the material church, the book examines what was at stake in discussions of sanctity and its manifestations. Exploring a range of Middle English literature alongside liturgy, architecture, and material culture, the book explores the ways in which the sanctity of the church was constructed and maintained for the edification of the laity. Drawing on a wide range of contemporary theoretical approaches, the book offers a reading of the church as continually produced and negotiated by the rituals, performances, and practices of its lay communities, who were constantly being asked to attend to its material form, visual decorations, and significance. The meaning of the church was a dominant question in late-medieval religious culture and this book provides an invaluable context for students and academics working on lay religious experience and canonical Middle English texts.

Abstract only
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.

Abstract only
David Annwn Jones

.1 ). ‘Gothic’ was subsequently a designation employed originally by Renaissance artists to refer to Medieval architecture. I begin my consideration of Gothic art and architecture starting in France in the early twelfth century and continue my discussion with the work of Carlo Crivelli and Jan Van Eyck, painters of the Late Gothic period in art. As Fred Botting writes, politicians in Britain from the mid

in Gothic effigy
Colin Breen

the houses on the site have a clear late medieval architectural provenance, a style replicated across Scotland and Ireland, no clear artefactual evidence exists that the cluster represents a Scottish settlement. Certainly its haphazard arrangement of scattered homesteads does not correlate to the structured formality of the settlements established elsewhere by Randal MacDonnell across the Antrim estates now being excavated. There is certainly evidence of both late medieval and early seventeenth-century occupation but its form and function awaits further elucidation

in The plantation of Ulster
Rowland Atkinson and Sarah Blandy

2 The myths and meanings of home security While we are not suggesting that every contemporary home is fortified in ways that recall medieval architecture, nor that every householder makes extensive use of new protective technologies, one of the aims of this book is to understand the reasons why attitudes to the home have been so significantly transformed over the past half-century or so. In this chapter, we consider the major social and economic forces that have combined to fuel the development of what can best be described as a more defensive form of home

in Domestic fortress
James Boaden

a ship for London. Broughton had an idealised vision of England that he found confirmed on arrival, staying with the illustrator and musician Gerard Hoffnung, ‘in a pseudo-Tudor cottage in Golders Green that could have been the model for the witch’s house in Hansel and Gretel’.15 Broughton writes in a postcard to Jess from Cambridge, ‘England, England. The weight of the past comes down upon one, visually […] for the eye things are conditioned by medieval architecture and neat landscapes. Quaintness and charm, of course. But no shapes for anarchy.’16 One of the

in After 1851
Abstract only
1990s style and the perennial return of Goth
Catherine Spooner

as defined today, whether as literature or subculture, has always been an implicit revival of something else, whether nineteenth-century decadence, eighteenth-century Romanticism, medieval architecture or uncivilised pagans. ‘Gothic’ as signifier is primarily a symbol of pastness, and pastness that is in the process of returning

in Fashioning Gothic bodies
Abstract only
Great white hope of the Edwardian imperial romancers
Norman Etherington

medieval architecture; accompanying him to Cobham parish church near his home, Baker was astonished at the younger man’s comprehensive knowledge of the memorial brasses set in the paving stones. 20 When completing a commission on government buildings for Nairobi, Baker took careful note of his advice that tropical sun ought to be treated as an enemy. ‘All pavements should be covered over with light

in Imperium of the soul