Bücher der Reihe Conway Lectures in Medieval Studies

In this unprecedented introduction to Byzantine monasticism, based on the Conway Lectures she delivered at the University of Notre Dame in 2014, Alice-Mary Talbot surveys the various forms of monastic life in the Byzantine Empire between the ninth and fifteenth centuries.

Based on the 2003 Conway Lectures Strohm delivered at the University of Notre Dame, this book states that England experienced its own ""pre-Machiavellian"" moment between 1450 and 1485. In support of this thesis, he analyzes a range of fifteenth-century English political texts along with several contemporary writings from Burgundy, France, and Italy.

In Medieval Crossover: Reading the Secular against the Sacred, Barbara Newman offers a new approach to the many ways that sacred and secular interact in medieval literature, arguing that the sacred was the normative, unmarked default category against which the secular always had to define itself and establish its niche. Newman refers to this dialectical relationship as "e;crossover"e;-which is not a genre in itself, but a mode of interaction, an openness to the meeting or even merger of sacred and secular in a wide variety of forms. Newman sketches a few of the principles that shape their interaction: the hermeneutics of "e;both/and,"e; the principle of double judgment, the confluence of pagan material and Christian meaning in Arthurian romance, the rule of convergent idealism in hagiographic romance, and the double-edged sword in parody. Medieval Crossover explores a wealth of case studies in French, English, and Latin texts that concentrate on instances of paradox, collision, and convergence. Newman convincingly and with great clarity demonstrates the widespread applicability of the crossover concept as an analytical tool, examining some very disparate works.

Contains essays that focus on the Frankish realms in the eight and ninth centuries. This volume also examines different methods and genres of historical writing in relation to the perceptions of time and chronology. It also explores the significance of Rome in Carolingian perceptions of the past.

Examines aspects of the religious of the University of Paris in the thirteenth and fourteenth centuries. In place of the traditional account of teaching programs and curriculum, however, the focus here is on religious observances and the important role that prayers for the dead played in the daily life of masters and students.

In The Etiquette of Early Northern Verse, Roberta Frank peers into the northern poet's workshop, eavesdropping as Old English and Old Norse verse reveal their craft secrets.This book places two vernacular poetries of the long Viking Age into conversation, revealing their membership in a single community of taste, a traditional stylistic ecology that did serious political and historical work. Each chapter seeks the codes of a now-extinct verse technique. The first explores the underlying architecture of the two poetries, their irregularities of pace, startling formal conventions, and tight verbal detail work. The passage of time has worn away most of the circumstantial details that literary scholars in later periods take for granted, but the public relations savvy and aural and syntactic signals of early northern verse remain to some extent retrievable and relatable, an etiquette prized and presumably understood by its audiences. The second and longest chapter investigates the techniques used by early northern poets to retrieve and organize the symmetries of language. It illustrates how supererogatory alliteration and rhyme functioned as aural punctuation, marking off structural units and highlighting key moments in the texts. The third and final chapter describes the extent to which both corpora reveled in negations, litotes, indirection, and down-toners, modes that forced audiences to read between half-lines, to hear what was not said. By decluttering and stripping away excess, by drawing words through a tight mesh of meter, alliteration, and rhyme, the early northern poet filtered out dross and stitched together a poetics of stark contrasts and forebodings. Poets and lovers of poetry of all periods and places will find much to enjoy here. So will students in Old English and Old Norse courses.

Giants are a ubiquitous feature of medieval romance. As remnants of a British prehistory prior to the civilization established, according to the Historium regum Britannie, by Brutus and his Trojan followers, giants are permanently at odds with the chivalric culture of the romance world. Whether they are portrayed as brute savages or as tyrannical pagan lords, giants serve as a limit against which the chivalric hero can measure himself. In Outsiders: The Humanity and Inhumanity of Giants in Medieval French Prose Romance, Sylvia Huot argues that the presence of giants allows for fantasies of ethnic and cultural conflict and conquest, and for the presentation-and suppression-of alternative narrative and historical trajectories that might have made Arthurian Britain a very different place. Focusing on medieval French prose romance and drawing on aspects of postcolonial theory, Huot examines the role of giants in constructions of race, class, gender, and human subjectivity. She selects for study the well-known prose Lancelot and the prose Tristan, as well as the lesser known Perceforest, Le Conte du papegau, Guiron le Courtois, and Des Grantz Geants. By asking to what extent views of giants in Arthurian romance respond to questions that concern twenty-first-century readers, Huot demonstrates the usefulness of current theoretical concepts and the issues they raise for rethinking medieval literature from a modern perspective.

In Medieval Autographies, A. C. Spearing develops a new engagement of narrative theory with medieval English first-person writing, focusing on the roles and functions of the "e;I"e; as a shifting textual phenomenon, not to be defined either as autobiographical or as the label of a fictional speaker or narrator. Spearing identifies and explores a previously unrecognized category of medieval English poetry, calling it "e;autography."e; He describes this form as emerging in the mid-fourteenth century and consisting of extended nonlyrical writings in the first person, embracing prologues, authorial interventions in and commentaries on third-person narratives, and descendants of the dit, a genre of French medieval poetry. He argues that autography arose as a means of liberation from the requirement to tell stories with preordained conclusions and as a way of achieving a closer relation to lived experience, with all its unpredictability and inconsistencies. Autographies, he claims, are marked by a cluster of characteristics including a correspondence to the texture of life as it is experienced, a montage-like unpredictability of structure, and a concern with writing and textuality. Beginning with what may be the earliest extended first-person narrative in Middle English, Winner and Waster, the book examines instances of the dit as discussed by French scholars, analyzes Chaucer's Wife of Bath's Prologue as a textual performance, and devotes separate chapters to detailed readings of Hoccleve's Regement of Princes prologue, his Complaint and Dialogue, and the witty first-person elements in Osbern Bokenham's legends of saints. An afterword suggests possible further applications of the concept of autography, including discussion of the intermittent autographic commentaries on the narrative in Troilus and Criseyde and Capgrave's Life of Saint Katherine.

Abelard in Four Dimensions: A Twelfth-Century Philosopher in His Context and Ours by John Marenbon, one of the leading scholars of medieval philosophy and a specialist on Abelard's thought, originated from a set of lectures in the distinguished Conway Lectures in Medieval Studies series and provides new interpretations of central areas of Peter Abelard's philosophy and its influence. The four dimensions of Abelard to which the title refers are that of the past (Abelard's predecessors), present (his works in context), future (the influence of his thinking up to the seventeenth century), and the present-day philosophical culture in which Abelard's works are still discussed and his arguments debated.For readers new to Abelard, this book provides an introduction to his life and works along with discussion of his central ideas in semantics, ethics, metaphysics, and philosophy of religion. For specialists, the book contains new arguments about the authenticity and chronology of Abelard's logical work, fresh evidence about his relations with Anselm and Hugh of St. Victor, a new understanding of how he combines the necessity of divine action with human freedom, and reinterpretations of important passages in which he discusses semantics and metaphysics. For all historians of philosophy, it sets out and illustrates a new methodological approach, which can be used for any thinker in any period and will help to overcome the divisions between "e;historians"e; based in philosophy departments and scholars with historical or philological training.

Visual Translation breaks new ground in the study of French manuscripts, contributing to the fields of French humanism, textual translation, and the reception of the classical tradition in the first half of the fifteenth century.While the prominence and quality of illustrations in French manuscripts have attracted attention, their images have rarely been studied systematically as components of humanist translation. Anne D. Hedeman fills this gap by studying the humanist book production closely supervised by Laurent de Premierfait and Jean Lebegue for courtly Parisian audiences in the first half of the fifteenth century.Hedeman explores how visual translation works in a series of unusually densely illuminated manuscripts associated with Laurent and Lebegue circa 1404-54. These manuscripts cover both Latin texts, such as Statius's Thebiad and Achilleid, Terence's Comedies, and Sallust's Conspiracy of Cataline and Jurguthine War, and French translations of Cicero's De senectute, Boccaccio's De casibus virorum illustrium and Decameron, and Bruni's De bello Punico primo. Illuminations constitute a significant part of these manuscripts' textual apparatus, which helped shape access to and interpretation of the texts for a French audience. Hedeman considers them as a group and reveals Laurent's and Lebegue's growing understanding of visual rhetoric and its ability to visually translate texts originating in a culture removed in time or geography for medieval readers who sought to understand them. The book discusses what happens when the visual cycles so carefully devised in collaboration with libraries and artists by Laurent and Lebegue escaped their control in a process of normalization. With over 180 color images, this major reference book will appeal to students and scholars of French, comparative literature, art history, history of the book, and translation studies.

How do we judge whether we should be willing to follow the views of experts or whether we ought to try to come to our own, independent views? This book seeks the answer in medieval philosophical thought.In this engaging study into the history of philosophy and epistemology, Peter Adamson provides an answer to a question as relevant today as it was in the medieval period: how and when should we turn to the authoritative expertise of other people in forming our own beliefs? He challenges us to reconsider our approach to this question through a constructive recovery of the intellectual and cultural traditions of the Islamic world, the Byzantine Empire, and Latin Christendom.Adamson begins by foregrounding the distinction in Islamic philosophy between taqlid, or the uncritical acceptance of authority, and ijtihad, or judgment based on independent effort, the latter of which was particularly prized in Islamic law, theology, and philosophy during the medieval period. He then demonstrates how the Islamic tradition paves the way for the development of what he calls a "e;justified taqlid,"e; according to which one develops the skills necessary to critically and selectively follow an authority based on their reliability. The book proceeds to reconfigure our understanding of the relation between authority and independent thought in the medieval world by illuminating how women found spaces to assert their own intellectual authority, how medieval writers evaluated the authoritative status of Plato and Aristotle, and how independent reasoning was deployed to defend one Abrahamic faith against the other. This clear and eloquently written book will interest scholars in and enthusiasts of medieval philosophy, Islamic studies, Byzantine studies, and the history of thought.

Drawing on a wide context of bookmaking, this sweeping study traces fundamental changes in books made to support musical practice during the Carolingian Renaissance.During the late eighth and ninth centuries, there were dramatic changes in the way European medieval scribes made books for singers, moving from heavy reliance on unwritten knowledge to the introduction of musical notation into manuscripts. Well-made liturgical books were vital to the success of the Carolingian fight for Christian salvation: these were the basis for carrying out worship correctly, rendering it most effective in petitions to the Christian God. In Sounding the Word of God, Susan Rankin explores Carolingian concern with the expression and control of sound in writing-discernible through instructions for readers and singers visible in liturgical books. Her central focus is on books made for singers, including those made for priests. The emergence of musical notations for ecclesiastical chant and of books designed to accommodate those notations, Rankin concludes, are important aspects of the impact of Carolingian reforming zeal on material culture.The book has three sections. Part 1 considers late antique and early medieval texts, which deal with the value of singing and its necessary regulation. Part 2 describes and investigates techniques used by Carolingian scribes to provide instructions for readers and singers. The extant books themselves are the focus of part 3. Rankin's analysis of over two hundred manuscripts and extensive supporting images represents the work of a scholar who has spent a lifetime with the sources; her explication of the images, particularly those of the earlier manuscripts, changes the way in which musicologists and liturgical scholars will view the images. Indeed, it will change the way in which they approach the unfolding history of chant and liturgy in the Carolingian period.