Bücher veröffentlicht von Medieval Institute Publications

Seventh-century Gaelic law-tracts delineate professional poets (filid) who earned high social status through formal training. These poets cooperated with the Church to create an innovative bilingual intellectual culture in Old Gaelic and Latin. Bede described Anglo-Saxon students who availed themselves of free education in Ireland at this culturally dynamic time. Gaelic scholars called sapientes ("wise ones") produced texts in Old Gaelic and Latin that demonstrate how Anglo-Saxon students were influenced by contact with Gaelic ecclesiastical and secular scholarship. Seventh-century Northumbria was ruled for over 50 years by Gaelic-speaking kings who could access Gaelic traditions. Gaelic literary traditions provide the closest analogues for Bede's description of Cædmon's production of Old English poetry. This ground-breaking study displays the transformations created by the growth of vernacular literatures and bilingual intellectual cultures. Gaelic missionaries and educational opportunities helped shape the Northumbrian "Golden Age", its manuscripts, hagiography, and writings of Aldhelm and Bede.

This volume builds on recent scholarship on contemporary poetry in relation to medieval literature, focusing on postmodern poets who work with the medieval in a variety of ways. Such recent projects invert or ¿queer¿ the usual transactional nature of engagements with older forms of literature, in which readers are asked to exchange some small measure of bewilderment at archaic language or forms for a sense of having experienced a medieval text. The poets under consideration in this volume demand that readers grapple with the ways in which we are still ¿medieval¿ ¿ in other words, the ways in which the questions posed by their medieval source material still reverberate and hold relevance for today¿s world. They do so by challenging the primacy of present over past, toppling the categories of old and new, and suggesting new interpretive frameworks for contemporary and medieval poetry alike.

Rasmus Vangshardt offers an original interpretation of one of the most famous images of literary history, the theatrum mundi. By applying methods of comparative literature, hispanic studies, and theology, he reconsiders the world theatre's historical peak in early modern Europe in general and the Spanish Golden Age in particular. The author presents a new close reading of Pedro Calderón's El gran teatro del mundo (c. 1633-36) and outlines the historical and systematic framework for a theatrum mundi of celebration. This concept entails using art to justify human existence in the face of changing conceptions of the cosmos: an early modern aesthetic theodicy and a justification of the world in that liminal space between drama and ritual. By discussing historiographical theories of early modern Europe, especially those of Hans Blumenberg and Bruno Latour, and through conversations with Shakespearean drama and Spanish Golden Age classics, Vangshardt also argues that the theatrum mundi of celebration questions traditional assumptions of great divides between the Middle Ages and Early Modernity and challenges theories of a European-wide early modern sense of crisis.

This collection of essays examines the motifs of darkness, depression, and descent in both literal and figurative manifestations within a variety of Anglo-Saxon texts, including the Old English Consolation of Philosophy, Beowulf, Guthlac, The Junius Manuscript, The Wonders of the East, and The Battle of Maldon. Essays deal with such topics as cosmic emptiness, descent into the grave, and recurrent grief. In their analyses, the essays reveal the breadth of this imagery in Anglo-Saxon literature as it is used to describe thought and emotion, as well as the limits to knowledge and perception. The volume investigates the intersection between the burgeoning interest in trauma studies and darkness and the representation of the mind or of emotional experience within Anglo-Saxon literature.

This study examines the various means of becoming empathetic and using this knowledge to explain the epistemic import of the characters¿ interaction in the works written by Chaucer, Shakespeare, and their contemporaries. By attuning oneself to another¿s expressive phenomena, the empathizer acquires an inter- and intrapersonal knowledge that exposes the limitations of hyperbole, custom, or unbridled passion to explain the profundity of their bond. Understanding the substantive meaning of the characters¿ discourse and narrative context discloses their motivations and how they view themselves. The aim is to explore the place of empathy in select late medieval and early modern portrayals of the body and mind and explicate the role they play in forging an intimate rapport.

This volume addresses the widespread medieval phenomenon of transgression as both a result of and the cause for the exclusion and persecution of those who were considered different. It is widely accepted that the essence of a manuscript cannot be fully grasped without studying its marginalia. Glosses sit on the margins of the text and clarify it, adding a whole new dimension to it and becoming an inextricable part of its content. Similarly, no society can be fully understood without knowledge of what lies on its margins, for the outliers of any given culture provide us with just as much information as its alleged foundational principles. In a time when the Western world ponders building walls up against perceived threats and frightening differences, this multidisciplinary collection of essays based on original and innovative pieces of research shows that it was mostly through tearing down walls that we learned our way forward.

A "e;blind spot"e; suggests an obstructed view, or partisan perception, or a localized lack of understanding. Just as the brain "e;reads"e; the "e;blind spot"e; of the visual field by a curious process of readjustment, Shakespearean drama disorients us with moments of unmastered and unmasterable knowledge, recasting the way we see, know and think about knowing. Focusing on such moments of apparent obscurity, this volume puts methods and motives of knowing under the spotlight, and responds both to inscribed acts of blind-sighting, and to the text or action blind-sighting the reader or spectator. While tracing the hermeneutic yield of such occlusion is its main conceptual aim, it also embodies a methodological innovation: structured as an internal dialogue, it aims to capture, and stake out a place for, a processive intellectual energy that enables a distinctive way of knowing in academic life; and to translate a sense of intellectual "e;community"e; into print.

The Vikings Reimagined explores the changing perception of Norse and Viking cultures across different cultural forms, and the complex legacy of the Vikings in the present day. Bringing together experts in literature, history and heritage engagement, this highly interdisciplinary collection aims to reconsider the impact of the discipline of Old Norse Viking Studies outside the academy and to broaden our understanding of the ways in which the material and textual remains of the Viking Age are given new meanings in the present. The diverse collection draws attention to the many roles that the Vikings play across contemporary culture: from the importance of Viking tourism, to the role of Norse sub-cultures in the formation of local and international identities. Together these collected essays challenge the academy to rethink its engagement with popular reiterations of the Vikings and to reassess the position afforded to ¿reception¿ within the discipline.

When James VI of Scotland and I of England proclaimed himself King of Great Britain he proposed a merger of parliaments as he had joined two crowns in his own person ascending the throne of England in 1603. For James, the Cambro-Celtic past led to an Anglo-Scottish present, and Wales stood as the ideal.¿Although the parliamentary union of Great Britain was not initiated for another 100 years, Parliament¿s denial failed to deter James from wanting a Great Britain, and R. A.¿s play The Valiant Welshman became part of the public spectacle of unity required to nurture James¿s dream. The Valiant Welshman, the Scottish James, and the Formation of Great Britain¿considers national, regional and linguistic identity and explores how R.A.¿s play promotes Wales, serves King James and reveals what it means to be Welsh and Scots in a newly forming "Great Britain."