What were the boundaries between 'official' and 'subversive', 'orthodox' and 'dissenting' critical practices in the Middle Ages? Placing medieval critical and intellectual discourses within their cultural and ideological frameworks, Criticism and Dissent in the Middle Ages examines conflicts of gender, violence, academic freedom, hermeneutical authority, sacramentalism and heresy among so-called official as well as dissenting critical orders. Pedagogies, theories of grammar and rhetoric, poetics and hermeneutics, academic 'sciences', clerical professionalism, literacy, visual images, theology, and textual cultures of heresy are all considered. This 1996 collection of essays by major scholars examines medieval critical discourse, theories of textuality and interpretation, and representations of learning and knowledge - as contesting and contested institutional practices within and between Latin and vernacular cultures.

This book is about the place of pedagogy and the role of intellectuals in medieval dissent. Focusing on the medieval English heresy known as Lollardy, Rita Copeland places heretical and orthodox attitudes to learning in a long historical perspective that reaches back to antiquity. She shows how educational ideologies of ancient lineage left their imprint on the most sharply politicized categories of late medieval culture, and how radical teachers transformed inherited ideas about classrooms and pedagogy as they brought their teaching to adult learners. The pedagogical imperatives of Lollard dissent were also embodied in the work of certain public figures, intellectuals whose dissident careers transformed the social category of the medieval intellectual. Looking closely at the prison narratives of two Lollard preachers, Copeland shows how their writings could serve as examples for their fellow dissidents and forge a new rapport between academic and non-academic communities.

Exploring a range of poverty experiences-socioeconomic, moral and spiritual-this collection presents new research by a distinguished group of scholars working in the medieval and early modern periods. Collectively they explore both the assumptions and strategies of those in authority dealing with poverty and the ways in which the poor themselves tried to contribute to, exploit, avoid or challenge the systems for dealing with their situation. The studies demonstrate that poverty was by no means a simple phenomenon. It varied according to gender, age and geographical location; and the way it was depicted in speech, writing and visual images could as much affect how the poor experienced their poverty as how others saw and judged them. Using new sources-and adopting new approaches to known sources-the authors share insights into the management and the self-management of the poor, and search out aspects of the experience of poverty worthy of note, from which can be traced lasting influences on the continuing understanding and experience of poverty in pre-modern Europe.

"Through well-informed and nuanced readings of key documents from the fourth through fourteenth centuries, this book challenges historians' long-held beliefs about how concepts of Greco-Roman theater survived the fall of Rome and the Middle Ages, and contributed to the dramatic triumphs of the Renaissance. Dox's work is a significant contribution to the history of ideas that will change forever the standard narrative of the birth and development of theatrical activity in medieval Europe." ---Margaret Knapp, Arizona State University "...an elegantly concise survey of the way classical notions of theater have been interpreted in the Latin Middle Ages. Dox convincingly demonstrates that far from there being a single 'medieval' attitude towards theater, there was in fact much debate about how theater could be understood to function within Christian tradition, even in the so-called 'dark ages' of Western culture. This book makes an innovative contribution to studies of the history of the theater, seen in terms of the history of ideas, rather than of practice." ---Constant Mews, Director, Centre for the Study of Religion & Theology, University of Monash, Australia "In the centuries between St. Augustine and Bartholomew of Bruges, Christian thought gradually moved from a brusque rejection of classical theater to a progressively nuanced and positive assessment of its value. In this lucidly written study, Donnalee Dox adds an important facet to our understanding of the Christian reaction to, and adaptation of, classical culture in the centuries between the Church Fathers and the rediscovery of Aristotle." ---Philipp W. Rosemann, University of Dallas This book considers medieval texts that deal with ancient theater as documents of Latin Christianity's intellectual history. As an exercise in medieval historiography, this study also examines biases in modern scholarship that seek links between these texts and performance practices. The effort to bring these texts together and place them in their intellectual contexts reveals a much more nuanced and contested discourse on Greco-Roman theater and medieval theatrical practice than has been acknowledged. The book is arranged chronologically and shows the medieval foundations for the Early Modern integration of dramatic theory and theatrical performance. The Idea of the Theater in Latin Christian Thought will be of interest to theater historians, intellectual historians, and those who work on points of contact between the European Middle Ages and Renaissance. The broad range of documents discussed (liturgical treatises, scholastic commentaries, philosophical tracts, and letters spanning many centuries) renders individual chapters useful to philosophers, aestheticians, and liturgists as well as to historians and historiographers. For theater historians, this study offers an alternative reading of familiar texts which may alter our understanding of the emergence of dramatic and theatrical traditions in the West. Because theater is rarely considered as a component of intellectual projects in the Middle Ages, this study opens a new topic in the writing of medieval intellectual history.

The monograph series Oxford Studies in Medieval Literature and Culture showcases the plurilingual and multicultural quality of medieval literature and actively seeks to promote research that not only focuses on the array of subjects medievalists now pursue - in literature, theology, and philosophy, in social, political, jurisprudential, and intellectual history, the history of art, and the history of science - but also that combines these subjects productively. It offers innovative studies on topics that may include, but are not limited to, manuscript and book history; languages and literatures of the global Middle Ages; race and the post-colonial; the digital humanities, media and performance; music; medicine; the history of affect and the emotions; the literature and practices of devotion; the theory and history of gender and sexuality, ecocriticism and the environment; theories of aesthetics; medievalism. The Arts of Disruption: Allegory and Piers Plowman offers a series of new readings of the allegorical poem Piers Plowman: but it is also a book about allegory. It argues not just that there are distinctively disruptive 'arts' that occur in allegory, but that allegory, because it is interested in the difficulty of making meaning, is itself a disruptive art. The book approaches this topic via the study of five medieval allegorical narrative structures that exploit diegetic conflict and disruption. Although very different, they all bring together contrasting descriptions of spiritual process, in order to develop new understanding and excite moral or devotional change. These five structures are: the paradiastolic 'hypocritical figure' (such as vices masked by being made to look like 'adjacent' virtues), personification debate, violent language and gestures of apophasis, narratives of bodily decline, and grail romance. Each appears in a range of texts, which the book explores, along with other connected materials in medieval rhetoric, logic, grammar, spiritual thought, ethics, medicine, and romance iconography. These allegorical narrative structures appear radically transformed in Piers Plowman, where the poem makes further meaning out of the friction between them. Much of the allegorical work of the poem occurs at the points of their intersection, and within the conceptual gaps that open up between them. Ranging across a wide variety of medieval allegorical texts, the book shows from many perspectives allegory's juxtaposition of the heterogeneous and its questioning of supposed continuities.

The medieval period was one of extraordinary literary achievement sustained over centuries of great change, anchored by the Norman invasion and its aftermath, the re-emergence of English as the nation's leading literary language in the fourteenth century and the advent of print in the fifteenth. This Companion spans four full centuries to survey this most formative and turbulent era in the history of literature in English. Exploring the period's key authors - Chaucer, Langland, the Gawain-Poet, Margery Kempe, among many - and genres - plays, romances, poems and epics - the book offers an overview of the riches of medieval writing. The essays map out the flourishing field of medieval literary studies and point towards new directions and approaches. Designed to be accessible to students, the book also features a chronology and guide to further reading.

The essays in this volume provide an up-to-date and authoritative guide to the major prose Middle English authors and genres. Each chapter is written by a leading authority on the subject and offers a succinct account of all relevant literary, history and cultural factors that need to considered, together with bibliographical references. Authors examined include the writers of the Ancrene Wisse, the Katherine Group and the Wohunge Group; Richard Rolle; Walter Hilton; Nicholas Love; Julian of Norwich; Margery Kempe; "Sir John Mandeville"; John Trevisa, Reginald Pecock; and John Fortescue. Genres discussed include romances, saints' lives, letters, sermon literature, historical prose, anonymous devotional writings, Wycliffite prose, and various forms of technical writing. The final chapter examines the treatment of Middle English prose in the first age of print. Contributors: BELLA MILLETT, RALPH HANNA III, AD PUTTER, KANTIK GHOSH, BARRY A. WINDEATT, A.C. SPEARING, IAN HIGGINS, A.S.G. EDWARDS, VINCENT GILLESPIE, HELEN L. SPENCER, ALFRED HIATT, FIONA SOMERSET, HELEN COOPER, GEORGE KEISER, OLIVER S. PICKERING, JAMES SIMPSON, RICHARD BEADLE, ALEXANDRA GILLESPIE.

Little remains of the rich visual culture of late medieval English piety. The century and a half leading up to the Reformation had seen an unparalleled growth of devotional arts, as chapels, parish churches, and cathedrals came to be filled with images in stone, wood, alabaster, glass, embroidery, and paint of newly personalized saints, angels, and the Holy Family. But much of this fell victim to the Royal Injunctions of September 1538, when parish officials were ordered to remove images from their churches. In this highly insightful book Sarah Stanbury explores the lost traffic in images in late medieval England and its impact on contemporary authors and artists. For Chaucer, Nicholas Love, and Margery Kempe, the image debate provides an urgent language for exploring the demands of a material devotional culture—though these writers by no means agree on the ethics of those demands. The chronicler Henry Knighton invoked a statue of St. Katherine to illustrate a lurid story about image-breaking Lollards. Later John Capgrave wrote a long Katherine legend that comments, through the drama of a saint in action, on the powers and uses of religious images. As Stanbury contends, England in the late Middle Ages was keenly attuned to and troubled by its "culture of the spectacle," whether this spectacle took the form of a newly made queen in Chaucer's Clerk's Tale or of the animate Christ in Norwich Cathedral's Despenser Retable. In picturing images and icons, these texts were responding to reformist controversies as well as to the social and economic demands of things themselves, the provocative objects that made up the fabric of ritual life.

If terms are associated with particular historical periods, then ’polemic’ is firmly rooted within early modern print culture, the apparently inevitable result of religious controversy and the rise of print media. Taking a broad European approach, this collection brings together specialists on medieval as well as early modern culture in order to challenge stubborn assumptions that medieval culture was homogenous and characterized by consensus; and that literary discourse is by nature ’eirenic’. Instead, the volume shows more clearly the continuities and discontinuities, especially how medieval discourse on the sins of the tongue continued into early modern discussion; how popular and influential medieval genres such as sermons and hagiography dealt with potentially heterodox positions; and the role of literary, especially fictional, debate in developing modes of articulating discord, as well as demonstrating polemic in action in political and ecclesiastical debate. Within this historical context, the position of early modern debates as part of a more general culture of articulating discord becomes more clearly visible. The structure of the volume moves from an internal textual focus, where the nature of polemic can be debated, through a middle section where these concerns are also played out in social practice, to a more historical group investigating applied polemic. In this way a more nuanced view is provided of the meaning, role, and effect of ’polemic’ both broadly across time and space, and more narrowly within specific circumstances.

In thirteen studies of representations of rape in Medieval and Early Modern literature by such authors as Chaucer, Shakespeare and Spenser, this volume argues that some form of sexual violence against women serves as a foundation of Western culture. The volume has two purposes: first, to explore the resistance these pervasive representations generate and have generated for readers - especially for the female reader- and second, to explore what these representations tell us about social formations governing the relationships between men and women. More particularly, Rose and Robertson are interested in how representations of rape manifest a given culture's understanding of the female subject in society.