This collection of essays by leading experts in manuscript studies sheds new light on ways to approach medieval texts in their manuscript context. Each contribution provides groundbreaking insight into the field of medieval textual culture, demonstrating the various interconnections between medieval material and literary traditions. The contributors’ work aids reconstruction of the period’s writing practices, as contextual factors surrounding the texts provide clues to the ‘manuscript experience’. Topics such as scribal practice and textual providence, glosses, rubrics, page lay-out, and even page ruling, are addressed in a manner illustrative and suggestive of textual practice of the time, while the volume further considers the interface between the manuscript and early textual communities. Looking at medieval inventories of books no longer extant, and addressing questions such as ownership, reading practices and textual production, Medieval Texts in Context addresses the fundamental interpretative issue of how scribe-editors worked with an eye to their intended audience. An understanding of the world inhabited by the scribal community is made use of to illuminate the rationale behind the manufacture of devotional texts. The combination of approaches to the medieval vernacular manuscript presented in this volume is unique, marking a major, innovative contribution to manuscript studies.

This book serves as the essential companion to the late thirteenth-century, Middle English manuscript, Oxford, Bodleian Library, MS Laud Misc. 108. It marks a collaborative effort by scholars who investigate the codicological and contextual features of this manuscript’s vernacular poems.

This volume brings together a selection of the major articles of David Mills (1938-2013), which along with similar volumes by Alexandra F. Johnston, Peter Meredith and Meg Twycross makes up a set of "Shifting Paradigms in Early English Drama Studies". Mills was one of these four key scholars whose work has changed what is known about English medieval drama and theatre. He made major contributions to understanding English medieval theatre in the widest sense but more specifically to the nature and development of medieval plays and their performance at Chester. The scope of his work from manuscript to performance has created new knowledge and insights brought about by his remarkable technical skill as an editor and researcher. His texts of the Chester Cycle of Mystery Plays have become the standard works. In the light of this outstanding research the volume is comprised of four sections: 1. Editors and Editing; 2. Cultural Contexts; 3. Staging and Performance; 4. Criticism and Evaluation. An editorial introduction opens the work.

Originally published in 1991, Medieval Texts and Images is a collection of essays which critically examines medieval manuscripts. The book contains a wide range of contributions, the first examines the relationship of the Légende Dorée and its relationship to the aristocratic patrons who commissioned these manuscripts; the second scrutinises the tradition of French illumination as it was developed in Paris in the so-called Bedford Master’s workshop in the 1420s. The text examines liturgical texts of the medieval period and written and liturgical contributions to Renaissance art. Other contributions include an investigation into the written scroll within the painted composition, comparing various compositional and thematic functions in the depiction of a Crucifixion and a study of Christian vernacular poetry. This collection provides a comprehensive overview of the use of text and image in medieval literature.

An examination of what the translation of medieval French texts into different European languages can reveal about the differences between cultures.

Collection examining the Anglo-Norman language in a variety of texts and contexts, in military, legal, literary and other forms.

This book is about the Old Norse god Odin. It includes references to all occurrences of Odin in the Old Norse/Icelandic texts, including Saxo’s Gesta Danorum, the eddic poems, Snorri’s Edda, and Ynglinga saga and analyses the high medieval reception and literary representations of Odin rather than the religious character of the god. This is the only existing study of Odin in all the Old Norse/Icelandic texts and applies a contextual method: the different guises of Odin are studied on the basis of the various textual contexts and on their background in the literary and Christian intellectual milieu of the time. Contrary to existing studies, this method is non-reductive in that it does not aim at providing a synthesis about Odin’s original nature on the basis of the differing textual uses of Odin in the Middle Ages. The book argues that the perceived complexity of Odin, often highlighted in research, is first and foremost a function of the complex textual material spanning a wide variety of genres each with its particular literary conventions and of the reception of Odin in early modern and modern mythological studies.

From Anglo-Saxon runes to postcolonial rap, this undergraduate textbook covers the social and historical contexts of the whole of the English literature.

In the twelfth and thirteenth centuries, new ways of storytelling and inventing fictions appeared in the French-speaking areas of Europe. This new art still influences our global culture of fiction. Virginie Greene explores the relationship between fiction and the development of neo-Aristotelian logic during this period through a close examination of seminal literary and philosophical texts by major medieval authors, such as Anselm of Canterbury, Abélard, and Chrétien de Troyes. This study of Old French logical fictions encourages a broader theoretical reflection about fiction as a universal human trait and a defining element of the history of Western philosophy and literature. Additional close readings of classical Greek philosophers Plato and Aristotle, and modern analytic philosophy including the work of Bertrand Russell and Rudolf Carnap, demonstrate peculiar traits of Western rationalism and expose its ambivalent relationship to fiction.