Dangerous and difficult for both mother and child--what was the birth experience like in the Middle Ages? Dependent, in part, on social class, what pastimes did children enjoy? What games did they play? With often uncomfortable and even harsh living conditions, what kind of care did children receive in the home on a daily basis? These are just a few of the questions this work addresses about the day-to-day childhood experiences during the Middle Ages. Focusing on all social classes of children, the topics are wide-ranging. Chapters cover birth and baptism; early childhood; playing; clothing; care and discipline; formal education; university education; career training for peasants, craftsmen, merchants, clergy and nobility; and coming of age. In addition, three appendices are included. Appendix I provides information on the humoral theory of medicine. Appendix II offers examples of medieval math problems. Appendix III covers a unique episode in medieval history known as "The Children's Crusade." Instructors considering this book for use in a course may request an examination copy here.

The culture of the Middle Ages was as complex, if not as various, as our own, as the essays in this volume ably demonstrate. The essays cover a wide range of tipics, from church sculpture as "advertisement" to tricks and illusions as "homeeconomics."

Discusses the roles and activities of children of all ages in the Middle Ages.

Every generation reinvents Shakespeare for its own needs, imagining through its particular choices and emphases the Shakespeare that it values. The man himself was deeply involved in his own kind of historical reimagining. This collection of essays examines the playwright's medieval sources and inspiration, and how they shaped his works. With a foreword by Michael Almereyda (director of the Hamlet starring Ethan Hawke) and dramaturge Dakin Matthews, these thirteen essays analyze the ways in which our modern understanding of medieval life has been influenced by our appreciation of Shakespeare's plays.

Although the city as a central entity did not simply disappear with the Fall of the Roman Empire, the development of urban space at least since the twelfth century played a major role in the history of medieval and early modern mentality within a social-economic and religious framework. Whereas some poets projected urban space as a new utopia, others simply reflected the new significance of the urban environment as a stage where their characters operate very successfully. As today, the premodern city was the locus where different social groups and classes got together, sometimes peacefully, sometimes in hostile terms. The historical development of the relationship between Christians and Jews, for instance, was deeply determined by the living conditions within a city. By the late Middle Ages, nobility and bourgeoisie began to intermingle within the urban space, which set the stage for dramatic and far-reaching changes in the social and economic make-up of society. Legal-historical aspects also find as much consideration as practical questions concerning water supply and sewer systems. Moreover, the early modern city within the Ottoman and Middle Eastern world likewise finds consideration. Finally, as some contributors observe, the urban space provided considerable opportunities for women to carve out a niche for themselves in economic terms.

Interest in the middle ages is at an all time high at the moment, thanks in part to "The Da Vinci Code." Never has there been a moment more propitious for a study of our misconceptions of the Middle Ages than now. Ranging across religion, art, and science, Misconceptions about the Middle Ages unravels some of the many misinterpretations that have evolved concerning the medieval period, including: the church war science art society With an impressive international array of contributions, the book will be essential reading for students and scholars involved with medieval religion, history, and culture.

This book seeks to understand the music of the later Middle Ages in a fuller perspective, moving beyond the traditional focus on the creative work of composers in isolation to consider the participation of performers and listeners in music-making.

Liverpool’s contribution to the modern construction of the middle ages is here recognized for the first time. From the eighteenth century to the twenty-first, scholars from Merseyside have made pioneering advances in fields as diverse as Celtic philology and manuscript collecting, each in their own way contributing to our steadily deepening understanding of the real middle ages, and to the widening use to which images of the middle ages have been put. Merseyside presents in microcosm the different building blocks of the modern middle ages. In addition to its local focus, this book therefore also examines some of the most significant aspects of the modern study of the middle ages in the round. It offers fresh perspectives, from leading experts in their fields, on medieval Celtic languages, on English poetic literature, on heroes, on pageantry, on mystery plays, and on the effect of nationalist perspectives on the writing of medieval history. Tracing the burgeoning appreciation, in Merseyside and beyond, of the period in which the city was founded, this collection of essays is a fitting commemoration of Liverpool’s octocentenary.

Originally published in 1965. The European dramatic tradition rests on a group of religious dramas that appeared between the tenth and twelfth centuries. These dramas, of interest in themselves, are also important for the light they shed on three historical and critical problems: the relation of drama to ritual, the nature of dramatic form, and the development of representational techniques. Hardison's approach is based on the history of the Christian liturgy, on critical theories concerning the kinship of ritual and drama, and on close analysis of the chronology and content of the texts themselves. Beginning with liturgical commentaries of the ninth century, Hardison shows that writers of the period consciously interpreted the Mass and cycle of the church year in dramatic terms. By reconstructing the services themselves, he shows that they had an emphatic dramatic structure that reached its climax with the celebration of the Resurrection. Turning to the history of the Latin Resurrection play, Hardison suggests that the famous Quem quaeritis—the earliest of all medieval dramas—is best understood in relation to the baptismal rites of the Easter Vigil service. He sets forth a theory of the original form and function of the play based on the content of the earliest manuscripts as well as on vestigial ceremonial elements that survive in the later ones. Three texts from the eleventh and twelfth centuries are analyzed with emphasis on the change from ritual to representational modes. Hardison discusses why the form inherited from ritual remained unchanged, while the technique became increasingly representational. In studying the earliest vernacular dramas, Hardison examines the use of nonritual materials as sources of dramatic form, the influence of representational concepts of space and time on staging, and the development of nonceremonial techniques for composition of dialogue. The sudden appearance of these elements in vernacular drama suggests the existence of a hitherto unsuspected vernacular tradition considerably older than the earliest surviving vernacular plays.

This classic work of scholarship illustrates the richness, complexity, and fullness of medieval Jewish life. Readers will discover how much was hidden from the inquisitive and often hostile gaze of Christian Europe. Israel Abrahams vividly details the customs, manners, and mores, and delves into the social culture of Jewish life at this time.