A Companion To The Abbey Of Quedlinburg In The Middle Ages

Quedlinburg Abbey was one of the oldest and most prestigious women's religious communities in medieval Germany. This essay collection conveys the abbey’s illustrious history, political importance, and cultural significance through studies on, among others, its architecture, rich treasury, and its abbatial effigies.

"Founded in 910 by Duke William of Aquitaine, the abbey of Cluny rose to prominence in the eleventh century as the most influential and opulent center for monastic devotion in medieval Europe. While the twelfth century brought challenges, both internal and external, the Cluniacs showed remarkable adaptability in the changing religious climate of the high Middle Ages. Written by international experts representing a range of academic disciplines, the contributions to this volume examine the rich textual and material sources for Cluny's history, offering not only a thorough introduction to the distinctive character of Cluniac monasticism in the Middle Ages, but also the lineaments of a detailed research agenda for the next generation of historians. Contributors are: Isabelle Rosé, Steven Vanderputten, Marc Saurette, Denyse Riche, Susan Boynton, Anne Baud, Sébastien Barret, Robert Berkhofer III, Isabelle Cochelin, Michael Hänchen, Gert Melville, Eliana Magnani, Constance Bouchard, Benjamin Pohl, and Scott G. Bruce"--

This Companion offers the first major collection of studies dedicated to the medieval Norman abbey of Le Bec, one of the most important and influential religious institutions in the Anglo-Norman world of the 11th-13th centuries.

This book argues that abbatial authority was fundamental to monastic historical writing in the period c.500-1500. Writing history was a collaborative enterprise integral to the life and identity of medieval monastic communities, but it was not an activity for which time and resources were set aside routinely. Each act of historiographical production constituted an extraordinary event, one for which singular provision had to be made, workers and materials assigned, time carved out from the monastic routine, and licence granted. This allocation of human and material resources was the responsibility and prerogative of the monastic superior. Drawing on a wide and diverse range of primary evidence gathered from across the medieval Latin West, this book is the first to investigate systematically how and why abbots and abbesses exercised their official authority and resources to lay the foundations on which their communities' historiographical traditions were built by themselves and others. It showcases them as prolific authors, patrons, commissioners, project managers, and facilitators of historical narratives who not only regularly put pen to parchment personally, but also, and perhaps more importantly, enabled others inside and outside their communities by granting them the resources and licence to write. Revealing the intrinsic relationship between abbatial authority and the writing of history in the Middle Ages with unprecedented clarity, Benjamin Pohl urges us to revisit and revise our understanding of monastic historiography, its processes, and its protagonists in ways that require some radical rethinking of the medieval historian's craft in communal and institutional contexts.

Framed by evocative inscriptions, tumultuous historical events, and the ambiguities of Christian death, Romanesque tomb effigies were the first large-scale figural monuments for the departed in European art. In this book, Shirin Fozi explores these provocative markers of life and death, establishing early tomb figures as a coherent genre that hinged upon histories of failure and frustrated ambition. In sharp contrast to later recumbent funerary figures, none of the known European tomb effigies made before circa 1180 were commissioned by the people they represented, and all of the identifiable examples of these tombs were dedicated to individuals whose legacies were fraught rather than triumphant. Fozi draws on this evidence to argue that Romanesque effigies were created to address social rather than individual anxieties: they compensated for defeat by converting local losses into an expectation of eternal victory, comforting the embarrassed heirs of those whose histories were marked by misfortune and offering compensation for the disappointments of the world. Featuring numerous examples and engaging the visual, historical, and theological contexts that inform them, this groundbreaking work adds a fresh dimension to the study of monumental sculpture and the idea of the individual in the northern European Middle Ages. It will appeal to scholars of art history and medieval studies.

Hrotsvit wrote stories, plays, and histories during the reign of Emperor Otto the Great (962-973). Twelve original essays survey her work, showing historical roots and contexts, Christian values, and a surprisingly modern grappling with questions of identity and female self-realization.

The medieval dissenters known as ‘Waldenses’, named after their first founder, Valdes of Lyons, have long attracted careful scholarly study, especially from specialists writing in Italian, French and German. Waldenses were found across continental Europe, from Aragon to the Baltic and East-Central Europe. They were long-lived, resilient, and diverse. They lived in a special relationship with the prevailing Catholic culture, making use of the Church’s services but challenging its claims. Many Waldenses are known mostly, or only, because of the punitive measures taken by inquisitors and the Church hierarchy against them. This volume brings for the first time a wide-ranging, multi-authored interpretation of the medieval Waldenses to an English-language readership, across Europe and over the four centuries until the Reformation. Contributors: Marina Benedetti, Peter Biller, Luciana Borghi Cedrini, Euan Cameron, Jacques Chiffoleau, Albert de Lange, Andrea Giraudo, Franck Mercier, Grado Giovanni Merlo, Georg Modestin, Martine Ostorero, Damian J. Smith, Claire Taylor, and Kathrin Utz Tremp.

Deanne Williams offers the very first study of the medieval and early modern girl actor. Whereas previous histories of the actress begin with the Restoration, this book demonstrates that the girl is actually a well-documented category of performer and a key participant in the drama of the Middle Ages and Renaissance. It explores evidence of the girl actor in archival records of payment, eyewitness accounts, stage directions, paintings, and in the plays and masques that were explicitly composed for girls, and, in some cases, by them. Contradicting previous scholarly assumptions about the early modern stage as male-dominated, this evidence reveals girls' participation in medieval religious drama, Tudor civic pageants and royal entries, Elizabethan country house entertainments, and Stuart court and household masques. This book situates its historical study of the girl actor within the wider contexts of 'girl culture', including girls as singers, translators and authors. By examining the impact of the girl actor on constructions of girlhood in the work of Shakespeare – whose girl characters register and evoke the power of the performing girl – Girl Culture in the Middle Ages and Renaissance argues that girls' dramatic, musical and literary performances actively shaped medieval and early modern culture. It shows how the active presence and participation of girls shaped medieval and Renaissance culture, and it reveals how some of its best-known literary and dramatic texts address, represent, and reflect upon girl children, not as an imagined ideal, but as a lived reality.