The Subject Medieval Modern

This work presents a thorough historicist account of the development of subjectivity in the medieval period, as traced in medieval literature and historical documentation.

The debate about when the middle ages ended and the modern era began, has long been a staple of the historical literature. In order to further this debate, and illuminate the implications of a longue durée approach to the history of the Reformation, this collection offers a selection of essays that address the medieval-modern divide. Covering a broad range of topics - encompassing legal, social, cultural, theological and political history - the volume asks fundamental questions about how we regard history, and what historians can learn from colleagues working in other fields that may not at first glance appear to offer any obvious links. By focussing on the concept of the medieval-modern divide - in particular the relation between the Middle Ages and the Reformation - each essay examines how a medievalist deals with a specific topic or issue that is also attracting the attention of Reformation scholars. In so doing it underlines the fact that both medievalists and modernists are often involved in bridging the medieval-modern divide, but are inclined to construct parallel bridges that end between the two starting points but do not necessarily meet. As a result, the volume challenges assumptions about the strict periodization of history, and suggest that a more flexible approach will yield interesting historical insights.

Rich collisions and fresh perspectives illuminate the profound continuities of thought and practice that have marked Western art through the ages This groundbreaking study offers a radical new reading of art since the Middle Ages. Moving across the familiar period lines set out in conventional histories, Alexander Nagel explores the deep connections between modern and premodern art to reveal the underlying patterns and ideas traversing centuries of artistic practice. In a series of episodic chapters, he reconsiders from an innovative double perspective a number of key issues in the history of art, from iconoclasm and idolatry to installation and the museum as institution. He shows how the central tenets of modernism – serial production, site-specificity, collage, the readymade, and the questioning of the nature of art and authorship – were all features of earlier times before modernity, revived by recent generations. Nagel examines, among other things, the importance of medieval cathedrals to the 1920s Bauhaus movement, the parallels between Renaissance altarpieces and modern preoccupations with surface and structure; the relevance of Byzantine models to Minimalist artists; the affinities between ancient holy sites and early earthworks; and the similarities between the sacred relic and the modern readymade. Alongside the work of leading 20th-century medievalist writes such as Walter Benjamin, Marshall McLuhan, Leo Steinberg, and Duchamp, Kurt Schwitters, Robert Smithson, and Damien Hirst. The effect of these encounters goes in two directions at once: each age offers new insights into the other, deepening our understanding of both past and present, and providing a new set of reference points that reframe the history of art itself.

This rich and varied collection of essays by scholars and interviews with artists approaches the fraught topic of book destruction from a new angle, setting out an alternative history of the cutting, burning, pulping, defacing and tearing of books from the medieval period to our own age.

Contemporary arts, both practice and methods, offer medieval scholars innovative ways to examine, explore, and reframe the past. Medievalists offer contemporary studies insights into cultural works of the past that have been made or reworked in the present. Creative-critical writing invites the adaptation of scholarly style using forms such as the dialogue, short essay, and the poem; these are, the authors argue, appropriate ways to explore innovative pathways from the contemporary to the medieval, and vice versa. Speculative and non-traditional, The Contemporary Medieval in Practice adapts the conventional scholarly essay to reflect its cross-disciplinary, creative subject. This book ‘does’ Medieval Studies differently by bringing it into relation with the field of contemporary arts and by making ‘practice’, in the sense used by contemporary arts and by creative-critical writing, central to it. Intersecting with a number of urgent critical discourses and cultural practices, such as the study of the environment and the ethics of understanding bodies, identities, and histories, this short, accessible book offers medievalists a distinctive voice in multi-disciplinary, trans-chronological, collaborative conversations about the Humanities. Its subject is early medieval British culture, often termed Anglo-Saxon Studies (c. 500–1100), and its relation with, use of, and re-working in contemporary visual, poetic, and material culture (after 1950). ‘The Contemporary Medieval in Practice is both wise and unafraid to take risks. Fully embedded in scholarship yet reaching into unmapped territory, the authors move across disciplines and forge surprising links. Thought-provoking and evocative, this is a book that will have an impact that far belies its modest length.’ – Linda Anderson, Newcastle University

This volume traces transformations in attitudes toward, ideas about, and experiences of religion and the senses in the medieval and early modern period. Broad in temporal and geographical scope, it challenges traditional notions of periodisation, highlighting continuities as well as change. Rather than focusing on individual senses, the volume’s organisation emphasises the multisensoriality and embodied nature of religious practices and experiences, refusing easy distinctions between asceticism and excess. The senses were not passive, but rather active and reactive, res-ponding to and initiating change. As the contributions in this collection demonstrate, in the pre-modern era, sensing the sacred was a complex, vexed, and constantly evolving process, shaped by individuals, environment, and religious change. The volume will be essential reading not only for scholars of religion and the senses, but for anyone interested in histories of medieval and early modern bodies, material culture, affects, and affect theory.

The modern state, however we conceive of it today, is based on a pattern that emerged in Europe in the period from 1100 to 1600. Inspired by a lifetime of teaching and research, On the Medieval Origins of the Modern State is a classic work on what is known about the early history of the European state. This short, clear book book explores the European state in its infancy, especially in institutional developments in the administration of justice and finance. Forewords from Charles Tilly and William Chester Jordan demonstrate the perennial importance of Joseph Strayer's book, and situate it within a contemporary context. Tilly demonstrates how Strayer’s work has set the agenda for a whole generation of historical analysts, not only in medieval history but also in the comparative study of state formation. William Chester Jordan's foreword examines the scholarly and pedagogical setting within which Strayer produced his book, and how this both enhanced its accessibility and informed its focus on peculiarly English and French accomplishments in early state formation.

The debate about when the middle ages ended and the modern era began, has long been a staple of the historical literature. In order to further this debate, and illuminate the implications of a longue durée approach to the history of the Reformation, this collection offers a selection of essays that address the medieval-modern divide. Covering a broad range of topics - encompassing legal, social, cultural, theological and political history - the volume asks fundamental questions about how we regard history, and what historians can learn from colleagues working in other fields that may not at first glance appear to offer any obvious links. By focussing on the concept of the medieval-modern divide - in particular the relation between the Middle Ages and the Reformation - each essay examines how a medievalist deals with a specific topic or issue that is also attracting the attention of Reformation scholars. In so doing it underlines the fact that both medievalists and modernists are often involved in bridging the medieval-modern divide, but are inclined to construct parallel bridges that end between the two starting points but do not necessarily meet. As a result, the volume challenges assumptions about the strict periodization of history, and suggest that a more flexible approach will yield interesting historical insights.