Working medievalists are often the only scholar of the Middle Ages in a department, a university, or a hundred-mile radius. While working to build a body of focused scholarly work, the lone medievalist is expected to be a generalist in the classroom and a contributing member of a campus community that rarely offers disciplinary community in return. As a result, overtasked and single medievalists often find it challenging to advocate for their work and field. As other responsibilities and expectations crowd in, we come to feel disconnected from the projects and subjects that sustain our intellectual passion. An insidious isolation even from one another creeps in, and soon, even attending a conference of fellow medievalists can become a lonely experience. Surrounded by scholars with greater institutional support, lower teaching loads, or more robust research agendas, we may feel alienated from our work - the work to which we've dedicated our careers. The Lone Medievalist (the collaborative community and the book) is intended as an antidote to the problem of professional isolation. It is offered in the spirit of common weal that marks the ideals (if not always the realities) of so many of the communities we study - agricultural, professional, national, notional, and of course, monastic. The Ballad of the Lone Medievalist isn't only about scholarship, or teaching, or institutional life, or the pursuit of new learning - it's about all of them. The essays in this volume address all aspects of the professional and intellectual life of medievalists. Though many of us acknowledge and address the challenges in being Lone Medievalists, these essays are not intended as voces clamantium; they are offered to provide strategies, camaraderie, and an occasional bit of inspiration. They are a call to action, a sharing of hard-won wisdom, and a helping hand - and, above all, a reminder that we are not alone.

New Directions in Medieval Mystical and Devotional Literature honors the career and scholarship of Denise N. Baker. Contributors include both early career and established scholars, and the collected essays examine a broad range of medieval mystical and religious literature, such as the writings of Julian of Norwich and William Langland.

When scholars discuss the medieval past, the temptation is to become immersed there, to deepen our appreciation of the nuances of the medieval sources through debate about their meaning. But the past informs the present in a myriad of ways and medievalists can, and should, use their research to address the concerns and interests of contemporary society. This volume presents a number of carefully commissioned essays that demonstrate the fertility and originality of recent work in Medieval Studies. Above all, they have been selected for relevance. Most contributors are in the earlier stages of their careers and their approaches clearly reflect how interdisciplinary methodologies applied to Medieval Studies have potential repercussions and value far beyond the boundaries of the Middles Ages. These chapters are powerful demonstrations of the value of medieval research to our own times, both in terms of providing answers to some of the specific questions facing humanity today and in terms of much broader considerations. Taken together, the research presented here also provides readers with confidence in the fact that Medieval Studies cannot be neglected without a great loss to the understanding of what it means to be human.

Examines depictions of grief in the Middle Ages by exploring how grief relates to gender and identity, as well as how men and women perform grief within the various constructions of both gender and grief established by medieval culture.

In this volume seventeen scholars from Great Britain, Ireland, Spain and the US pay tribute to the memory of Roger M Walker, Professor of Spanish at Birkbeck College, London. His publications were chiefly in the field of Old Spanish narrative epic, romance, hagiography and the Libro de buen amor and the editors have sought to assemble contributions on these topics. Versions of some of the papers were presented at the symposium held in Professor Walkers memory at Birkbeck College in October 1999.

This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1964.

Volume 1.

Memories of Colonisation in Medieval and Modern Castile: Rereading and Refashioning al-Andalus traces the evolving memory of a dominant al-Andalus in medieval Castilian and, later, modern Spanish literature, and its overlap with contemporary formations of collective identity, race, and nation. It presents a series of close readings of neomedievalist literary works that look back to the socioeconomic apogee of al-Andalus, the tenth-century Umayyad Caliphate of Cordoba, from the thirteenth to the nineteenth century. These works rewrite what has become known as the story of the siete infantes de Lara, although it is their Andalusi half-brother, Mudarra, who takes centre stage from the early modern period on. In its earliest form, it is a story of a weak, conflictual county of Castile, dependent socioeconomically and morally upon Andalusi intervention. This book therefore traces how a story of Castilian weakness is repeatedly rewritten once the reverse colonial dynamic had taken hold and Castile had begun conquering al-Andalus. Memories of Colonisation asks why Mudarra and the infantes continue to reappear in medieval chronicles, from the Estoria de España to lesser-known regional historiography, early modern ballads, comedias, and nineteenth-century Romantic poetry and prose. By examining how each of these texts remember tenth century Iberia's fluid geographical and interracial boundaries, it explores how they support or challenge dominant contemporary discourses of collective identity, race, and nation; from the neogothic aspirations of thirteenth-century Castile to the antisemitism of fifteenth-century Toledo, expansion in the Mediterranean, the Islamophobia of the morisco expulsion, and the partisan manipulation of al-Andalus under nineteenth century liberalism. As the first study of the development of Spanish neomedievalism, it explores how this serves as a productive, prescient discourse of cultural memory through which chroniclers, poets, playwrights, and authors can look forward. It questions the inevitability of Christian-Castilian colonial hegemony by invoking a narrative of Christian Iberia's own subjugation by a superior Umayyad Caliphate. It also explores how each text exposes the task of reconstructing historical memory in the present and thereby challenges the notion of a stable, incontestable past for Castile and Spain.

The Oxford Handbook of Music and Medievalism provides a snapshot of the diverse ways in which medievalism--the retrospective immersion in the images, sounds, narratives, and ideologies of the European Middle Ages--powerfully transforms many of the varied musical traditions of the last two centuries. Thirty-three chapters from an international group of scholars explore topics ranging from the representation of the Middle Ages in nineteenth-century opera to medievalism in contemporary video game music, thereby connecting disparate musical forms across typical musicological boundaries of chronology and geography. While some chapters focus on key medievalist works such as Orff's Carmina Burana or Peter Jackson's Lord of the Rings films, others explore medievalism in the oeuvre of a single composer (e.g. Richard Wagner or Arvo Pärt) or musical group (e.g. Led Zeppelin). The topics of the individual chapters include both well-known works such as John Boorman's film Excalibur and also less familiar examples such as Eduard Lalo's Le Roi d'Ys. The authors of the chapters approach their material from a wide array of disciplinary perspectives, including historical musicology, popular music studies, music theory, and film studies, examining the intersections of medievalism with nationalism, romanticism, ideology, nature, feminism, or spiritualism. Taken together, the contents of the Handbook develop new critical insights that venture outside traditional methodological constraints and provide a capstone and point of departure for future scholarship on music and medievalism.