In The Giant Hero in Medieval Literature Tina Boyer counters the monstrous status of giants by arguing that they are more broadly legible than traditionally believed. Building on an initial analysis of St. Augustine’s City of God, Bernard of Clairvaux’s deliberations on monsters and marvels, and readings in Tomasin von Zerclaere’s Welsche Gast provide insights into the spectrum of antagonistic and heroic roles that giants play in the courtly realm. This approach places the figure of the giant within the cultural and religious confines of the twelfth and thirteenth centuries and allows an in-depth analysis of epics and romances through political, social, religious, and gender identities tied to the figure of the giant. Sources range from German to French, English, and Iberian works.

This anthology of international scholarship offers new critical approaches to the study of the many manifestations of the paranormal in the Middle Ages. The guiding principle of the collection is to depart from symbolic or reductionist readings of the subject matter in favor of focusing on the paranormal as human experience and, essentially, on how these experiences are defined by the sources. The authors work with a variety of medieval Icelandic textual sources, including family sagas, legendary sagas, romances, poetry, hagiography and miracles, exploring the diversity of paranormal activity in the medieval North. This volume questions all previous definitions of the subject matter, most decisively the idea of saga realism, and opens up new avenues in saga research.

Giants are a ubiquitous feature of medieval romance. As remnants of a British prehistory prior to the civilization established, according to the Historium regum Britannie, by Brutus and his Trojan followers, giants are permanently at odds with the chivalric culture of the romance world. Whether they are portrayed as brute savages or as tyrannical pagan lords, giants serve as a limit against which the chivalric hero can measure himself. In Outsiders: The Humanity and Inhumanity of Giants in Medieval French Prose Romance, Sylvia Huot argues that the presence of giants allows for fantasies of ethnic and cultural conflict and conquest, and for the presentation—and suppression—of alternative narrative and historical trajectories that might have made Arthurian Britain a very different place. Focusing on medieval French prose romance and drawing on aspects of postcolonial theory, Huot examines the role of giants in constructions of race, class, gender, and human subjectivity. She selects for study the well-known prose Lancelot and the prose Tristan, as well as the lesser known Perceforest, Le Conte du papegau, Guiron le Courtois, and Des Grantz Geants. By asking to what extent views of giants in Arthurian romance respond to questions that concern twenty-first-century readers, Huot demonstrates the usefulness of current theoretical concepts and the issues they raise for rethinking medieval literature from a modern perspective.

Drawing upon the most current methodologies, the essays in this book pursue the multifarious functions of end-times in medieval German texts.

Jan Huizinga and Roger Caillois have already taught us to realize how important games and play have been for pre-modern civilization. Recent research has begun to acknowledge the fundamental importance of these aspects in cultural, religious, philosophical, and literary terms. This volume expands on the traditional approach still very much focused on the materiality of game (toys, cards, dice, falcons, dolls, etc.) and acknowledges that game constituted also a form of coming to terms with human existence in an unstable and volatile world determined by universal randomness and fortune. Whether considering blessings or horse fighting, falconry or card games, playing with dice or dolls, we can gain a much deeper understanding of medieval and early modern society when we consider how people pursued pleasure and how they structured their leisure time. The contributions examine a wide gamut of approaches to pleasure, considering health issues, eroticism, tournaments, playing music, reading and listening, drinking alcohol, gambling and throwing dice. This large issue was also relevant, of course, in non-Christian societies, and constitutes a critical concern both for the past and the present because we are all homines ludentes.

The study of pre-modern anthropology requires the close examination of the relationship between nature and human society, which has been both precarious and threatening as well as productive, soothing, inviting, and pleasurable. Much depends on the specific circumstances, as the works by philosophers, theologians, poets, artists, and medical practitioners have regularly demonstrated. It would not be good enough, as previous scholarship has commonly done, to examine simply what the various writers or artists had to say about nature. While modern scientists consider just the hard-core data of the objective world, cultural historians and literary scholars endeavor to comprehend the deeper meaning of the concept of nature presented by countless writers and artists. Only when we have a good grasp of the interactions between people and their natural environment, are we in a position to identify and interpret mental structures, social and economic relationships, medical and scientific concepts of human health, and the messages about all existence as depicted in major art works. In light of the current conditions threatening to bring upon us a global crisis, it matters centrally to take into consideration pre-modern discourses on nature and its enormous powers to understand the topoi and tropes determining the concepts through which we perceive nature. Nature thus proves to be a force far beyond all human comprehensibility, being both material and spiritual depending on our critical approaches.

The date of the Cerne Giant has long been a matter for debate, as exemplified by a public and televised debate of March 1996, published as The Cerne Giant: An Antiquity on Trial (1999, Oxbow Books). Excavations were conducted in 2020 by the National Trust in the centenary year of its ownership of the Giant. The excavations were limited and targeted in extent and scope, the aim was to date the actual construction of the iconic figure by absolute dating methods (OSL). As the 1999 publication explained, the jury was still out – with advocates for a prehistoric origin, one connected to the period of the Civil War or a more modern one. In the event, the dates were a complete surprise, falling within the Anglo-Saxon period. The research has provided an accurate, scientifically verified date for the Cerne Giant. These unexpected results, together with the land-use history and ominous ‘disappearance’ of the Giant for six centuries, provide the platform for reconsideration and new discussion and debate. Part 1 deals with new research: the historical background and aims, the excavation results, stratigraphic finds, geoarchaeological interpretation, land-use history (environmental/land snails), and discussion. Part 2 is the wider discussion and implications derived from the results and places the Giant in his local and Saxon context. Part 3 begins with summaries of the other two excavated hill figures (the Long Man of Wilmington and the Uffington White Horse) followed by a series of essays from leading archaeologists, historians and experts in early medieval iconography.

"One of the great virtues of American/Medieval Goes North is ist wide range of contributors with fascinatingly diverse relationships to the main terms of analysis. There are academic scholars, poets, filmmakers, tribal elders, teachers at various levels; there are Indigenous people, people from settler colonial cultures, expats, immigrants. Their analytic and imaginative encounters with the North catch at the intensely symbolic and political charge of that locus. At a time when Medieval Studies cannot afford to ignore the period's popular uptake – cannot continue with business as usual in the face of white supremacists' brazen appropriations of the Middle Ages – this volume points to new possibilities for grappling with the uneasy relationships between the 'American' and the 'medieval'." – Prof Carolyn Dinshaw, New York University

Combat is one of the central themes of Middle High German narrative literature, and of significant interest to medievalists in general. Nevertheless, few studies to date have attempted a detailed analysis of the depiction of combat in literary texts. Rachel Kellett uses an inclusive approach to the details of combat descriptions in order to analyse minutely the scenes of single combat and battle presented in two major narrative works by Der Stricker, the epic Karl der Grosse and the Arthurian romance Daniel von dem Bluuml;henden Tal, written between 1220 and 1250. The author compares these works with a wide range of other texts, both French and German, and investigates the relationship between Stricker's depiction of combat and that found in the works of Hartmann von Aue and Wolfram von Eschenbach among others. She also draws on historical research into medieval warfare, tournament and the tradition of the judicial combat, which adds valuable depth to her analysis of literary texts. Overall, this study provides new insights into the depiction of combat in Middle High German literature as a whole, while at the same time highlighting hitherto unnoticed aspects of the writings of Der Stricker as an individual author, and bringing a new perspective on the ambiguous role played by combat in the equally ambiguous Daniel von dem Bluuml;henden Tal.

This is the first book-length exploration of the type-scenes of western medieval literature from the ninth to the fifteenth centuries, spanning both the Latinate and Germanic traditions. Type-scenes are the recurring, stock scenes comprising the basic structure and cognitive guidance for narrative. These formulaic scenes enabled medieval poets to express originality while honoring tradition. Central to medieval poetic invention, type-scenes form the vital “internal organs” of narrative, each serving a specialized function while working in concert with other organs to create and sustain the story. This accessible and engaging guide to medieval type-scenes consists of three parts: Part I is a compendium of the type-scenes commonly found in medieval narrative, including analyses of examples from individual poems. Part II explores combinations of type-scenes within single works of literature for purposes of chronology, characterization, or virtuosity. Part III examines how a single type-scene manifests across multiple poems, adapting to a variety of settings and periods, while maintaining its original intent. This volume kindles in scholars, teachers, and students alike a new and refreshing awareness of the foundational narrative strategies of medieval literature.