The Play about the Antichrist (Ludus de Antichristo) was composed around 1160 at the imperial Bavarian abbey of Tegernsee, at a critical point in the power-struggle between the papacy and Emperor Frederick Barbarossa. This new translation and commentary reveals this drama to be strikingly representative of the role that theatrical performance played in shaping contemporary politics, diplomacy, and public opinion. It also shows how drama functioned as an integral component of the educational curricula of elite monastic institutions like Tegernsee, where political administrators and diplomats were trained, and how performance served as a common, connective lingua franca among monasteries in twelfth-century Bavaria. In this new translation, Carol Symes provides the first full and faithful rendering of the play’s dynamic language, maintaining the meter, rhyme scheme, and stage directions of the Latin original and restoring the liturgical elements embedded in the text. Kyle A. Thomas, whose fully-staged production tested the theatricality of this translation, provides a new historical and dramaturgical analysis of the play’s rich interpretive and performative possibilities.

Nine outstanding plays composed during the period of the finest flowering of medieval Latin drama.

'A New History of German Literature' offers some 200 essays on events in German literary history.

Babylon under Western Eyes examines the mythic legacy of ancient Babylon, the Near Eastern city which has served western culture as a metaphor for power, luxury, and exotic magnificence for more than two thousand years. Sifting through the many references to Babylon in biblical, classical, medieval, and modern texts, Andrew Scheil uses Babylon’s remarkable literary ubiquity as the foundation for a thorough analysis of the dynamics of adaptation and allusion in western literature. Touching on everything from Old English poetry to the contemporary apocalyptic fiction of the “Left Behind” series, Scheil outlines how medieval Christian society and its cultural successors have adopted Babylon as a political metaphor, a degenerate archetype, and a place associated with the sublime. Combining remarkable erudition with a clear and accessible style, Babylon under Western Eyes is the first comprehensive examination of Babylon’s significance within the pantheon of western literature and a testimonial to the continuing influence of biblical, classical, and medieval paradigms in modern culture.

Vince has provided a useful and, for the most part, usable reference work. His introduction should be required reading for anyone approaching medieval theater. Choice Scholars increasingly see medieval theatre as a complex and vital performance medium related more closely to political, religious, and social life than to literature as we know it. Reflecting the current interest in performance, A Companion to the Medieval Theatre presents 250 alphabetically arranged entries offering a panoramic view of European and British theatrical productions between the years 900 and 1550. The volume features 30 essays contributed by an international group of specialists and includes many shorter entries as well as systematic cross-referencing, a chronology, a bibliography, and a full complement of indexes. Major entries focus on the theatres of the principal linguistic areas (the British Isles, France, Germany, Iberia, Italy, Scandinavia, the Low Countries, and Eastern Europe), and on dramatic forms and genres such as liturgical drama, Passion and saint plays, morality plays, folk drama, and Humanist drama. Other articles examine costume, acting, pageantry, and music, and explore the theatrical dimension of courtly entertainment, the dance, and the tournament. Short entries supply information on over one hundred playwrights, directors, actors and antiquarians whose contributions to the theatre have been documented. This informative guide brings new depth to our appreciation of the richness and color of medieval public entertainments and the symbolism and pageantry that were a part of daily life in the Middle Ages. Designed to appeal to general reader, this volume is also an attractive choice for libraries serving students and scholars of theatre history, English and European literatures, medieval history, cultural history, drama, and performance.

Bringing together thirteen leading art historians, Beyond the Yellow Badge seeks to reframe the relationship between European visual culture and the many changing aspects of the Christian majority’s negative conceptions of Jews and Judaism during the Middle Ages and early modern periods.

The Politics to Come brings together an international collection of thinkers to consider the meaning of liberal democratic modernity at a moment when its future has never been less certain. It examines the explosive threats the liberal order confronts today: financial meltdown, religious extremism, environmental catastrophe. Yet, it also seeks to place these - singularly modern - crises within a much longer history. For the contributors to this collection, it is the ancient religious tradition called 'the messianic' that provides the critical lens through which modernity may be interrogated. In its ongoing struggles with the messianic, liberal modernity confronts the promise and threat of a radically new Politics to Come. So what are the Politics to Come? How do they manifest themselves throughout history? Why does the possibility of a messianic judgement continue to haunt the western political imaginary? This collection offers a series of political, philosophical and theological perspectives from which the future of liberal modernity - if it has one - can be imagined.

Originally published in German in 1988, The Apocalypse in Germany is now available for the first time in English. A fitting subject for the dawn of the new millennium, the apocalypse has intrigued humanity for the last two thousand years, serving as both a fascinating vision of redemption and a profound threat. A cross-disciplinary study, The Apocalypse in Germany analyzes fundamental aspects of the apocalypse as a religious, political, and aesthetic phenomenon. Author Klaus Vondung draws from religious, philosophical, and political texts, as well as works of art and literature. Using classic Jewish and Christian apocalyptic texts as symbolic and historical paradigms, Vondung determines the structural characteristics and the typical images of the apocalyptic worldview. He clarifies the relationship between apocalyptic visions and utopian speculations and explores the question of whether modern apocalypses can be viewed as secularizations of the Judeo-Christian models. Examining sources from the eighteenth century to the present, Vondung considers the origins of German nationalism, World War I, National Socialism, and the apocalyptic tendencies in Marxism as well as German literature--from the fin de siècle to postmodernism. His analysis of the existential dimension of the apocalypse explores the circumstances under which particular individuals become apocalyptic visionaries and explains why the apocalyptic tradition is so prevalent in Germany. The Apocalypse in Germany offers an interdisciplinary perspective that will appeal to a broad audience. This book will also be of value to readers with an interest in German studies, as it clarifies the riddles of Germany's turbulent history and examines the profile of German culture, particularly in the past century.