English Psalms in the Middle Ages, 1300-1450 explores vernacular translation, adaptation, and paraphrase of the biblical psalms. Focussing on a wide and varied body of texts, it examines translations of the complete psalter as well as renditions of individual psalms and groups of psalms. Exploring who translated the psalms, and how and why they were translated, it also considers who read these texts and how and why they were read. Annie Sutherland foregrounds the centrality of the voice of David in the devotional landscape of the period, suggesting that the psalmist offered the prayerful, penitent Christian a uniquely articulate and emotive model of utterance before God. Examining the evidence of contemporary wills and testaments as well as manuscripts containing the translations, she highlights the popularity of the psalms among lay and religious readers, considering how, when, and by whom the translated psalms were used as well as thinking about who translated them and how and why they were translated. In investigating these and other areas, English Psalms in the Middle Ages, 1300-1450 raises questions about interactions between Latinity and vernacularity in the late Middle Ages and situates the translated psalms in a literary and theoretical context.

An examination of how The Book of Psalms shaped medieval thought and helped develop the medieval English literary canon. The Book of Psalms had a profound impact on English literature from the Anglo-Saxon to the late medieval period. This collection examines the various ways in which they shaped medieval English thought and contributed to the emergence of an English literary canon. It brings into dialogue experts on both Old and Middle English literature, thus breaking down the traditional disciplinary binaries of both pre- and post-Conquest English and late medieval and Early Modern, as well as emphasizing the complex and fascinating relationship between Latin and the vernacular languages of England. Its three main themes, translation, adaptation and voice, enable a rich variety of perspectives on the Psalms and medieval English literature to emerge. TAMARA ATKIN is Senior Lecturer in Late Medieval and Early Renaissance Literature at Queen Mary University of London; FRANCIS LENEGHAN is Associate Professor of OldEnglish at The University of Oxford and a Fellow of St Cross College, Oxford Contributors: Daniel Anlezark, Mark Faulkner, Vincent Gillespie, Michael P. Kuczynski, David Lawton, Francis Leneghan, Jane Roberts, Mike Rodman Jones, Elizabeth Solopova, Lynn Staley, Annie Sutherland, Jane Toswell, Katherine Zieman.

Throughout history, the study of sacred texts has focused almost exclusively on the content and meaning of these writings. Such a focus obscures the fact that sacred texts are always embodied in particular material forms—from ancient scrolls to contemporary electronic devices. Using the digital turn as a starting point, this volume highlights material dimensions of the sacred texts of Judaism, Christianity, and Islam. The essays in this collection investigate how material aspects have shaped the production and use of these texts within and between the traditions of Judaism, Christianity, and Islam, from antiquity to the present day. Contributors also reflect on the implications of transitions between varied material forms and media cultures. Taken together, the essays suggests that materiality is significant for the academic study of sacred texts, as well as for reflection on developments within and between these religious traditions. This volume offers insightful analysis on key issues related to the materiality of sacred texts in the traditions of Judaism, Christianity, and Islam, while also highlighting the significance of transitions between various material forms, including the current shift to digital culture.

Essays on women and devotional literature in the Middle Ages in commemoration and celebration of the respected feminist scholar Catherine Innes-Parker. Silence was a much-lauded concept in the Middle Ages, particularly in the context of religious literature directed at women. Based on the Pauline prescription that women should neither preach nor teach, and should at all times keep speech to a minimum, the concept of silence lay at the forefront of many devotional texts, particularly those associated with various forms of women's religious enclosure. Following the example of the Virgin Mary, religious women were exhorted to speak seldom, and then only seriously and devoutly. However, as this volume shows, such gendered exhortations to silence were often more rhetorical than literal. The contributions range widely: they consider the English 'Wooing Group' texts and female-authored visionary writings from the Saxon nunnery of Helfta in the thirteenth century; works by Richard Rolle and the Dutch mystic Jan van Ruusbroec in the fourteenth century; Anglo-French treatises, and books housed in the library of the English noblewoman Cecily Neville in the fifteenth century; and the resonant poetics of women from non-Christian cultures. But all demonstrate the ways in which silence, rather than being a mere absence of speech, frequently comprised a form of gendered articulation and proto-feminist point of resistance. They thus provide an apt commemoration and celebration of the deeply innovative work of Catherine Innes-Parker (1956-2019), the respected feminist scholar and a pioneer of this important field of study.

In Illuminating Jesus in the Middle Ages, editor Jane Beal and other scholars analyse the reception history of images and ideas about Jesus in medieval cultures (6th–15th c.). They consider representations of Jesus in the liturgy of the medieval church, Psalters and psalm commentaries, bestiaries, the Glossa ordinaria, and Middle English vitae Christi as well as among the English, the Irish, and Europeans, adherents to the cult of the Holy Name, participants in the Feast of Corpus Christi, and medieval contemplatives, including Bede, Theophylact of Ochrid, Saint Francis, Gertrude the Great, Dante, Julian of Norwich, and medieval English and European visionaries, among others. Contributors are Jane Beal, George Hardin Brown, Aaron Canty, Tomás Ó Cathasaigh, Thomas Cattoi, Andrew Galloway, Julia Bolton Holloway, Michael Kuczynski, Rob Lutton, Vittorio Montemaggi, Paul Patterson, Linda Stone, Lesley Sullivan Marcantonio, Larry Swain, Donna Trembinski, Nancy van Deusen, and Barbara Zimbalist.

A new look at how reading was practised and represented in England from the seventh century to the beginnings of the print era, finding many kinships between reading cultures across the medieval longue durée.

Was there a women's movement in the thirteenth century and is such a question meaningful in its medieval context? Far from being resolved, the issue of whether women had a thirteenth-century renaissance has still decisively to unsettle the periodization of Western European history in twelfth and sixteenth-century humanist renaissances. Herbert Grundmann long ago demonstrated the participation of women in the eremitically-inspired reforming movements of the twelfth and thirteenth centuries, and in the production of vernacular literature. Yet it is upon his work that this volume builds, for the diocese of Liege is the key area in this development. It was from Liege that Jacques de Vitry approached the papacy to secure permission for the women of this bishopric of Liege, France and Germany to live together and to promote holiness in each other by mutual example. The seventeen contributors to this volume examine not only the beguine religious life in the southern Low Countries, but also the impact of this movement on later medieval Sweden, England and France, the new modes of influence exerted by women in their religious lives, and the revivals of feminine spirituality in the late medieval West through to contemporary North America. Research does not yet allow for a whole new synthesis, but this volume directs scholars to detailed work on specific localities and persons, with an awareness of the problems and possibilities of wider European comparisons.

Discusses the techniques, uses, and aesthetics of medieval drawings; and reproduces work from more than fifty manuscripts produced between the ninth and early fourteenth century.