The translation is based on the Latin edition prepared by E.J. Arnould, published in 1957 under the title: The Melos amoris, Lincoln College (University of Oxford), Library, Manuscript Lat. 89.

This volume includes a translation of the major prose works, several of the ascribed lyrics and a selection of the commentaries written in English by this fourteenth-century (c. 1300-1349) English mystical writer and hermit.

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The story of how four young bohemians on the make - Bob Dylan, Joan Baez, Mimi Baez, and Richard Farina - converged in Greenwich Village, fell into love, and invented a sound and a style that are one of the most lasting legacies of the 1960s When Bob Dylan, age twenty-five, wrecked his motorcycle on the side of a road near Woodstock in 1966 and dropped out of the public eye, he was recognized as a genius, a youth idol, and the authentic voice of the counterculture: and Greenwich Village, where he first made his mark as a protest singer with an acid wit and a barbwire throat, was unquestionably the center of youth culture. So embedded are Dylan and the Village in the legend of the Sixties--one of the most powerful legends we have these days--that it is easy to forget how it all came about. In Positively Fourth Street, David Hajdu, whose 1995 biography of jazz composer Billy Strayhorn was the best and most popular music book in many seasons, tells the story of the emergence of folk music from cult practice to popular and enduring art form as the story of a colorful foursome: not only Dylan but his part-time lover Joan Baez - the first voice of the new generation; her sister Mimi - beautiful, haunted, and an artist in her own right; and her husband Richard Farina, a comic novelist (Been Down So Long It Looks Like Up To Me) who invented the worldliwise bohemian persona that Dylan adopted--some say stole--and made as his own. The story begins in the plain Baez split-level house in a Boston suburb, moves to the Cambridge folk scene, Cornell University (where Farina ran with Thomas Pynchon), and the University of Minnesota (where Robert Zimmerman christened himself Bob Dylan and swapped his electric guitar for an acoustic and a harmonica rack) before the four protagonists converge in New York. Based on extensive new interviews and full of surprising revelations, Positively Fourth Street is that rare book with a new story to tell about the 1960s. It is, in a sense, a book about the Sixties before they were the Sixties--about how the decade and all that it is now associated with it were created in a fit of collective inspiration, with an energy and creativity that David Hajdu captures on the page as if for the first time.

Richard Methley (ca. 1450–1527/8), a Carthusian of Mount Grace, was the last great mystic before the English Reformation. Most of his prolific works are lost, but the treatises translated here display the same kind of experiential, affective, and ecstatic mysticism that is often labeled "feminine." Dating from the 1480s, they include a guide to contemplative prayer, a spiritual diary, and an unknown work on the discernment of spirits. Indebted to Richard Rolle and compared by one of his contemporaries to Margery Kempe, Methley will be an exciting discovery for students of late medieval religion.

The author argues that in these devotional works (which appealed to a broad readership in late medieval England) Rolle successfully refines traditional affective strategies to develop an implied reader-identity, the individual soul seeking the love of God, which empowers each and every reader in his or her own spiritual journey."--Jacket.

Tekla Bude starts from a simple premise--that music requires a body to perform it--to rethink the relationship between music, matter, and the body in the late medieval period. Sonic Bodies argues that writers thought of "music" and "the body" as mutually dependent and historically determined processes that called each other into being.