Marian maternity in late-medieval England takes advantage of the fifteenth century’s intense interest in the Virgin Mary, the best-documented mother of the medieval period, to examine the constructions and performances of maternity in vernacular religious texts. By bringing together texts and authors that are not often discussed in tandem, this study offers a rich examination of the multiple factors at play as Marian material circulated among experienced devotional readers. Taking a close look at the private devotional reading of late-medieval patrons, the book shows how texts including Chaucer’s poetry, Margery Kempe’s Boke, and legendaries of female saints are saturated with indirect references to and imitations of the Virgin. Marian maternity in late-medieval England employs a matricentric feminist approach to discern how readers’ devotional literacies inform their understanding and imitation of the Virgin’s maternal practice. Attending to internal cues in the texts, to manuscript contexts, and to the evidence and content of readers’ multiple literacies, the author examines Marian maternity as both theological concept and imitable practice. The result is a book that explains late-medieval perceptions of Mary’s maternity and sets them against readers’ devotional, emotional and relational circumstances.

First book-length study of hagiographical legends of the Virgin Mary in medieval England, with particular reference to her relationship with Jews, books, and the law. Legendary accounts of the Virgin Mary's intercession were widely circulated throughout the middle ages, borrowing heavily, as in hagiography generally, from folktale and other motifs; she is represented in a number of different, often surprising, ways, rarely as the meek and mild mother of Christ, but as bookish, fierce, and capricious, amongst other attributes. This is the first full-length study of their place in specifically English medieval literary and cultural history. While the English circulation of vernacular Miracles of the Virgin is markedly different from continental examples, this book shows how difference and miscellaneity can reveal important developments withinan unwieldy genre. The author argues that English miracles in particular were influenced by medieval England's troubled history with its Jewish population and the rapid thirteenth-century codification of English law, so that Maryfrequently becomes a figure with special dominion over Jews, text, and legal problems. The shifting codicological and historical contexts of these texts make it clear that the paradoxical sign"Mary" could signify in both surprisingly different and surprisingly consistent ways, rendering Mary both mediatrix and legislatrix. ADRIENNE WILLIAMS BOYARIN is Assistant Professor of English at the University of Victoria (British Columbia).

Over the last twenty-five years, the ‘history of emotion’ field has become one of the most dynamic and productive areas for humanities research. This designation, and the marked leadership of historians in the field, has had the unlooked-for consequence of sidelining literature — in particular secular literature — as evidence-source and object of emotion study. Secular literature, whether fable, novel, fantasy or romance, has been understood as prone to exaggeration, hyperbole, and thus as an unreliable indicator of the emotions of the past. The aim of this book is to decentre history of emotion research and asks new questions, ones that can be answered by literary scholars, using literary texts as sources: how do literary texts understand and depict emotion and, crucially, how do they generate emotion in their audiences — those who read them or hear them read or performed?

By the late Middle Ages, manifestations of Marian devotion had become multifaceted and covered all aspects of religious, private and personal life. Mary becomes a universal presence that accompanies the faithful on pilgrimage, in dreams, as holy visions, and as pictorial representations in church space and domestic interiors. The first part of the volume traces the development of Marian iconography in sculpture, panel paintings, and objects, such as seals, with particular emphasis on Italy, Slovenia and the Hungarian Kingdom. The second section traces the use of Marian devotion in relation to space, be that a country or territory, a monastery or church or personal space, and explores the use of space in shaping new liturgical practices, new Marian feasts and performances, and the bodily performance of ritual objects.

Glenn D. Burger argues that, over the course of the long fourteenth century, the "invention" of the good wife in discourses of sacramental marriage, private devotion, and personal conduct reconfigures how female embodiment is understood.

A close examination of religious texts illuminates the way in which parish priests dealt with their female parishioners in the middle ages.

In the period between the Second World War and the present, there has been an extraordinary rise in the production of medievalist fantasy literature and film. This has been accompanied by the revival, performance and invention of medieval music. In this enterprise modern fantasies of the Middle Ages have exercised great influence. Fantasies of music in nostalgic medievalism shows how music, medievalism and nostalgia have been woven together in the fantasies of writers and readers, musicians, musicologists, directors and listeners, film-makers and film-goers. This book studies the ways in which three fields of creative activity inspired by the medieval – musical performance, literature, cinema and their reception – have worked together to produce and sustain, for some, the fantasy of a long-lost, long-mourned paradisal home.