Fresh investigations into heresy after 1300, demonstrating its continuing importance and influence. From the Gregorian reforms to the Protestant Reformation, heresies and heretics helped shape the religious, political, and institutional structures of medieval Europe. Within this larger history of religious ferment, the late medieval period presents a particularly dynamic array of heterodox movements, dissident modes of thought, and ecclesiastical responses. Yet recent debates about the nature of heresy in the twelfth and thirteenth centuries have too easily created an impression of the period after 1300 as merely an epilogue to the high medieval story. This volume takes the history of heresy in late medieval Europe (1300-1500) on its own terms. From Paris to Prague and fromnorthern Germany to Italy and even extending as far as Ethiopia, the essays shed new light on a vibrant world of audacious beguines, ardent Joachites, Spiritual Franciscans, innovative mystics, lay prophets, idiosyncratic alchemists, daring magicians, and even rebellious princes locked in battles with the papacy. As befits a collection honoring the pioneering career of Robert E. Lerner, the studies collected here combine close readings of manuscripts andother sources with a grounding in their political, religious and intellectual contexts, to offer fresh insights into heresies and heretics in late medieval Europe. MICHAEL D. BAILEY is Professor of History at Iowa State University; SEAN L. FIELD is Professor of History at the University of Vermont. Contributors: Louisa A. Burnham, Elizabeth Casteen, Joerg Feuchter, Samantha Kelly, Richard Kieckhefer, Deeana Copeland Klepper, FrancesKneupper, Georg Modestin, Barbara Newman, Sylvain Piron, Justine L. Trombley.

A series of interviews with some of the foremost dancers in twentieth-century ballet, Never Far from Dancing reflects on the paths that their careers have taken since they retired from the stage. Barbara Newman has expertly edited each of her interviews to read as a monologue, addressing every aspect of ballet, from its styles and technical demands to its personalities, its celebrated roles and, most of all, to what happens when the dancing stops. While ballet invites all manner of writing from critics, admirers and academics, the thoughts and experiences of the dancers themselves are seldom recorded. Here, those who scaled the heights of their art hand down their wisdom and recount lives spent in this most enduring of art forms.

A series of interviews with some of the foremost dancers in twentieth-century ballet, Never Far from Dancing reflects on the paths that their careers have taken since they retired from the stage. Barbara Newman has expertly edited each of her interviews to read as a monologue, addressing every aspect of ballet, from its styles and technical demands to its personalities, its celebrated roles and, most of all, to what happens when the dancing stops. While ballet invites all manner of writing from critics, admirers and academics, the thoughts and experiences of the dancers themselves are seldom recorded. Here, those who scaled the heights of their art hand down their wisdom and recount lives spent in this most enduring of art forms.

New, sparkling translations of the Letters of Two Lovers, the Tegernesee Letters, and selections from the Regensburg Songs Nine hundred years ago in Paris, a teacher and his brilliant female student fell in love and chronicled their affair in a passionate correspondence. Their 116 surviving letters, some whole and some fragmentary, are composed in eloquent, highly rhetorical Latin. Since their discovery in the late twentieth century, the Letters of Two Lovers have aroused much attention because of their extreme rarity. They constitute the longest correspondence by far between any two persons from the entire Middle Ages, and they are private rather than institutional-which means that, according to all we know about the transmission of medieval letters, they should not have survived at all. Adding to their mystery, the letters are copied anonymously in a single late fifteenth-century manuscript, although their style and range of reference place them squarely in the early twelfth century. Can this collection of correspondence be the previously lost love letters of Abelard and Heloise? And even if not, what does it tell us about the lived experience of love in the twelfth century? Barbara Newman contends that these teacher-student exchanges bear witness to a culture that linked Latin pedagogy with the practice of ennobling love and the cult of friendship during a relatively brief period when women played an active part in that world. Newman presents a new translation of these extraordinary letters, along with a full commentary and two extended essays that parse their literary and intellectual contexts and chart the course of the doomed affair. Included, too, are two other sets of twelfth-century love epistles, the Tegernsee Letters and selections from the Regensburg Songs. Taken together, they constitute a stunning contribution to the study of the history of emotions by one of our most prominent medievalists.

Human development is fascinating. This text uses a life-stage approach to present development across the life span, drawing on the psychosocial theory of Erik Erikson to provide a conceptual framework. The authors address physical, intellectual, social, and emotional growth in 11 life stages, from the prenatal period through elderhood, focusing on the idea that development results from the interdependence of individuals and their environments at every stage, and placing special emphasis on how optimal development may be fostered throughout life. They also provide many cases that show you how research and theories can be applied to contemporary issues, the diversity of experiences that are possible at a certain period of life, and how people cope with challenges they face at various points in life.

A critic and writer on dance for well over twenty years, Barbara Newman has gone in search of teachers and coaches, directors, choreographers and stagers - former dancers who had turned the focus of their own experience on others - to explain the state of ballet today. Among leaders of the dance world the author interviewed were Suki Schorer, Helgi Tomasson, Mark Morris, Violette Verdy and 14 other artists whose work she knew and respected, most of them active outside of New York and London. Newman is not interested in dance as an aesthetic abstraction, and the people who answered her questions were not speaking theoretically. On the contrary, her speculation and their responses bring an elusive subject down to earth, illuminating a process that reaches back in history and forward to today, though its dreams are of a world no one can imagine.

How, Barbara Newman asks, did the myth of the separable heart take such a firm hold in the Middle Ages, from lovers exchanging hearts with one another to mystics exchanging hearts with Jesus? What special traits gave both saints and demoniacs their ability to read minds? Why were mothers who died in childbirth buried in unconsecrated ground? Each of these phenomena, as diverse as they are, offers evidence for a distinctive medieval idea of the person in sharp contrast to that of the modern "subject" of "individual." Starting from the premise that the medieval self was more permeable than its modern counterpart, Newman explores the ways in which the self's porous boundaries admitted openness to penetration by divine and demonic spirits and even by other human beings. She takes up the idea of "coinherence," a state familiarly expressed in the amorous and devotional formula "I in you and you in me," to consider the theory and practice of exchanging the self with others in five relational contexts of increasing intimacy. Moving from the outside in, her chapters deal with charismatic teachers and their students, mind-reading saints and their penitents, lovers trading hearts, pregnant mothers who metaphorically and literally carry their children within, and women and men in the throes of demonic obsession. In a provocative conclusion, she sketches some of the far-reaching consequences of this type of personhood by drawing on comparative work in cultural history, literary criticism, anthropology, psychology, and ethics. The Permeable Self offers medievalists new insight into the appeal and dangers of the erotics of pedagogy; the remarkable influence of courtly romance conventions on hagiography and mysticism; and the unexpected ways that pregnancy—often devalued in mothers—could be positively ascribed to men, virgins, and God. The half-forgotten but vital idea of coinherence is of relevance far beyond medieval studies, however, as Newman shows how it reverberates in such puzzling phenomena as telepathy, the experience of heart transplant recipients who develop relationships with their deceased donors, the phenomenon of psychoanalytic transference, even the continuities between ideas of demonic possession and contemporary understandings of obsessive-compulsive disorder. In The Permeable Self Barbara Newman once again confirms her status as one of our most brilliant and thought-provoking interpreters of the Middle Ages.

New, sparkling translations of the Letters of Two Lovers, the Tegernesee Letters, and selections from the Regensburg Songs Nine hundred years ago in Paris, a teacher and his brilliant female student fell in love and chronicled their affair in a passionate correspondence. Their 116 surviving letters, some whole and some fragmentary, are composed in eloquent, highly rhetorical Latin. Since their discovery in the late twentieth century, the Letters of Two Lovers have aroused much attention because of their extreme rarity. They constitute the longest correspondence by far between any two persons from the entire Middle Ages, and they are private rather than institutional-which means that, according to all we know about the transmission of medieval letters, they should not have survived at all. Adding to their mystery, the letters are copied anonymously in a single late fifteenth-century manuscript, although their style and range of reference place them squarely in the early twelfth century. Can this collection of correspondence be the previously lost love letters of Abelard and Heloise? And even if not, what does it tell us about the lived experience of love in the twelfth century? Barbara Newman contends that these teacher-student exchanges bear witness to a culture that linked Latin pedagogy with the practice of ennobling love and the cult of friendship during a relatively brief period when women played an active part in that world. Newman presents a new translation of these extraordinary letters, along with a full commentary and two extended essays that parse their literary and intellectual contexts and chart the course of the doomed affair. Included, too, are two other sets of twelfth-century love epistles, the Tegernsee Letters and selections from the Regensburg Songs. Taken together, they constitute a stunning contribution to the study of the history of emotions by one of our most prominent medievalists.

The sacred and the secular in medieval literature have too often been perceived as opposites, or else relegated to separate but unequal spheres. In Medieval Crossover: Reading the Secular against the Sacred, Barbara Newman offers a new approach to the many ways that sacred and secular interact in medieval literature, arguing that (in contrast to our own cultural situation) the sacred was the normative, unmarked default category against which the secular always had to define itself and establish its niche. Newman refers to this dialectical relationship as "crossover"-which is not a genre in itself, but a mode of interaction, an openness to the meeting or even merger of sacred and secular in a wide variety of forms. Newman sketches a few of the principles that shape their interaction: the hermeneutics of "both/and," the principle of double judgment, the confluence of pagan material and Christian meaning in Arthurian romance, the rule of convergent idealism in hagiographic romance, and the double-edged sword in parody. Medieval Crossover explores a wealth of case studies in French, English, and Latin texts that concentrate on instances of paradox, collision, and convergence. Newman convincingly and with great clarity demonstrates the widespread applicability of the crossover concept as an analytical tool, examining some very disparate works. These include French and English romances about Lancelot and the Grail; the mystical writing of Marguerite Porete (placed in the context of lay spirituality, lyric traditions, and the Romance of the Rose); multiple examples of parody (sexually obscene, shockingly anti-Semitic, or cleverly litigious); and Rene of Anjou's two allegorical dream visions. Some of these texts are scarcely known to medievalists; others are rarely studied together. Newman's originality in her choice of these primary works will inspire new questions and set in motion new fields of exploration for medievalists working in a large variety of disciplines, including literature, religious studies, history, and cultural studies.

Contrary to popular belief, the medieval religious imagination did not restrict itself to masculine images of God but envisaged the divine in multiple forms. In fact, the God of medieval Christendom was the Father of only one Son but many daughters--including Lady Philosophy, Lady Love, Dame Nature, and Eternal Wisdom. "God and the Goddesses" is a study in medieval imaginative theology, examining the numerous daughters of God who appear in allegorical poems, theological fictions, and the visions of holy women. We have tended to understand these deities as mere personifications and poetic figures, but that, Barbara Newman contends, is a mistake. These goddesses are neither pagan survivals nor versions of the Great Goddess constructed in archetypal psychology, but distinctive creations of the Christian imagination. As emanations of the Divine, mediators between God and the cosmos, embodied universals, and ravishing objects of identification and desire, medieval goddesses transformed and deepened Christendom's concept of God, introducing religious possibilities beyond the ambit of scholastic theology and bringing them to vibrant imaginative life.Building a bridge between secular and religious conceptions of allegorized female power, Newman advances such questions as whether medieval writers believed in their goddesses and, if so, in what manner. She investigates whether the personifications encountered in poetic fictions can be distinguished from those that appear in religious visions and questions how medieval writers reconcile their statements about the multiple daughters of God with orthodox devotion to the Son of God. Furthermore, she examines why forms of feminine God-talk that strike many Christians today as subversive or heretical did not threaten medieval churchmen.Weaving together such disparate texts as the writings of Latin and vernacular poets, medieval schoolmen, liturgists, and male and female mystics and visionaries, "God and the Goddesses" is a direct challenge to modern theologians to reconsider the role of goddesses in the Christian tradition.

Why did hagiographers of the late Middle Ages praise mothers for abandoning small children? How did a group of female mystics come to define themselves as "apostles to the dead" and end by challenging God's right to damn? Why did certain heretics around 1300 venerate a woman as the Holy Spirit incarnate and another as the Angelic Pope? In From Virile Woman to WomanChrist, Barbara Newman asks these and other questions to trace a gradual and ambiguous transition in the gender strategies of medieval religious women. An egalitarian strain in early Christianity affirmed that once she asserted her commitment to Christ through a vow of chastity, monastic profession, or renunciation of family ties, a woman could become "virile," or equal to a man. While the ideal of the "virile woman" never disappeared, another ideal slowly evolved in medieval Christianity. By virtue of some gender-related trait-spotless virginity, erotic passion, the capacity for intense suffering, the ability to imagine a feminine aspect of the Godhead-a devout woman could be not only equal, but superior to men; without becoming male, she could become a "womanChrist," imitating and representing Christ in uniquely feminine ways. Rooted in women's concrete aspirations and sufferings, Newman's "womanChrist" model straddles the bounds of orthodoxy and heresy to illuminate the farther reaches of female religious behavior in the Middle Ages. From Virile Woman to WomanChrist will generate compelling discussion in the fields of medieval literature and history, history of religion, theology, and women's studies.

Hildegard of Bingen (1098-1179) would have been an extraordinary person in any age. But for a woman of the twelfth century her achievements were so exceptional that posterity has found it hard to take her measure. Barbara Newman, a premier Hildegard authority, brings major scholars together to present an accurate portrait of the Benedictine nun and her many contributions to twelfth-century religious, cultural, and intellectual life. Written by specialists in fields ranging from medieval theology to medicine to music, these essays offer an understanding of how one woman could transform so many of the traditions of the world in which she lived. Hildegard of Bingen was the only woman of her age accepted as an authoritative voice on Christian doctrine as well as the first woman permitted by the pope to write theological books. She was the author of the first known morality play; an artist of unusual talents; the most prolific chant composer of her era; and the first woman to write extensively on natural science and medicine, including sexuality as seen from a female perspective. She was the only woman of her time to preach openly to mixed audiences of clergy and laity, and the first saint whose biography includes a first-person memoir. Adding to the significance of this volume is the fact that Hildegard's oeuvre reflects the entire sweep of twelfth-century culture and society. Scholars and lay readers alike will find this collection a rich introduction to a remarkable figure and to her tumultuous world. With the commemoration of the 900th anniversary of Hildegard's birth in September 1998, the publication of Voice of the Living Light is especially welcome.

Book Description: The collective work of twenty Christian leaders known for their expertise in Christian education, this book is an up-to-date, comprehensive resource on Christian education, with the emphasis on making disciples as Jesus instructed. This volume addresses spiritual formation for all age groups and gives guidance on how to develop an effective church discipleship ministry. The book shows church leaders how to provide for the spiritual formation of all age groups, including people with special needs, who are often neglected. The aim of the book is to forge a strong connection between what happens on Sunday and how people live every day. The goal is discipleship, stressing how to develop a congregation that is on mission rather than merely a group of people who convene on Sundays. The book contains a strong emphasis on missions as an integral part of church identity and activity. Church leadership must provide ways for growing and encouraging disciples in being on a mission for Christ. At the core of the book is Jesus' command to his disciples, including church leaders today, "Go . . . and make disciples of all the nations, baptizing them in the name of the Father and the Son and the Holy Spirit, teaching them to observe all that I commanded you" (Matthew 28:19-20, NASB). As we enter the third millennia of the Christian church, church leaders must learn and practice ways to truly obey Jesus' command. This comprehensive book provides guidance and inspiration for doing that. The Christian leaders who authored this resource also point to the urgent need to equip and involve lay people in all the work of the church. The authors call for church leaders to involve church members in planning, decision-making, and action rather than to promote, on purpose or by default, a spectator mentality. Citing Ephesians 4:11-12, the authors emphasize that a church's staff members exist to equip and deploy all believers in the mission and ministry of Christ. The book stresses guiding Christian leaders to move their church from a school-with-pews mentality to a place that heeds the biblical call to develop disciples. Instead of just maintaining members, church leaders must focus on making disciples in order for their congregation to be on a mission as a vibrant force for change in their community and around the world. WHO NEEDS THIS BOOK? University and seminary professors will find this volume a good choice for a textbook for preparing ministers for church ministry. It will also be a valuable tool for pastors, general staff leaders, and practitioners for the various age group staff and key volunteer leaders in the local churches.

For this revised edition of Hildegard's liturgical song cycle, Barbara Newman has redone her prose translations of the songs, updated the bibliography and discography, and made other minor changes. Also included is an essay by Marianne Richert Pfau which delineates the connection between music and text in the Symphonia. Famous throughout Europe during her lifetime, Hildegard of Bingen (1098-1179) was a composer and a poet, a writer on theological, scientific, and medical subjects, an abbess, and a visionary prophet. One of the very few female composers of the Middle Ages whose work has survived, Hildegard was neglected for centuries until her liturgical song cycle was rediscovered. Songs from it are now being performed regularly by early music groups, and more than twenty compact discs have been recorded.

The sacred and the secular in medieval literature have too often been perceived as opposites, or else relegated to separate but unequal spheres. In Medieval Crossover: Reading the Secular against the Sacred, Barbara Newman offers a new approach to the many ways that sacred and secular interact in medieval literature, arguing that (in contrast to our own cultural situation) the sacred was the normative, unmarked default category against which the secular always had to define itself and establish its niche. Newman refers to this dialectical relationship as "crossover"-which is not a genre in itself, but a mode of interaction, an openness to the meeting or even merger of sacred and secular in a wide variety of forms. Newman sketches a few of the principles that shape their interaction: the hermeneutics of "both/and," the principle of double judgment, the confluence of pagan material and Christian meaning in Arthurian romance, the rule of convergent idealism in hagiographic romance, and the double-edged sword in parody. Medieval Crossover explores a wealth of case studies in French, English, and Latin texts that concentrate on instances of paradox, collision, and convergence. Newman convincingly and with great clarity demonstrates the widespread applicability of the crossover concept as an analytical tool, examining some very disparate works. These include French and English romances about Lancelot and the Grail; the mystical writing of Marguerite Porete (placed in the context of lay spirituality, lyric traditions, and the Romance of the Rose); multiple examples of parody (sexually obscene, shockingly anti-Semitic, or cleverly litigious); and Rene of Anjou's two allegorical dream visions. Some of these texts are scarcely known to medievalists; others are rarely studied together. Newman's originality in her choice of these primary works will inspire new questions and set in motion new fields of exploration for medievalists working in a large variety of disciplines, including literature, religious studies, history, and cultural studies.

Barbara Newman reintroduces English-speaking readers to an extraordinary and gifted figure of the twelfth-century renaissance. Hildegard of Bingen (1098-1179) was mystic and writer, musician and preacher, abbess and scientist who used symbolic theology to explore the meaning of her gender within the divine scheme of things. With a new preface, bibliography, and discography, Sister of Wisdom is a landmark book in women's studies, and it will also be welcomed by readers in religion and history.