This open access book studies breath and breathing in literature and culture and provides crucial insights into the history of medicine, health and the emotions, the foundations of beliefs concerning body, spirit and world, the connections between breath and creativity and the phenomenology of breath and breathlessness. Contributions span the classical, medieval, early modern, Romantic, Victorian, modern and contemporary periods, drawing on medical writings, philosophy, theology and the visual arts as well as on literary, historical and cultural studies. The collection illustrates the complex significance and symbolic power of breath and breathlessness across time: breath is written deeply into ideas of nature, spirituality, emotion, creativity and being, and is inextricable from notions of consciousness, spirit, inspiration, voice, feeling, freedom and movement. The volume also demonstrates the long-standing connections between breath and place, politics and aesthetics, illuminating both contrasts and continuities.

An interdisciplinary collection of essays exploring the complex and conflicted topic of beauty in cultural, arts and medicine, looking back through the long cultural history of beauty, and asking whether it is possible to 'recover beauty'.

Essays on book history, manuscripts and reading during a period of considerable change. The production, transmission, and reception of texts from England and beyond during the late medieval and early renaissance periods are the focus of this volume. Chapters consider the archives and the material contexts in which texts were produced, read, and re-read; the history of specific manuscripts and early printed books; and some of the continuities and changes in literary and book production, dissemination, and reception in the fifteenth and sixteenth centuries. Responding to Professor Julia Boffey's pioneering work on medieval and early Tudor material and literary culture, they cover a range of genres - from practical texts written in Latin to works of Middle English poetryand prose, both secular and religious - and examine an assortment of different reading contexts: lay, devotional, local, regional, and national. TAMARA ATKIN is Senior Lecturer in Late Medieval and Early RenaissanceLiterature, and JACLYN RAJSIC is Lecturer in Medieval Literature, at the School of English and Drama, Queen Mary University of London. Contributors: Laura Ashe, Priscilla Bawcutt, Martin Camargo, Margaret Connolly, Robert R. Edwards, A.S.G. Edwards, Susanna Fein, Joel Grossman, Alfred Hiatt, Pamela M. King, Matthew Payne, Derek Pearsall, Corinne Saunders, Barry Windeatt, R.F. Yeager.

Two crucial genres of medieval literature are studied in this outstanding collection. The essays in this volume honour the distinguished career of Professor Elizabeth Archibald. They explore two areas that her scholarship has done so much to illuminate: medieval romance, and Arthurian literature. Several chapters examine individual romances, including Emare, Sir Gawain and the Green Knight and the Roman de Silence. Others focus on wider concerns in romances and related works in Middle English, Latin, French, German and Icelandic, from a variety of perspectives. Later chapters consider Arthurian material, with a particular emphasis on hitherto unexamined aspects of Malory's Morte Darthur. It thus, fittingly, reflects the range of linguistic and literary expertise that Professor Archibald has brought to these fields.

This book examines how the experiences of hearing voices and seeing visions were understood within the cultural, literary, and intellectual contexts of the medieval and early modern periods. In the Middle Ages, these experiences were interpreted according to frameworks that could credit visionaries or voice-hearers with spiritual knowledge, and allow them to inhabit social roles that were as much desired as feared. Voice-hearing and visionary experience offered powerful creative possibilities in imaginative literature and were often central to the writing of inner, spiritual lives. Ideas about such experience were taken up and reshaped in response to the cultural shifts of the early modern period. These essays, which consider the period 1100 to 1700, offer diverse new insights into a complex, controversial, and contested category of human experience, exploring literary and spiritual works as illuminated by scientific and medical writings, natural philosophy and theology, and the visual arts. In extending and challenging contemporary bio-medical perspectives through the insights and methodologies of the arts and humanities, the volume offers a timely intervention within the wider project of the medical humanities. Chapters 2 and 5 are available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

"The Body and the Arts" focuses on the dynamic relation between the body and the arts: the body as inspiration, subject, symbol and medium. Contributors from a variety of disciplines explore this relation across a range of periods and art forms, spanning medicine, literature from the classical period to the present, and visual and performing arts.

A wide-ranging collection on one of the most interesting features of medieval romance. Medieval romance frequently, and perhaps characteristically, capitalises on the dramatic and suggestive possibilities implicit in boundaries - not only the geographical, political and cultural frontiers that medieval romances imagine and imply, but also more metaphorical demarcations. It is these boundaries, as they appear in insular romances circulating in English and French, which the essays in this volume address. They include the boundary between reality and fictionality; boundaries between different literary traditions, modes and cultures; and boundaries between different kinds of experience or perception, especially the "altered states" associated with sickness, magic, the supernatural, or the divine. CONTRIBUTORS: HELEN COOPER, ROSALIND FIELD, MARIANNE AILES, PHILLIPA HARDMAN, ELIZABETH BERLINGS, SIMON MEECHAM-JONES, ELIZABETH WILLIAMS, ARLYN DIAMOND, ROBERT ROUSE, LAURA ASHE, JUDITH WEISS, IVANA DJORDJEVIC, CORINNE SAUNDERS

Traces the development of the forest as a central literary motif in medieval romance. Corinne J. Saunders's exploration of the topos of the forest, a familiar and ubiquitous motif in the literature of the middle ages, is a broad study embracing a range of medieval and Elizabethan exts from the twelft to the sixteenth centuries: the roman d'antiquite, Breton lay and courtly romance, the hagiographical tradition of the Vita Merlini and the Queste del Saint Graal, Spenser and Shakespeare. Saunders identifies the forest as a primary romance landscape, as a place of adventure, love, and spiritual vision... offers a pleasurable overview of the narrative function of the forest as a literary landscape. Based on a close comparative [and theoretically non-partisan] reading ofa broad range of literary texts drawn from the Europeqan canon, Saunders's study explores the continuity and transformation of an important motif in the corpus of medieval literature. MODERN LANGUAGE REVIEWDr CORINNE SAUNDERSteaches in the Department of English at the University of Durham. [BLURBEXTRACTED FROM TLS REVIEW] ...An immense tract, not only of medieval literature but of human experience [is] engagingly introduced and presented here...Corinne Saunders considers first forests in reality (a reality which keeps breaking through in romance...). She looks also at the classical and biblical models including Virgil, Statius and Nebuchadnezzar...only then does she turn tothe non-real and non-Classical, i.e. the medieval and romantic. Here she follows a clear chronological plan from twelfth to fifteenth centuries [also covering] the allegorized landscape of Spenser and the lovers' woods of Arden or Athens in Shakespeare. Her text-by-text layout does justice to the variety of possibilities taken up by different authors; the forest as a place where men run mad and turn into animals, a place of voluntary suffering, a focus ofsignificance in the Grail-quests, a lovers' bower; above all and centrally, the place where the knight is tested and defined, even (as with Perceval) created.

Latest volume in this series containing the best new work on Arthurian topics. The latest volume of Arthurian Literature includes an edition and study of the widely disseminated Latin translation of Des Grantz Geanz(`De origine gigantum') by James Carley and Julia Crick, with a feminist readingof the poem by Lesley Johnson. Claude Luttrell writes on Chretien's Cliges; Corinne Saunders explores the issue of rape in Chaucer's Wife of Bath's Tale, Neil Wright offers a reconstruction of the Arthurian epitaphin Royal 20 B.XV, Frank Brandsma discusses the treatment of simultaneity in Yvain, Chanson de Roland and a section of the Lancelot en prose, Julia Crick updates the progress on the manuscripts of Geoffrey of Monmouth, and A.H.W. Smith contributes a supplement to the bibliography of twentieth-century Arthurian literature begun in earlier volumes.

This collection of essays explores the relation between literature and madness from the Medieval through to the Modern period. The essays examine how literature represents the experience of madness and cultural responses to it, and how madness may inspire creativity. The volume also illuminates the history of medicine, demonstrating the shifts and continuities in clinical understandings of and social attitudes to mental illness from the Middle Ages through to the 'enlightened' notions of the Eighteenth Century to the development of psychoanalysis. The volume includes original contributions from well-known writers and specialists, such as the late Sir Roy Porter, Al Alvarez, Pat Barker, Michael O'Donnell and A. S Byatt.

Focusing on England but covering a wide range of European and global traditions and influences, this authoritative volume examines the central role of medieval women in the production and circulation of books and considers their representation in medieval literary texts, as authors, readers and subjects, assessing how these change over time. Engaging with Latin, French, German, Welsh and Gaelic literary culture, it places British writing in wider European contexts while also considering more distant influences such as Arabic. Essays span topics including book production and authorship; reception; linguistic, literary, and cultural contexts and influences; women's education and spheres of knowledge; women as writers, scribes and translators; women as patrons, readers and book owners; and women as subjects. Reflecting recent trends in scholarship, the volume spans the early Middle Ages through to the eve of the Reformation and emphasises the multilingual, multicultural and international contexts of women's literary culture.

An examination of the erotic in medieval literature which includes articles on the role of clothing and nudity, the tension between eroticism and transgression and religion and the erotic. This volume examines the erotic in the literature of medieval Britain, primarily in Middle English, but also in Latin, Welsh and Old French. Seeking to discover the nature of the erotic and how it differs from modern erotics, thecontributors address topics such as the Wife of Bath's opinions on marital eroticism, the role of clothing and nudity, the tension between eroticism and transgression, the interplay between religion and the erotic, and the hedonistic horrors of the cannibalistic Giant of Mont St Michel. Amanda Hopkins teaches in the Department of English and Comparative Literary Studies and the department of French at the University of Warwick. Cory James Rushton is in the Department of English at St. Francis Xavier University, Nova Scotia, Canada. Contributors: Anthony Bale, Jane Bliss, Michael Cichon, Thomas H. Crofts III, Alex Davis, Kristina Hildebrand, Amanda Hopkins,Simon Meecham-Jones, Sue Niebrzydowski, Margaret Robson, Robert Rouse, Cory James Rushton, Corinne Saunders.

This open access book presents five different approaches to reading breath in literature, in response to texts from a range of historical, geographical and cultural environments. Breath, for all its ubiquity in literary texts, has received little attention as a transhistorical literary device. Drawing together scholars of Medieval Romance, Early Modern Drama, Fin de Siecle Aesthetics, American Poetics and the Postcolonial Novel, this book offers the first transhistorical study of breath in literature. At the same time, it shows how the study of breath in literature can contribute to recent developments in the Medical Humanities.

Important and wide-ranging studies of the ideological exploitations performed by and upon the medieval romance. As one of the most important, influential and capacious genres of the middle ages, the romance was exploited for a variety of social and cultural reasons: to celebrate and justify war and conflict, chivalric ideologies, and national, local and regional identities; to rationalize contemporary power structures, and identify the present with the legendary past; to align individual desires and aspirations with social virtues. But the romance in turn exploitedavailable figures of value, appropriating the tropes and strategies of religious and historical writing, and cannibalizing and recreating its own materials for heightened ideological effect. The essays in this volume consider individual romances, groups of writings and the genre more widely, elucidating a variety of exploitative manoeuvres in terms of text, context, and intertext. Contributors: Neil Cartlidge, Ivana Djordjevic, Judith Weiss, Melissa Furrow, Rosalind Field, Diane Vincent, Corinne Saunders, Arlyn Diamond, Anna Caughey, Laura Ashe

Essays examining the genre of medieval romance in its cultural Christian context, bringing out its chameleon-like character. The relationship between the Christianity of medieval culture and its most characteristic narrative, the romance, is complex and the modern reading of it is too often confused. Not only can it be difficult to negotiate the distant, sometimes alien concepts of religious cultures of past centuries in a modern, secular, multi-cultural society, but there is no straightforward Christian context of Middle English romance - or of medieval romance in general, although this volume focuses on the romances of England. Medieval audiences had apparently very different expectations and demands of their entertainment: some looking for, and evidently finding, moral exempla and analogues of biblical narratives, others secular, even sensational, entertainment of a type condemned by moralising voices. The essays collected here show how the romances of medieval England engage with its Christian culture. Topics include the handling of material from pre-Christian cultures, classical and Celtic, the effect of the Crusades, the meaning of chivalry, and the place of women in pious romances. Case studies, including Sir Gawain and the Green Knight and Malory's Morte Darthur, offer new readings and ideas for teaching romance to contemporary students. They do not present a single view of a complex situation, but demonstrate the importance of reading romances with anawareness of the knowledge and cultural capital represented by Christianity for its original writers and audiences. Contributors: HELEN PHILLIPS, STEPHEN KNIGHT, PHILLIPA HARDMAN, MARIANNE AILES, RALUCA L. RADULESCU, CORINNE SAUNDERS, K.S. WHETTER, ANDREA HOPKINS, ROSALIND FIELD, DEREK BREWER, D. THOMAS HANKS, MICHELLE SWEENEY

Analysis of how emotion is pictured in Arthurian legend. Literary texts complicate our understanding of medieval emotions; they not only represent characters experiencing emotion and reaction emotionally to the behaviour of others within the text, but also evoke and play upon emotion inthe audiences which heard these texts performed or read. The presentation and depiction of emotion in the single most prominent and influential story matter of the Middle Ages, the Arthurian legend, is the subject of this volume.Covering texts written in English, French, Dutch, German, Latin and Norwegian, the essays presented here explore notions of embodiment, the affective quality of the construction of mind, and the intermediary role of the voice asboth an embodied and consciously articulating emotion. FRANK BRANDSMA teaches Comparative Literature (Middle Ages) at Utrecht University; CAROLYNE LARRINGTON is Professor of Medieval European Literature at the University of Oxford and Official Fellow in Medieval English Literature at St John's College, Oxford; CORINNE SAUNDERS is Professor of Medieval Literature in the Department of English Studies and Co-Director of the Centre for Medical Humanities at the University of Durham. Contributors: Anne Baden-Daintree, Frank Brandsma, Helen Cooper, Anatole Pierre Fuksas, Jane Gilbert, Carolyne Larrington, Andrew Lynch, Raluca Radulescu, Sif Rikhardsdottir, Corinne Saunders.

An exploration of the development of Middle English portrayals of rape and ravishment in the context of shifting legal, theological and medical attitudes. This work explores and untangles the theme of rape, and its counterpart ravishment, in Anglo-French cultural tradition between the disintegration of the classical world and the Renaissance. Tracing debate and dialogue across intellectual and literary discourses, Corinne Saunders places Middle English literary portrayals of rape and ravishment in the context of shifting legal, theological and medical attitudes. The treatment of rape and ravishment is considered across a wide range of literary genres: hagiography, where female saints are repeatedly threatened with rape; legendary history, as in the stories of Lucretia and Helen; and romance, where acts of rape and ravishment challenge and shape chivalric order, and romance heroes are conceived through rape. Finally, the ways in which Malory and Chaucer write and rewrite rape and ravishment are examined.Dr CORINNE SAUNDERS is Lecturer in Medieval Studies, Department of English, University of Durham.

Analysis of how emotion is pictured in Arthurian legend. Literary texts complicate our understanding of medieval emotions; they not only represent characters experiencing emotion and reaction emotionally to the behaviour of others within the text, but also evoke and play upon emotion inthe audiences which heard these texts performed or read. The presentation and depiction of emotion in the single most prominent and influential story matter of the Middle Ages, the Arthurian legend, is the subject of this volume.Covering texts written in English, French, Dutch, German, Latin and Norwegian, the essays presented here explore notions of embodiment, the affective quality of the construction of mind, and the intermediary role of the voice asboth an embodied and consciously articulating emotion. Frank Brandsma teaches Comparative Literature (Middle Ages) at Utrecht University; Carolyne Larrington is a Fellow in medieval English at St John's College, Oxford;Corinne Saunders is Professor of Medieval Literature in the Department of English Studies and Co-Director of the Centre for Medical Humanities at the University of Durham. Contributors: Anne Baden-Daintree, Frank Brandsma, Helen Cooper, Anatole Pierre Fuksas, Jane Gilbert, Carolyne Larrington, Andrew Lynch, Raluca Radulescu, Sif Rikhardsdottir, Corinne Saunders,

The themes of magic and the supernatural in medieval romance are here fully explored and put into the context of thinking at the time in this first full study of the subject. The world of medieval romance is one in which magic and the supernatural are constantly present: in otherwordly encounters, in the strange adventures experienced by questing knights, in the experience of the uncanny, and in marvellous objects - rings, potions, amulets, and the celebrated green girdle in Sir Gawain and the Green Knight. This study looks at a wide range of medieval English romance texts, including the works of Chaucer and Malory, from a broad cultural perspective, to show that while they employ magic in order to create exotic, escapist worlds, they are also grounded in a sense of possibility, and reflect a complex web of inherited and current ideas. The bookopens with a survey of classical and biblical precedents, and of medieval attitudes to magic; subsequent chapters explore the ways that romances both reflect contemporary attitudes and ideas, and imaginatively transform them. Inparticular, the author explores the distinction between the `white magic' of healing and protection, and the more dangerous arts of `nigromancy', black magic. Also addressed is the wider supernatural, including the ways that ideasassociated with human magic can be intensified and developed in depictions of otherworldly practitioners of magic. The ambiguous figures of the enchantress and the shapeshifter are a special focus, and the faery is contrasted with the Christian supernatural - miracles, ghosts, spirits, demons and incubi. Professor CORINNE SAUNDERS Saunders teaches in the Department of English, University of Durham.

Legal records illuminate womens' use of legal processes, with regard to the making of wills, the age of consent, rights concerning marriage and children, women as traders, etc. Determined and largely successful effort to read behind and alongside legal discourses to discover women's voices and women's feelings. It adds usefully to the wider debate on women's role in medieval society. ENGLISH HISTORICAL REVIEW What is really new here is the ways in which the authors approach the history of the law: they use some decidedly non-legal texts to examine legal history; they bring together historical and literary sources; and they debunk the view that medieval laws had little to say about women or that medieval women had little legal agency. ALBION The legal position of the late medieval woman has been much neglected, and it is this gap which the essays collected here seek to fill. They explore the ways in which women of all ages and stations during the late middle ages (c.1300-c.1500) could legally shift for themselves, and how and where they did so. Particular topics discussed include the making of wills, the age of consent, rights concerning marriage, care, custody and guardianship (with particular emphasis on the rights of a mother attempting to gain custody of her own children within the court system), women as traders, women as criminals, prostitution, the rights of battered women within the courts, the procedures women had to go through to gain legal redress and access, rape, and women within guilds. NOELJAMES MENUGE gained her Ph.D. from the Centre of Medieval Studies at the University of York. Contributors: P.J.P. GOLDBERG, VICTORIA THOMPSON, JENNIFER SMITH, CORDELIA BEATTIE, KATHERINE J. LEWIS, NOEL JAMES MENUGE, CORINNE SAUNDERS, KIM M. PHILLIPS, EMMA HAWKES

New approaches to the everlasting malleability and transformation of medieval romance. The essays here reconsider the protean nature of Middle English romance. The contributors examine both the cultural unity of romance and its many variations, reiterations and reimaginings, including its contexts and engagements with other discourses and forms, as they were "rewritten" during the Middle Ages and beyond. Ranging across popular, anonymous English and courtly romances, and taking in the works of Chaucer and Arthurian romance (rarely treated together), in connection with continental sources and analogues, the chapters probe this fluid and creative genre to ask just how comfortable, and how flexible, are its nature and aims? How were Middle English romances rewritten toaccommodate contemporary concerns and generic expectations? What can attention to narrative techniques and conventional gestures reveal about the reassurances romances offer, or the questions they ask? How do romances' central concerns with secular ideals and conduct intersect with spiritual priorities? And how are romances transformed or received in later periods? The volume is also a tribute to the significance and influence of the work of Professor Helen Cooper on romance. Elizabeth Archibald is Professor of English Studies at Durham University; Megan G. Leitch is Senior Lecturer in English Literature at Cardiff University; Corinne Saunders is Professor of English andCo-Director of the Centre for Medical Humanities at Durham University. Contributors: Elizabeth Archibald, Julia Boffey, Christopher Cannon, Neil Cartlidge, Miriam Edlich-Muth, A.S.G. Edwards, Marcel Elias, Megan Leitch, Andrew Lynch, Jill Mann, Marco Nievergelt, Ad Putter, Corinne Saunders, Barry Windeatt, R.F. Yeager

New research into medieval women from the Anglo-Saxon to the late medieval period demonstrates their energy, defiance and wit. The phenomenon of medieval women's middle age is a stage in the lifecycle that has been frequently overlooked in preference for the examination of female youth and old age. The essays collected here, ranging from the Anglo-Saxon to the late medieval period, and drawing variously from literary studies, history, law, art and theology, address this lacuna. Taking a variety of critical approaches, the contributors consider medieval definitions, paradigms andexperiences of female middle age, analysing how the middle-aged woman perceived herself subjectively, as well as how she was perceived by others. They seek to challenge the received wisdom that in the middle ages, at forty, womenwere deemed "old" and, from that point onwards, their thoughts should be focused on preparing for death. On the contrary, this collection demonstrates their energy, defiance and wit. Sue Niebrzydowski is Lecturer in English, Bangor University, Wales. Contributors: Jane Geddes, Clare A. Lees, Carol M. Meale, Anneke B. Mulder-Bakker, Sue Niebrzydowski, Raluca L. Radulescu, Sara Elin Roberts, Corinne Saunders, Diane Watt.

An examination of the erotic in medieval literature which includes articles on the role of clothing and nudity, the tension between eroticism and transgression and religion and the erotic. This volume examines the erotic in the literature of medieval Britain, primarily in Middle English, but also in Latin, Welsh and Old French. Seeking to discover the nature of the erotic and how it differs from modern erotics, thecontributors address topics such as the Wife of Bath's opinions on marital eroticism, the role of clothing and nudity, the tension between eroticism and transgression, the interplay between religion and the erotic, and the hedonistic horrors of the cannibalistic Giant of Mont St Michel. Contributors: ALEX DAVIS, SIMON MEECHAM-JONES, JANE BLISS, SUE NIEBRZYDOWSKI, KRISTINA HILDEBRAND, ANTHONY BALE, CORY JAMES RUSHTON, CORINNE SAUNDERS, AMANDA HOPKINS, ROBERT ROUSE, MARGARET ROBSON, THOMAS H. CROFTS III, MICHAEL CICHON. AMANDA HOPKINS teaches in the department of English and Comparative Literary Studies and the department of French at the University of Warwick; CORY RUSHTON is in the Department of English at St. Francis Xavier University, Nova Scotia, Canada.

This book examines how the experiences of hearing voices and seeing visions were understood within the cultural, literary, and intellectual contexts of the medieval and early modern periods. In the Middle Ages, these experiences were interpreted according to frameworks that could credit visionaries or voice-hearers with spiritual knowledge, and allow them to inhabit social roles that were as much desired as feared. Voice-hearing and visionary experience offered powerful creative possibilities in imaginative literature and were often central to the writing of inner, spiritual lives. Ideas about such experience were taken up and reshaped in response to the cultural shifts of the early modern period. These essays, which consider the period 1100 to 1700, offer diverse new insights into a complex, controversial, and contested category of human experience, exploring literary and spiritual works as illuminated by scientific and medical writings, natural philosophy and theology, and the visual arts. In extending and challenging contemporary bio-medical perspectives through the insights and methodologies of the arts and humanities, the volume offers a timely intervention within the wider project of the medical humanities. Chapters 2 and 5 are available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.