In the early 1990s, Stephen Nichols introduced the term "new medievalism" to describe an alternative to the traditional philological approach to the study of the romantic texts in the medieval period. While the old approach focused on formal aspects of language, this new approach was historicist and moved beyond a narrow focus on language to examine the broader social and cultural contexts in which literary works were composed and disseminated. Within the field, this transformation of medieval studies was as important as the genetic revolution to the study of biology and has had an enormous influence on the study of medieval literature. Rethinking the New Medievalism offers both a historical account of the movement and its achievements while indicating - in Nichols' innovative spirit - still newer directions for medieval studies. The essays deal with questions of authorship, theology, and material philology and are written by members of a wide philological and critical circle that Nichols nourished for forty years. Daniel Heller-Roazen's essay, for example, demonstrates the conjunction of the old philology and the new. In a close examination of the history of the words used for maritime raiders from Ancient Greece to the present (pirate, plunderer, bandit), Roazen draws a fine line between lawlessness and lawfulness, between judicial action and war, between war and public policy. Other contributors include Jack Abecassis, Marina Brownlee, Jacqueline Cerquiglini-Toulet, Andreas Kablitz, and Ursula Peters.

From the end of the thirteenth century to the first decades of the sixteenth century, Guyart des Moulins's Bible historiale was the predominant French translation of the Bible. Enhancing his translation with techniques borrowed from scholastic study, vernacular preaching, and secular fiction, Guyart produced one of the most popular, most widely copied French-language texts of the later Middle Ages. Making the Bible French investigates how Guyart's first-person authorial voice narrates translation choices in terms of anticipated reader reactions and frames the biblical text as an object of dialogue with his readers. It examines the translator's narrative strategies to aid readers' visualization of biblical stories, to encourage their identification with its characters, and to practice patient, self-reflexive reading. Finally, it traces how the Bible historiale manuscript tradition adapts and individualizes the Bible for each new intended reader, defying modern print-based and text-centred ideas about the Bible, canonicity, and translation.

In the early 1990s, Stephen Nichols introduced the term "new medievalism" to describe an alternative to the traditional philological approach to the study of the romantic texts in the medieval period. While the old approach focused on formal aspects of language, this new approach was historicist and moved beyond a narrow focus on language to examine the broader social and cultural contexts in which literary works were composed and disseminated. Within the field, this transformation of medieval studies was as important as the genetic revolution to the study of biology and has had an enormous influence on the study of medieval literature. Rethinking the New Medievalism offers both a historical account of the movement and its achievements while indicating - in Nichols' innovative spirit - still newer directions for medieval studies. The essays deal with questions of authorship, theology, and material philology and are written by members of a wide philological and critical circle that Nichols nourished for forty years. Daniel Heller-Roazen's essay, for example, demonstrates the conjunction of the old philology and the new. In a close examination of the history of the words used for maritime raiders from Ancient Greece to the present (pirate, plunderer, bandit), Roazen draws a fine line between lawlessness and lawfulness, between judicial action and war, between war and public policy. Other contributors include Jack Abecassis, Marina Brownlee, Jacqueline Cerquiglini-Toulet, Andreas Kablitz, and Ursula Peters.