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Violence, Trauma, and Memory: Responses to War in the Late Medieval
and Early Modern World brings together eight essays that examine
medieval and early modern violence and warfare in France, the
Hispanic World, and the Dutch Republic through the lens of trauma
studies and memory studies. By focusing on warfare, these essays by
historians, literary specialists, and historians of visual culture
demonstrate how individuals and groups living with the
"ungraspable" outcomes of wartime violence grappled with processing
and remembering (both culturally and politically) the trauma of
war.
This book analyzes how acts of feeling at a discursive, somatic,
and rhetorical level were theorized and practiced in multiple
medieval and early-modern sources (literary, medical, theological,
and archival). It covers a large chronological and geographical
span from eleventh-century France, to fifteenth-century Iberia and
England, and ending with seventeenth-century Jesuit meditative
literature. Essays in this book explore how particular emotional
norms belonging to different socio-cultural communities (courtly,
academic, urban elites) were subverted or re-shaped; engage with
the study of emotions as sudden, but impactful, bursts of sensory
experience and feelings; and analyze how emotions are filtered and
negotiated through the prism of literary texts and the
socio-political status of their authors.
This book analyzes how acts of feeling at a discursive, somatic,
and rhetorical level were theorized and practiced in multiple
medieval and early-modern sources (literary, medical, theological,
and archival). It covers a large chronological and geographical
span from eleventh-century France, to fifteenth-century Iberia and
England, and ending with seventeenth-century Jesuit meditative
literature. Essays in this book explore how particular emotional
norms belonging to different socio-cultural communities (courtly,
academic, urban elites) were subverted or re-shaped; engage with
the study of emotions as sudden, but impactful, bursts of sensory
experience and feelings; and analyze how emotions are filtered and
negotiated through the prism of literary texts and the
socio-political status of their authors.
Johan Huizinga’s much-loved and much-contested Autumn of the
Middle Ages, first published in 1919, encouraged an image of the
Late French Middle Ages as a flamboyant but empty period of decline
and nostalgia. Many studies, particularly literary studies, have
challenged Huizinga’s perceptions of individual works or genres.
Still, the vision of the Late French and Burgundian Middle Ages as
a sad transitional phase between the High Middle Ages and the
Renaissance persists. Yet, a series of exceptionally significant
cultural developments mark the period. The Waxing of the Middle
Ages sets out to provide a rich, complex, and diverse study of
these developments and to reassert that late medieval
France is crucial in its own right. The collection argues for
an approach that views the late medieval period not as an
afterthought, or a blind spot, but as a period that is key in
understanding the fluidity of time, traditions, culture, and
history. Each essay explores some “cultural form,” to borrow
Huizinga’s expression, to expose the false divide that has
dominated modern scholarship.
Johan Huizinga’s much-loved and much-contested Autumn of the
Middle Ages, first published in 1919, encouraged an image of the
Late French Middle Ages as a flamboyant but empty period of decline
and nostalgia. Many studies, particularly literary studies, have
challenged Huizinga’s perceptions of individual works or genres.
Still, the vision of the Late French and Burgundian Middle Ages as
a sad transitional phase between the High Middle Ages and the
Renaissance persists. Yet, a series of exceptionally significant
cultural developments mark the period. The Waxing of the Middle
Ages sets out to provide a rich, complex, and diverse study of
these developments and to reassert that late medieval
France is crucial in its own right. The collection argues for
an approach that views the late medieval period not as an
afterthought, or a blind spot, but as a period that is key in
understanding the fluidity of time, traditions, culture, and
history. Each essay explores some “cultural form,” to borrow
Huizinga’s expression, to expose the false divide that has
dominated modern scholarship.
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