Essays on the depiction of animals, birds and insects in early medieval material culture, from texts to carvings to the landscape itself. For people in the early Middle Ages, the earth, air, water and ether teemed with other beings. Some of these were sentient creatures that swam, flew, slithered or stalked through the same environments inhabited by their human contemporaries. Others were objects that a modern beholder would be unlikely to think of as living things, but could yet be considered to possess a vitality that rendered them potent. Still others were things half glimpsed on a dark night or seen only in the mind's eye; strange beasts that haunted dreams and visions or inhabited exotic lands beyond the compass of everyday knowledge. This book discusses the various ways in which the early English and Scandinavians thought about and represented these other inhabitants of their world, and considers the multi-faceted nature of the relationship between people and beasts. Drawing on the evidence of material culture, art, language, literature, place-names and landscapes, the studies presented here reveal a world where the boundaries between humans, animals, monsters and objects were blurred and often permeable, and where to represent the bestial could be to holda mirror to the self. MICHAEL D.J. BINTLEY is Lecturer in Early Medieval Literature and Culture at Birkbeck, University of London; THOMAS WILLIAMS is a former curator of Early Medieval Coins at the British Museum. Contributors: Noël Adams, John Baker, Michael D. J. Bintley, Sue Brunning, László Sándor Chardonnens, Della Hooke, Eric Lacey, Richard North, Marijane Osborn, Victoria Symons, Thomas J. Williams

Fresh examinations of the role of medicinal plants in medieval thought and practice and how they contributed to broader ideas concerning the body, religion and identity. The important and ever-shifting role of medicinal plants in medieval science, art, culture, and thought, both in the Latin Western medical tradition and in Byzantine and medieval Arabic medicine, is the focus of this new collection. Following a general introduction and a background chapter on Late Antique and medieval theories of wellness and therapy, in-depth essays treat such wide-ranging topics as medicine and astrology, charms and magical remedies, herbal glossaries, illuminated medical manuscripts, women's reproductive medicine, dietary cooking, gardens in social and political context, and recreated medieval gardens. They make a significant contribution to our understanding ofthe place of medicinal plants in medieval thought and practice, and thus lead to a greater appreciation of how medieval theories and therapies from diverse places developed in continuously evolving and cross-pollinating strands,and, in turn, how they contributed to broader ideas concerning the body, religion, identity, and the human relationship with the natural world. Contributors: MARIA AMALIA D'ARONCO, PETER DENDLE, EXPIRACION GARCIA SANCHEZ, PETER MURRAY JONES, GEORGE R. KEISER, DEIRDRE LARKIN, MARIJANE OSBORN, PHILIP G. RUSCHE, TERENCE SCULLY, ALAIN TOUWAIDE, LINDA EHRSAM VOIGTS

Essays on the depiction of animals, birds and insects in early medieval material culture, from texts to carvings to the landscape itself. For people in the early Middle Ages, the earth, air, water and ether teemed with other beings. Some of these were sentient creatures that swam, flew, slithered or stalked through the same environments inhabited by their human contemporaries. Others were objects that a modern beholder would be unlikely to think of as living things, but could yet be considered to possess a vitality that rendered them potent. Still others were things half glimpsed on a dark night or seen only in the mind's eye; strange beasts that haunted dreams and visions or inhabited exotic lands beyond the compass of everyday knowledge. This book discusses the various ways in which the early English and Scandinavians thought about and represented these other inhabitants of their world, and considers the multi-faceted nature of the relationship between people and beasts. Drawing on the evidence of material culture, art, language, literature, place-names and landscapes, the studies presented here reveal a world where the boundaries between humans, animals, monsters and objects were blurred and often permeable, and where to represent the bestial could be to holda mirror to the self. Michael D.J. Bintley is Senior Lecturer in Medieval Literature at Canterbury Christ Church University; Thomas J.T. Williams is a doctoral researcher at UCL's Institute of Archaeology. Contributors: Noel Adams, John Baker, Michael D. J. Bintley, Sue Brunning, Laszlo Sandor Chardonnens, Della Hooke, Eric Lacey, Richard North, Marijane Osborn, Victoria Symons, Thomas J. Williams

These new modern-English versions of medieval romances with magical themes bring the stories to life for modern readers. This book translates in modern English nine lively medieval verse romances, in a form that both reflects the original and makes them inviting to a modern audience. All nine tales contain elements of magic: shapeshifters, powerful fairies, trees that are portals to another world, magical armor, clothing, and animals. The romances address sexuality, agency, and identity-formation in unexpected ways. Part I begins with two versions of the story of a 'Loathly Lady' or shapeshifting hag that transforms into a beautiful woman: John Gower's ""Tale of Florent"" and Geoffrey Chaucer's ""Wife of Bath's Tale"". Three tales of fairy abductions follow: ""Thomas of Erceldoune"", ""The Ballad of Tam Lin"", and ""Sir Orfeo"". The final story in this group is Sir Launfal, about a destitute knight adopted by a fairy mistress. Part II contains four romances: ""Chaucer's parodic Sir Thopas"", in which the knight seeks a fairy mistress and arms to fight her guardian; ""Sir Gowther"", a tale that begins with a demonic birth and fairy abduction; ""Emare"", a Castaway Queen romance about a lady clothed in a magical love-cloth made by a Saracen princess; and, ""Floris and Blancheflour"", in which the girl Blancheflour is sold into Saracen slavery and her beloved Floris goes to rescue her.

Beowulf, the primary epic of the English language, is a powerful heroic poem eloquently expressive of the Anglo-Saxon culture that produced it. In this beautiful book a designer, a poet, and a specialist in Anglo-Saxon literature recreate Beowulf for a modern audience. Interweaving evocative images, a new interpretation in verse, and a running commentary that helps clarify the action and setting of the poem as well as the imagery, the book brings new life to this ancient masterpiece. Randolph Swearer's oblique and allusive images create an archaic, mysterious atmosphere by depicting in forms and shadows the world of Germanic antiquity-Scandinavian and Anglo-Saxon art, artifacts, and scenery. At the same time, Raymond Oliver gives Beowulf a world in which to live, filling in the cultural gaps not with a thick matrix of footnotes but with poetry itself. Unlike many translations of Beowulf in existence, Oliver's retelling of the epic uses modern verse forms for poetic effect and includes a wealth of historically authentic descriptions, characterizations, and explanations necessary for modern readers. Marijane Osborn completes the process of restoring context to the poem by supplying a commentary to clarify the historical and geographical dimensions of the story as well as the imagery that accompanies it. All three work together to bring a likeness of an old and elusive tale to today's reader. "The book's design and the commentary on it provide a unique visual complement to Oliver's poem... A strange and moving story, compellingly told and seriously interesting to any serious reader of books."-Fred C. Robinson, from the Introduction

The 14 essays in this volume explore Stephenie Meyer's wildly popular Twilight series in the contexts of literature, religion, fairy tales, film, and the gothic. Several contributors examine Meyer's emphasis on abstinence, considering how, why, and if the author's Mormon faith has influenced the series' worldview. Others look at fan involvement in the Twilight world, focusing on how the series' avid following has led to an economic transformation in Forks, Washington, the real town where the fictional series is set. Other topics include Meyer's use of Quileute shape-shifting legends; Twilight's literary heritage and its frequent references to classic works of literature; and the series's controversial depictions of feminity.

An exhilarating journey across a distant literary landscape, this book takes us to those places described, evoked, or invented in "Beowulf" and the sagas of Iceland. Chronicling their own travels in Scandinavia, charting the geography of medieval history and fiction, the authors negotiate the complex territory where past and present meet. In this encounter, medieval and modern viewpoints converge, forming a new way into the northern world of medieval literature. The authors use a variety of approaches, borrow from different disciplines, and employ an array of styles to discover and "reinvent" the landscape of these texts. In scholarly appraisals and personal encounters, in maps and photographs, we accompany them on a voyage along Beowulf's route and follow them along the road to Drangey. Here and at many other legendary sites, we see how the past is made up of divergent stories told in the present, and how our own histories and desires influence the shape and purpose of those stories. This book should appeal to medievalists, historians, cultural geographers, critical theorists, and those who like to travel, whether in literature or their own good time.