The essays in this interdisciplinary volume explore language, broadly construed, as part of the continued interrogation of the boundaries of human and nonhuman animals in the Middle Ages. Uniting a diverse set of emerging and established scholars, Animal Languages questions the assumed medieval distinction between humans and other animals. The chapters point to the wealth of non-human communicative and discursive forms through which animals function both as vehicles for human meaning and as agents of their own, demonstrating the significance of human and non-human interaction in medieval texts, particularly for engaging with the Other. The book ultimately considers the ramifications of deconstructing the medieval anthropocentric view of language for the broader question of human singularity.

These interdisciplinary essays focus on animals as symbols, ideas, or images in medieval art and literature.

A celebration of the visual contributions of the bestiary--one of the most popular types of illuminated books during the Middle Ages--and an exploration of its lasting legacy. Brimming with lively animals both real and fantastic, the bestiary was one of the great illuminated manuscript traditions of the Middle Ages. Encompassing imaginary creatures such as the unicorn, siren, and griffin; exotic beasts including the tiger, elephant, and ape; as well as animals native to Europe like the beaver, dog, and hedgehog, the bestiary is a vibrant testimony to the medieval understanding of animals and their role in the world. So iconic were the stories and images of the bestiary that its beasts essentially escaped from the pages, appearing in a wide variety of manuscripts and other objects, including tapestries, ivories, metalwork, and sculpture. With over 270 color illustrations and contributions by twenty-five leading scholars, this gorgeous volume explores the bestiary and its widespread influence on medieval art and culture as well as on modern and contemporary artists like Pablo Picasso and Damien Hirst. Published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center May 14 to August 18, 2019.

A redefinition of the animal's relationship to sound and language in French texts from medieval England. The barks, hoots and howls of animals and birds pierce through the experience of medieval texts. In captivating episodes of communication between species, a mandrake shrieks when uprooted from the ground, a saint preaches to the animals, and a cuckoo causes turmoil at the parliament of birds with his familiar call. This book considers a range of such episodes in Old French verse texts, including bestiaries, treatises on language, the Life of Saint Francis of Assisi and the Fables by Marie de France, aiming to reconceptualize and reinterpret animal soundscapes. It argues that they draw on sound to produce competing perspectives, forms of life, and linguistic subjectivities, suggesting that humans owe more to animal sounds than we are disposed to believe. Texts inviting readers to listen and learn animal noises, to seek spiritual consolation in the jargon of birds, or to identify with the speaking wolf, create the conditions for an assertion of human exceptionalism even as they simultaneously invite readers to question such forms of control. By asking what it means for an animal to cry, make noise, or speak in French, this book provides an important resource for theorizing sound and animality in multilingual medieval contexts, and for understanding the animal's role in the interpretation of the natural world.

This book investigates relations between humans and animals over several centuries with a focus on the Middle Ages, since important features of our perceptions regarding animals have been rooted in that period. Elucidating various aspects of medieval human-animal relationships requires transdisciplinary discourse, and so this book aims to reconcile the materiality of animals with complex cultural systems illustrating their subtle transitions 'between body and mind'.

In Animal Rationality: Later Medieval Theories 1250-1350, Anselm Oelze offers the first comprehensive and systematic exploration of theories of animal rationality in the later Middle Ages. Traditionally, it was held that medieval thinkers ascribed rationality to humans while denying it to nonhuman animals. As Oelze shows, this narrative fails to capture the depth and diversity of the medieval debate. Although many thinkers, from Albert the Great to John Buridan, did indeed hold that nonhuman animals lack rational faculties, some granted them the ability to engage in certain rational processes such as judging, reasoning, or employing prudence. There is thus a whole spectrum of positions to be discovered, many of which show interesting parallels with contemporary theories of animal rationality.

Sarah Kay s interests in this book are, first, to examine how medieval bestiaries depict and challenge the boundary between humans and other animals; and second, to register the effects on readers of bestiaries by the simple fact that parchment, the writing support of virtually all medieval texts, is a refined form of animal skin. Surveying the most important works created from the ninth through the thirteenth centuries, Kay connects nature to behavior to Christian doctrine or moral teaching across a range of texts. As Kay shows, medieval thought (like today) was fraught with competing theories about human exceptionalism within creation. Given that medieval bestiaries involve the inscription of texts about and images of animals onto animal hides, these texts, she argues, invite readers to reflect on the inherent fragility of bodies, both human and animal, and the difficulty of distinguishing between skin as a site of mere inscription and skin as a containing envelope for sentient life. It has been more than fifty years since the last major consideration of medieval Latin and French bestiaries was published. Kay brings us up to date in the archive, and contributes to current discussions among animal studies theorists, manuscript studies scholars, historians of the book, and medievalists of many stripes."