Enlightened Monks investigates the social, cultural, philosophical, and theological challenges the German Benedictines had to face between 1740 and 1803, and how the Enlightenment process influenced the self-understanding and lifestyle of these religious communities. It had an impact on their forms of communication, their transfer of knowledge, their relationships to worldly authorities and to the academic world, and also their theology and philosophy. The multifaceted achievements of enlightened monks, which included a strong belief in individual freedom, tolerance, human rights, and non-violence, show that monasticism was on the way to becoming fully integrated into the Enlightenment. Ulrich L. Lehner refutes the widespread assumption that monks were reactionary enemies of Enlightenment ideas. On the contrary, he demonstrates that many Benedictines implemented the new ideas of the time into their own systems of thought. This revisionist account contributes to a better understanding not only of monastic culture in Central Europe, but also of Catholic religious culture in general.

Taking a fresh look at the interconnections between medieval images, texts, theater, and practices of viewing, reading and listening, this explicitly interdisciplinary volume explores various manifestations of performance and meanings of performativity in the Middle Ages. The contributors - from their various perspectives as scholars of art history, religion, history, literary studies, theater studies, music and dance - combine their resources to reassess the complexity of expressions and definitions of medieval performance in a variety of different media. Among the topics considered are interconnections between ritual and theater; dynamics of performative readings of illuminated manuscripts, buildings and sculptures; linguistic performances of identity; performative models of medieval spirituality; social and political spectacles encoded in ceremonies; junctures between spatial configurations of the medieval stage and mnemonic practices used for meditation; performances of late medieval music that raise questions about the issues of historicity, authenticity, and historical correctness in performance; and tensions inherent in the very notion of a medieval dance performance.

Fifteenth-Century Carthusian Reform argues that monastic theology offers a medieval Catholic paradigm distinct from the scholastic theology that has been the conventional source for medieval-oriented interpretations of Renaissance and Reformation. It is based on thorough study of the manuscript record. Nicholas Kempf (ca. 1415-1497) taught at the University of Vienna before becoming the head of Carthusian monasteries in rural Austria and Slovenia. Faced with calls for reform in church and society, he placed his confidence in the patristic Christian idea of reform: the reform of the image of God in the human person. This contemplative monastic idea of reform depended on authoritative structures, especially the monastic rule and rational -- yet divinely inspired -- discernment by a spiritual director. What seemed like simpleminded submission to monastic structures was actually a way to avoid relying on human effort for salvation. By returning to one's true self (the image of God), one opened oneself up for genuine social relationships. To activist reformers, whether adherents of medieval scholasticism, Renaissance humanism, or modern Enlightenment, this monastic idea of reform has seemed escapist, backward-looking, and "womanish." Monks accepted these labels but read them as signs of hidden strength. This book attempts to read through monastic lenses.

Professor Beach's book on female scribes in twelfth-century Bavaria - a full-length study of the role of women copyists in the Middle Ages - is underpinned by the notion that the scriptorium was central to the intellectual revival of the Middle Ages and that women played a role in this renaissance. The author examines the exceptional quantity of evidence of female scribal activity in three different religious communities, pointing out the various ways in which the women worked - alone, with other women, and even alongside men - to produce books for monastic libraries, and discussing why their work should have been made visible, whereas that of other female scribes remains invisible. Beach's focus on manuscript production, and the religious, intellectual, social and economic factors which shaped that production, enables her to draw wide-ranging conclusions of interest not only to palaeographers but also to those interested in reading, literacy, religion and gender history.