Stephen Kruger considers previously neglected material and arrives at a new understanding of this literary genre, and of medieval attitudes to dreaming in general.

Imagine a dreamland where roasted pigs wander about with knives in their backs to make carving easy, where grilled geese fly directly into one's mouth, where cooked fish jump out of the water and land at one's feet. The weather is always mild, the wine flows freely, sex is readily available, and all people enjoy eternal youth. Such is Cockaigne. Portrayed in legend, oral history, and art, this imaginary land became the most pervasive collective dream of medieval times-an earthly paradise that served to counter the suffering and frustration of daily existence and to allay anxieties about an increasingly elusive heavenly paradise. Illustrated with extraordinary artwork from the Middle Ages, Herman Pleij's Dreaming of Cockaigne is a spirited account of this lost paradise and the world that brought it to life. Pleij takes three important texts as his starting points for an inspired of the panorama of ideas, dreams, popular religion, and literary and artistic creation present in the late Middle Ages. What emerges is a well-defined picture of the era, furnished with a wealth of detail from all of Europe, as well as Asia and America. Pleij draws upon his thorough knowledge of medieval European literature, art, history, and folklore to describe the fantasies that fed the tales of Cockaigne and their connections to the central obsessions of medieval life.

The notions of other peoples, cultures, and natural conditions have always been determined by the epistemology of imagination and fantasy, providing much freedom and creativity, and yet have also created much fear, anxiety, and horror. In this regard, the pre-modern world demonstrates striking parallels with our own insofar as the projections of alterity might be different by degrees, but they are fundamentally the same by content. Dreams, illusions, projections, concepts, hopes, utopias/dystopias, desires, and emotional attachments are as specific and impactful as the physical environment. This volume thus sheds important light on the various lenses used by people in the Middle Ages and the early modern age as to how they came to terms with their perceptions, images, and notions. Previous scholarship focused heavily on the history of mentality and history of emotions, whereas here the history of pre-modern imagination, and fantasy assumes center position. Imaginary things are taken seriously because medieval and early modern writers and artists clearly reveal their great significance in their works and their daily lives. This approach facilitates a new deep-structure analysis of pre-modern culture.

In this fascinating study, Schmitt examines the significance of the widespread belief in ghosts during the Middle Ages and traces the imaginative, political, and religious contexts of these everyday haunts. Ghosts were pitiful or terrifying, usually solitary, creatures who arose from their tombs to haunt their friends and relatives. Including numerous color illustrations of ghosts and their trappings, this book presents a unique and intriguing look at medieval culture. 28 color plates.

Between the reigns of Charlemagne and Charles the Fat, Europe underwent a series of alarming and unsettling changes. Civil war broke out, royal authority was divided, and the brightest of men and women began to entertain nightmarish thoughts of the corruption and collapse of their world. Amidst the ruin of their shaken and shattered assumptions, Carolingian intellectuals wrote down a series of dream texts. The Carolingian oneiric record, though dark with confusion and immoderate emotion, supplies us with a more subjective reading of this formative period of European history than the one found in standard histories. Carolingian dream-authors criticized and complained because they hoped to reform a royal society that had lost its way. This study begins by surveying the sleep of kings and the status of royal dreams from the classical period to the ninth century. Then it runs to an examination of individual dreams and the political disruption that informs them. The reader will encounter a variety of surprising dreams: of Charlemagne's lust, demons and archangels, a sorrowful prophet, disputed property and bullying saints, magical swords and mad princes, and Charles the Fat's journey through an awesome otherworld towards an uncertain constitutional future.

In the book presented here, one encounters dreams and visions from the history of Christianity. Faculty members of the Tilburg School of Theology (TST; Tilburg University, The Netherlands) and other (Dutch and Flemish) experts in theology, Late Antiquity and the Middle Ages present a collection of articles examining the phenomenon of dreaming in the Christian realm from the first to the thirteenth century. Their aim is to investigate the dream world of Christians as a source of historical theology and spirituality. They try to show and explain the importance and function of dreams in the context of the texts discussed, meanwhile making these texts accessible and understandable to the people of today. By contextualizing those dreams in their own historical imagery, the authors want to give the reader some insight into the fascinating dream world of the past, which in turn will inspire him or her to consider the dream world of today.

In the High Middle Ages, the dream narrative was an enormously popular and influential form. Along with the romance, it was perhaps the genre of the age. It has come down to us in such classics twelfth to fourteenth-century classics as The Divine Comedy, the Romance of the Rose, Piers Plowman, Chaucer's early poetry, and the works of Guillaume de Machaut. This book redefines the dream vision by attending to its role in philosophical debate of the time, a conservative role in defense of the high medieval synthesis of reason and revelation. Lynch shows how the epistemological basis of this synthesis and the theories of visions that emerged from it drew on Arabic commentaries of Aristotle. These theories informed poetic visions modeled on Boethius's Consolation of Philosophy, a work she discusses in detail before turning to Alain de Lille, Jean de Meun, and Dante. A final section, on John Gower's Confessio Amantis shows how fourteenth and fifteenth-century writers extended and finally moved beyond the conventional form of the dream vision.