A Choice Outstanding Academic Title, 2008 A Cultural History of Animals in the Medieval Age investigates the changing roles of animals in medieval culture, economy and society in the period 1000 to 1400. The period saw significant changes in scientific and philosophical approaches to animals as well as their representation in art. Animals were omnipresent in medieval everyday life. They had enormous importance for medieval agriculture and trade and were also hunted for food and used in popular entertainments. At the same time, animals were kept as pets and used to display their owner's status, whilst medieval religion attributed complex symbolic meanings to animals. A Cultural History of Animals in the Medieval Age presents an overview of the period and continues with essays on the position of animals in contemporary symbolism, hunting, domestication, sports and entertainment, science, philosophy, and art.

'The Bestiary' is a book of animals. The 'Second-family' bestiary is the most important version. This study addresses the work's purpose and audience. It includes a critical edition and new English translation, and a catalogue raisonne of the manuscripts.

The relationship between medieval animal symbolism and the iconography of animals in the Renaissance has scarcely been studied. Filling a gap in this significant field of Renaissance culture, in general, and its art, in particular, this book demonstrates the continuity and tenacity of medieval animal interpretations and symbolism, disguised under the veil of genre, religious or mythological narrative and scientific naturalism. An extensive introduction, dealing with relevant medieval and early Renaissance sources, is followed by a series of case studies that illustrate ways in which Renaissance artists revived conventional animal imagery in unprecedented contexts, investing them with new meanings, on a social, political, ethical, religious or psychological level, often by applying exegetical methodology in creating multiple semantic and iconographic levels. Brill's Studies on Art, Art History, and Intellectual History, vol. 2

Volume 4 of The Annotated Luther series presents an array of Luther’s writings related to pastoral work. Luther’s famous Invocavit Sermons and other selected sermons show a forthright and lively preacher. Hymn texts reveal Luther’s grasp of hymnody as a tool for conveying and expressing faith. His Small Catechism as well as several pieces on prayer, including his Personal Prayer Book and A Simple Way to Pray, show his engagement in the basic task of teaching the faith. Luther’s prefaces to his own writings contain personal reflections on his reforming work. Also in this volume are his commentary on The Magnificat, selected letters, and shorter pieces that display his pastoral responses to particular situations: Sermon on Preparing to Die, Whether One May Flee from a Deadly Plague, and Comfort for Women Who Have Had a Miscarriage. Each volume in The Annotated Luther series contains new introductions, annotations, illustrations, and notes to help shed light on Luther’s context and interpret his writings for today. The translations of Luther’s writings include updates of Luther’s Works, American Edition or entirely new translations of Luther’s German or Latin writings.

For thirteenth-century preacher, exorcist, and hagiographer Thomas of Cantimpré, the Southern Low Countries were a harbinger of the New Jerusalem. The Holy Spirit, he believed, was manifesting itself in the lives of lay and religious people alike. Thomas avidly sought out these new kinds of saints, writing accounts of their lives so that these models of sanctity might astound, teach, and trouble the convictions of his day. In Excessive Saints, Rachel J. D. Smith combines historical, literary, and theological approaches to offer a new interpretation of Thomas’s hagiographies, showing how they employ vivid narrative portrayals of typically female bodies to perform theological work in a rhetorically specific way. Written in an era of great religious experimentation, Thomas’s texts think with and through the bodies of particular figures: the narrative of the holy person’s life becomes a site of theological invention in a variety of registers, particularly the devotional, the mystical, and the dogmatic. Smith examines how these texts represent the lives and bodies of holy women to render them desirable objects of devotion for readers and how Thomas passionately narrates these lives even as he works through his uncertainties about the opportunities and dangers that these emerging forms of holiness present. Excessive Saints is the first book to consider Thomas’s narrative craft in relation to his theological projects, offering new visions for the study of theology, medieval Christianity, and medieval women’s history.

Employing a wide range of approaches from various disciplines, contributors to this volume explore the diverse ways in which European art and cultural practice from the fourteenth through the seventeenth centuries confronted, interpreted, represented and evoked the realm of the sensual. Sense and the Senses in Early Modern Art and Cultural Practice investigates how the faculties of sight, hearing, touch, taste and smell were made to perform in a range of guises in early modern cultural practice: as agents of indulgence and pleasure, as bearers of information on material reality, as mediators between the mind and the outer world, and even as intercessors between humans and the divine. The volume examines not only aspects of the arts of painting and sculpture but also extends into other spheres: philosophy, music and poetry, gardens, food, relics and rituals. Collectively, the essays gathered here form a survey of key debates and practices attached to the theme of the senses in Renaissance and Baroque art and cultural practice.

This study first examines the marginal repertoire in two well-known manuscripts, the Psalter of Guy de Dampierre and an Arthurian Romance, within their material and codicological contexts. This repertoire then provides a template for an extended study of the marginal motifs that appear in eighteen related manuscripts, which range from a Bible to illustrated versions of the encyclopedias of Vincent de Beauvais and Brunetto Latini. Considering the manuscript as a whole work of art, the marginalia’s physical relationship to nearby texts and images can shed light on the reception of these illuminated books by their medieval viewers.