The twenty well-known scholars featured in this Festschrift for William Calin engage in personal reflection about the ways scholars, writers, musicians, and artists from different periods have "made" the Middle Ages by exploring it in their own work. Contributors: Barbara K. Altman, Pam Clements, Elizabeth Emery, Karl Fugelso, Caroline Jewers, Alicia C. Montoya, Gwendolyn A. Morgan, E.L. Risden, Nils Holger Petersen, William D. Paden, F. Regina Psaki, Carol L. Robinson, Roy Rosenstein, Tom Shippey, Jesse G. Swan, M.J. Toswell, Richard Utz, Kathleen Verduin, Veronica Ortenberg West-Harling, Gayle Zachmann

In the late 1320s, Martha de Cabanis was widowed with three young sons. Mothers and Sons, Inc. shows how the widow Martha maneuvered within the legal constraints of her social, economic, and personal status and illuminates the opportunities and the limits of what was possible for elite mercantile women.

This ambitious and vivid study in six volumes explores the journey of a single, electrifying story, from its first incarnation in a medieval French poem through its prolific rebirth in the nineteenth and twentieth centuries. The Juggler of Notre Dame tells how an entertainer abandons the world to join a monastery, but is suspected of blasphemy after dancing his devotion before a statue of the Madonna in the crypt; he is saved when the statue, delighted by his skill, miraculously comes to life. Jan Ziolkowski tracks the poem from its medieval roots to its rediscovery in late nineteenth-century Paris, before its translation into English in Britain and the United States. The visual influence of the tale on Gothic revivalism and vice versa in America is carefully documented with lavish and inventive illustrations, and Ziolkowski concludes with an examination of the explosion of interest in The Juggler of Notre Dame in the twentieth century and its place in mass culture today. Volume 3: The American Middle Ages hinges upon two figures influenced by the juggler: Henry Adams, scion of Presidents and distinguished cultural historian whose works contributed to the rise of medievalism in America during the Gilded Age, and Ralph Adams Cram, the architect whose vision of Gothic accounts directly or indirectly for the campuses of West Point, Princeton, Yale, Chicago, Notre Dame, and many other universities across America. The Juggler of Notre Dame and the Medievalizing of Modernity is a rich case study for the reception of the Middle Ages in modernity. Spanning centuries and continents, the medieval period is understood through the lens of its (post)modern reception in Europe and America. Profound connections between the verbal and the visual are illustrated by a rich trove of images, including book illustrations, stained glass, postage stamps, architecture, and Christmas cards. Presented with great clarity and simplicity, Ziolkowski's work is accessible to the general reader, while its many new discoveries will be valuable to academics in such fields and disciplines as medieval studies, medievalism, philology, literary history, art history, folklore, performance studies, and reception studies.

This book explores the puzzling phenomenon of the remarkable revival of monarchy in nineteenth-century Europe through a new prism: the public persona of the ‘Sailor Prince’. It highlights how four usually overlooked dynastic figures – the younger sons and brothers of monarchs such as Queen Victoria or Emperor William II – decisively helped to advertise their respective dynasties in the fiercely contested political and popular mass market, by aligning them with one of the most myth-invested cultural presences and power-political symbols of the Age of Empire: the navy. The 'Sailor Prince' in the Age of Empire traces the unusual professional careers, the adventurous empire travels and the multifaceted public representations of Prince Alfred of Britain (1844-1900), Prince Heinrich of Prussia (1862-1929), Prince Valdemar of Denmark (1858-1939) and Prince Georgios of Greece (1869-1957). Through the prism of these four personality brands, the study also investigates issues such as the role of the maritime sphere in national identity, the nature and extent of nineteenth-century monarchical modernization, the relevance of intra- and inter-imperial royal diplomacy in the Age of High Imperialism, and the curious collaboration of middle-class opinion-makers and entrepreneurs with Europe’s monarchical establishment.

The author of this essay confesses that she has practised an exhumation exercise: an overwhelming work of research in which many names are hardly known (let alone recognised). The challenges of a work for which there is little precedent, and which was absolutely necessary, are numerous and varied: from the absence of documentation (or the difficulty of accessing it) to the over-representation of a large handful of linguists as opposed to the practical invisibility of the majority, to cite only the most obvious. Nevertheless, the result is an enjoyable and pedagogical read which documents the existence and contributions of more than 200 women who have worked in language-related disciplines. The book explores Western and Eastern sources in order to do justice to all those women who make this book meaningful.

The Oxford Handbook of Music and Medievalism provides a snapshot of the diverse ways in which medievalism--the retrospective immersion in the images, sounds, narratives, and ideologies of the European Middle Ages--powerfully transforms many of the varied musical traditions of the last two centuries. Thirty-three chapters from an international group of scholars explore topics ranging from the representation of the Middle Ages in nineteenth-century opera to medievalism in contemporary video game music, thereby connecting disparate musical forms across typical musicological boundaries of chronology and geography. While some chapters focus on key medievalist works such as Orff's Carmina Burana or Peter Jackson's Lord of the Rings films, others explore medievalism in the oeuvre of a single composer (e.g. Richard Wagner or Arvo Pärt) or musical group (e.g. Led Zeppelin). The topics of the individual chapters include both well-known works such as John Boorman's film Excalibur and also less familiar examples such as Eduard Lalo's Le Roi d'Ys. The authors of the chapters approach their material from a wide array of disciplinary perspectives, including historical musicology, popular music studies, music theory, and film studies, examining the intersections of medievalism with nationalism, romanticism, ideology, nature, feminism, or spiritualism. Taken together, the contents of the Handbook develop new critical insights that venture outside traditional methodological constraints and provide a capstone and point of departure for future scholarship on music and medievalism.

Knowing their Place is a comprehensive account of the public, private and intellectual life of Irish women in the Victorian age. In particular, this book looks at the steady progress of girls and women within the education system, their gradual involvement in intellectual life through amateur societies (such as the Royal Dublin Society); their emergence of independent, highly motivated scholarly and philanthropic individuals who operated within local spheres with often very considerable degrees of success and influence.