Explores how similarities and differences between humans and animals were understood by medieval theologians, and their significance.

Exploring what theologians at the University of Paris in the thirteenth century understood about the boundary between humans and animals, this book demonstrates the great variety of ways in which they held similarity and difference in productive tension. Analysing key theological works, Ian P. Wei presents extended close readings of William of Auvergne, the Summa Halensis, Bonaventure, Albert the Great and Thomas Aquinas. These scholars found it useful to consider animals and humans together, especially with regard to animal knowledge and behaviour, when discussing issues including creation, the fall, divine providence, the heavens, angels and demons, virtues and passions. While they frequently stressed that animals had been created for use by humans, and sometimes treated them as tools employed by God to shape human behaviour, animals were also analytical tools for the theologians themselves. This study thus reveals how animals became a crucial resource for generating knowledge of God and the whole of creation.

This book explores the individuals and ideas involved in one of the most transformative periods in higher education's history.

This book explores the ideas of theologians at the medieval University of Paris and their attempts to shape society. Investigating their views on money, marriage and sex, Ian Wei reveals the complexity of what theologians had to say about the world around them, and the increasing challenges to their authority.

Of all the epochs of effort after a new life, that of the age of Aquinas, Roger Bacon, St. Francis, St. Louis, Giotto, and Dante is the most purely spiritual, the most really constructive, and indeed the most truly philosophic. … The whole thirteenth century is crowded with creative forces in philosophy, art, poetry, and statesmanship as rich as those of the humanist Renaissance. And if we are accustomed to look on them as so much more limited and rude it is because we forget how very few and poor were their resources and their instruments. In creative genius Giotto is the peer, if not the superior of Raphael. Dante had all the qualities of his three chief successors and very much more besides. It is a tenable view that in inventive fertility and in imaginative range, those vast composite creations—the Cathedrals of the Thirteenth Century, in all their wealth of architectural statuary, painted glass, enamels, embroideries, and inexhaustible decorative work may be set beside the entire painting of the sixteenth century. Albert and Aquinas, in philosophic range, had no peer until we come down to Descartes, nor was Roger Bacon surpassed in versatile audacity of genius and in true encyclopaedic grasp by any thinker between him and his namesake the Chancellor. In statesmanship and all the qualities of the born leader of men we can only match the great chiefs of the Thirteenth Century by comparing them with the greatest names three or even four centuries later. Now this great century, the last of the true Middle Ages, which as it drew to its own end gave birth to Modern Society, has a special character of its own, a character that gives it an abiding and enchanting interest. We find in it a harmony of power, a universality of endowment, a glow, an aspiring ambition and confidence such as we never find in later centuries, at least so generally and so permanently diffused. … The Thirteenth Century was an era of no special character. It was in nothing one-sided and in nothing discordant. It had great thinkers, great rulers, great teachers, great poets, great artists, great moralists, and great workmen. It could not be called the material age, the devotional age, the political age, or the poetic age in any special degree. It was equally poetic, political, industrial, artistic, practical, intellectual, and devotional. And these qualities acted in harmony on a uniform conception of life with a real symmetry of purpose.

Clark examines the book of hours in the context of medieval culture, the book trade in Paris, and the role of Paris as an international center of illumination. 64 illustrations, 40 in color.

The first truly in-depth, interdisciplinary study of philosophical questions in the seminal medieval literary work, the Roman de la Rose.