This book is about the spectacles and ceremonies of society in the Low Countries. It is the first ever attempt to unite and translate some of the key texts which informed Johan Huizinga's famous study of the Burgundian court in The Waning of the Middle Ages, a work which has never gone out of print.

This volume brings together a series of papers at Kalamazoo as well as some contributed papers inspired by the fiftieth anniversary of the publication of Lynn White Jr.’s, Medieval Technology and Social Change (1962), a slim study which catalyzed the study of technology in the Middle Ages in the English-speaking world. While the initial reviews and decades-long fortune of the volume have been varied, it is still in print and remains a touchstone of an idea and a time. The contributors to the volume, therefore, both investigate the book itself and its fate, and look at new research furthering and inspired by White’s work. The book opens with an introduction surveying White’s career, with a bibliography of his work, as well as some opening thoughts on the study of medieval technology in the last fifty years. Three papers then deal explicitly with the reception and longevity of his work and its impact on medieval studies more generally. Then five papers look at new cast studies areas where White’s work and approach has had a particular impact, namely, medieval technology studies and medieval rural/ ecological studies.

An exploration of emotional life in the West, considering the varieties, transformations and constants of human emotions over eleven centuries.

First full study devoted to the archery and crossbow guilds which grew up in Flanders in the middle ages.

"During the Middle Ages and early modern period, a dramatic culture of astonishing vitality developed in the Low Countries. Owing to the activities of organizations known as rederijkerskamers, or "chambers of rhetoric", dramas became a central aspect of public life in the cities of the Netherlands. The comedies produced by these groups are particularly interesting. Drawing their forms and narratives from folklore and popular ritual, and entertaining in their own right, they also bring together a range of important concerns; they respond directly to some of the key developments in the period, reflecting the political and religious turmoil of the Reformation and Dutch Revolt, the emergence of humanism, and the appearance of an early capitalist economy. This collection brings together the original Middle Dutch text of ten of these comic plays, with facing translation into modern English. The selection is divided evenly between formal stage-plays and monologues, and provides a representation of the full range of rederijker drama, from the sophisticated Farce of the Fisherman, with its sly undermining of audience expectation, to the hearty scatology of A Mock-Sermon on Saint Nobody, and the grim gallows humor of The Farce of the Beggar. An introduction and notes place the plays in their context and elucidate difficulties of interpretation." --from back cover.

The complexity of the interplay and relationships over various borders in medieval Europe is here fully teased out. The processes by which ideas, objects, texts and political thought and experience moved across boundaries in the Middle Ages form the focus of this book, which also seeks to reassess the nature of the boundaries themselves; it thus appropriately reflects a major theme of Dr Malcolm Vale's work, which the essays collected here honour. They suggest ways of breaking down established historiographical paradigms of Europe as a set of distinct polities, achieving a more nuanced picture in which people and objects were constantly moving, and challenging previous conceptions of units and borders. The first section examines the construction of boundaries and units in the later Middle Ages, via topics ranging from linguistic units to social stratifications, and geographically from the Netherlands and Scotland to Gascony and the Iberian peninsula; it reveals how much the relationship between exchange and boundaries was reciprocal. The second section considers the mechanisms by which it took place, from West Africa to Italy and Flanders, and discusses the actual exchange of people, texts, and unusual artefacts. Overall, the essays bear witness to the constant interplay and interconnections throughout medieval Europe and beyond. Contributors: Paul Booth, Maria João Violante Branco, Rita Costa-Gomes, Mario Damen, Jan Dumolyn, Jean Dunbabin, Jean-PhilippeGenet, Michael Jones, Maurice Keen, Frédérique Lachaud, Patrick Lantschner, Guilhem Pépin, R.L.J. Shaw, Hannah Skoda, Erik Spindler, John Watts.

The concept of a 'Renaissance' in the arts, in thought, and in more general culture North of the Alps often evokes the idea of a cultural transplant which was not indigenous to, or rooted in, the society from which it emerged. Classic definitions of the European 'Renaissance' during the 14th, 15th and 16th centuries have seen it as what was in effect an Italian import into the Gothic North. Yet there were certainly differences, divergences and dichotomies between North and South which have to be addressed. Here, Malcolm Vale argues for a Northern Renaissance which, while cognisant of Italian developments, displayed strong continuities with the indigenous cultures of northern Europe. But it also contributed novelties and innovations which often tended to stem from, and build upon, those continuities. A Short History of the Renaissance in Northern Europe – while in no way ignoring or diminishing the importance of the Hellenic and Roman legacy – seeks other sources, and different uses of classical antiquity, for a rather different kind of 'Renaissance', if such it was, in the North.