Tracing the Gospel text from script to illustration to recitation, this study looks at how illuminated manuscripts operated within ritual and architecture. Focusing on a group of richly illuminated lectionaries from the late eleventh century, the book articulates how the process of textual recitation produced marginalia and miniatures that reflected and subverted the manner in which the Gospel was read and simultaneously imagined by readers and listeners alike. This unique approach to manuscript illumination points to images that slowly unfolded in the mind of its listeners as they imagined the text being recited, as meaning carefully changed and built as the text proceeded. By examining this process within specific acoustic architectural spaces and the sonic conditions of medieval chant, the volume brings together the concerns of sound studies, liturgical studies, and art history to demonstrate how images, texts, and recitations played with the environment of the Middle Byzantine church.

This is a study of the artistic and political context that led to the production of a truly exceptional Byzantine illustrated manuscript. Paris, Bibliothèque Nationale de France, codex grec 54 is one of the most ambitious and complex manuscripts produced during the Byzantine era. This thirteenth-century Greek and Latin Gospel book features full-page evangelist portraits, an extensive narrative cycle, and unique polychromatic texts. However, it has never been the subject of a comprehensive study and the circumstances of its commission are unknown. In this book Kathleen Maxwell addresses the following questions: what circumstances led to the creation of Paris 54? Who commissioned it and for what purpose? How was a deluxe manuscript such as this produced? Why was it left unfinished? How does it relate to other Byzantine illustrated Gospel books? Paris 54's innovations are a testament to the extraordinary circumstances of its commission. Maxwell's multi-disciplinary approach includes codicological and paleographical evidence together with New Testament textual criticism, artistic and historical analysis. She concludes that Paris 54 was never intended to copy any other manuscript. Rather, it was designed to eclipse its contemporaries and to physically embody a new relationship between Constantinople and the Latin West, as envisioned by its patron. Analysis of Paris 54's texts and miniature cycle indicates that it was created at the behest of a Byzantine emperor as a gift to a pope, in conjunction with imperial efforts to unify the Latin and Orthodox churches. As such, Paris 54 is a unique witness to early Palaeologan attempts to achieve church union with Rome.

"Intersectionality, a term coined in 1989, is rapidly increasing in importance within the academy, as well as in broader civic conversations. It describes the study of overlapping or intersecting social identities such as race, gender, ethnicity, nationality, and sexual orientation alongside related systems of oppression, domination, and discrimination. Together, these frameworks are used to understand how systematic injustice or social inequality occurs. In this book, Roland Betancourt examines the presence of marginalized identities and intersectionality in the medieval era. He reveals the fascinating, little-examined conversations in medieval thought and visual culture around matters of sexual and reproductive consent, bullying, non-monogamous marriages, homosocial and homoerotic relationships, trans and non-binary gender identifications, representations of disability, and the oppression of minorities. In contrast to contemporary expectations of the medieval world, this book looks at these problems from the Byzantine Empire and its neighbors in the eastern mediterranean through sources ranging from late antiquity and early Christianity up to the early modern period. In each of five chapters, Betancourt provides short, carefully scaled narratives used to illuminate nuanced and surprising takes on now-familiar subjects by medieval thinkers and artists. For example, Betancourt examines depictions of sexual consent in images of the Virgin; the origins of sexual shaming and bullying in the story of Empress Theodora; early beginnings of trans history as told in the lives of saints who lived portions of their lives within different genders; and the ways in which medieval authors understood and depicted disabilities. Deeply researched, this is a groundbreaking new look at medieval culture for a new generation of scholars"--

Studies the interrelation of sight, touch, and the imagination in ancient and medieval Greek theories of perception and cognition.

Images and texts tell various stories about the Virgin Mary in Byzantium, reflecting an important cult with strong doctrinal foundations.

Juvencus’ Evangeliorum libri IV, or "The Four Books of the Gospels," is a verse rendering of the gospel narrative written ca. 330 CE. Consisting of around 3200 hexameter lines, it is the first of the Latin "Biblical epics" to appear in antiquity, and the first classicizing, hexameter poem on a Christian topic to appear in the western tradition. As such, it is an important text in literary and cultural history. This is the first English translation of the entire poem. The lack of a full English translation has kept many scholars and students, particularly those outside of Classics, and many educated general readers from discovering it. With a thorough introduction to aid in the interpretation and appreciation of the text this clear and accessible English translation will enable a clearer understanding of the importance of Juvencus’ work to later Latin poetry and to the early Church.

This book offers the first complete overview of Byzantine poetry from the 4th to the 15th century. By bringing together 22 scholars, it explores the development of poetic trends and the interaction between poetry and society throughout the Byzantine millennium; it addresses a wide range of issues concerning the writing and reading of poetry (such as style, language, metrics, function, and circulation); and it surveys a large number of texts by looking closely at their place within the social and cultural milieus of their authors. Overall, the volume aims to enhance our understanding of Byzantine poetry and shed light on its important place in Byzantine literary culture. Contributors are Eirini Afentoulidou, Gianfranco Agosti, Roderick Beaton, Floris Bernard, Carolina Cupane, Kristoffel Demoen, Ivan Drpic, Jürgen Fuchsbauer, Antonia Giannouli, Martin Hinterberger, Wolfram Hörandner, Elizabeth Jeffreys, Michael Jeffreys, Marc Lauxtermann, Ingela Nilsson, Emilie van Opstall, Andreas Rhoby, Kurt Smolak, Foteini Spingou, Maria Tomadaki, Ioannis Vassis, Nikos Zagklas.