The saint and visionary author John the Evangelist becomes the focus of spiritual and literary discussion in a great range of Middle High German writings, many of them not previously examined by scholars. These include not just sermons and devotional literature (sometimes aimed specifically at women in religious orders), but also narrative romance in verse and 'Meisterlieder', the metrically intricate didactic poetry of the later part of the period. Paying particular attention to the theme of 'imitatio' - the extent to which the saint is presented as a suitable role-model for different categories of reader - Annette Volfing reveals the considerable variations in the literary uses of John in different genres.The strength of the book depends partly on the fact that it draws attention to a body of largely unknown literary texts, and partly on the fact that its analysis involves the juxtaposition of genres normally considered in isolation. Above all, it provides a coherent overview of a theme of central importance to the history of Western spirituality.

The Daughter Zion allegory represents a particular narrative articulation of the paradigm of bridal mysticism deriving from the Song of Songs, the core element of which is the quest of Daughter Zion for a worthy object of love. Examining medieval German religious writing (verse and prose) and Dutch prose works, Annette Volfing shows that this storyline provides an excellent springboard for investigating key aspects of medieval religious and literary culture. In particular, she argues, the allegory lends itself to an exploration of the medieval sense of self; of the scope of human agency within the mystical encounter; of the gendering of the religious subject; of conceptions of space and enclosure; and of fantasies of violence and aggression. Volfing suggests that Daughter Zion adaptations increasingly tended to empower the religious subject to seek a more immediate relationship with the divine and to embrace a wider range of emotions: the mediating personifications are gradually eliminated in favour of a model of religious experience in which the human subject engages directly with Christ. Overall, the development of the allegory from the twelfth to the fifteenth centuries marks the striving towards a greater sense of equality and affective reciprocity with the divine, within the context of an erotic union.

The Daughter Zion allegory represents a particular narrative articulation of the paradigm of bridal mysticism deriving from the Song of Songs, the core element of which is the quest of Daughter Zion for a worthy object of love. Examining medieval German religious writing (verse and prose) and Dutch prose works, Annette Volfing shows that this storyline provides an excellent springboard for investigating key aspects of medieval religious and literary culture. In particular, she argues, the allegory lends itself to an exploration of the medieval sense of self; of the scope of human agency within the mystical encounter; of the gendering of the religious subject; of conceptions of space and enclosure; and of fantasies of violence and aggression. Volfing suggests that Daughter Zion adaptations increasingly tended to empower the religious subject to seek a more immediate relationship with the divine and to embrace a wider range of emotions: the mediating personifications are gradually eliminated in favour of a model of religious experience in which the human subject engages directly with Christ. Overall, the development of the allegory from the twelfth to the fifteenth centuries marks the striving towards a greater sense of equality and affective reciprocity with the divine, within the context of an erotic union.

The Daughter Zion allegory represents a particular narrative articulation of the paradigm of bridal mysticism deriving from the Song of Songs, the core element of which is the quest of Daughter Zion for a worthy object of love. Examining medieval German religious writing (verse and prose) and Dutch prose works, Annette Volfing shows that this storyline provides an excellent springboard for investigating key aspects of medieval religious and literary culture. In particular, she argues, the allegory lends itself to an exploration of the medieval sense of self; of the scope of human agency within the mystical encounter; of the gendering of the religious subject; of conceptions of space and enclosure; and of fantasies of violence and aggression. Volfing suggests that Daughter Zion adaptations increasingly tended to empower the religious subject to seek a more immediate relationship with the divine and to embrace a wider range of emotions: the mediating personifications are gradually eliminated in favour of a model of religious experience in which the human subject engages directly with Christ. Overall, the development of the allegory from the twelfth to the fifteenth centuries marks the striving towards a greater sense of equality and affective reciprocity with the divine, within the context of an erotic union.

The Daughter Zion allegory represents a particular narrative articulation of the paradigm of bridal mysticism deriving from the Song of Songs, the core element of which is the quest of Daughter Zion for a worthy object of love. Examining medieval German religious writing (verse and prose) and Dutch prose works, Annette Volfing shows that this storyline provides an excellent springboard for investigating key aspects of medieval religious and literary culture. In particular, she argues, the allegory lends itself to an exploration of the medieval sense of self; of the scope of human agency within the mystical encounter; of the gendering of the religious subject; of conceptions of space and enclosure; and of fantasies of violence and aggression. Volfing suggests that Daughter Zion adaptations increasingly tended to empower the religious subject to seek a more immediate relationship with the divine and to embrace a wider range of emotions: the mediating personifications are gradually eliminated in favour of a model of religious experience in which the human subject engages directly with Christ. Overall, the development of the allegory from the twelfth to the fifteenth centuries marks the striving towards a greater sense of equality and affective reciprocity with the divine, within the context of an erotic union.

The twin themes of punishment and penance considered through both historical and literary medieval German texts.The supposed brutality of medieval punishment looms large in the popular contemporary imagination, yet this perception can obscure the diverse and nuanced reactions of medieval society to violent or criminal acts. This collectionaddresses the ways in which different approaches to punishment are depicted and discussed in written texts, focusing in particular on the often complex intersection - semantic, theoretical and theological - between punishment andpenitential practices, both self-imposed and imposed by others. Often in dialogue with theoretical approaches (for example, those of René Girard or Michel Foucault), individual essays explore a range of themes: the intersection ofthe literary representation of acts of punishment and penance with historical experience; the ways in which acts of punishment and penance engage the wishes and desires of those inflecting or witnessing them; legal and theological implications; the symbolic and communicative capital of the body. They focus on a range of texts (romance, lyric, mystical writing, saints' lives) written in German, from the twelfth to the sixteenth century.Sarah Bowden is Lecturer in German at King's College London; Annette Volfing is Professor of Medieval German Studies at the University of Oxford and Fellow of Oriel College.Contributors: Sarah Bowden, Björn Buschbeck, Sebastian Coxon, Racha Kirakosian, Andreas Kraß, Henrike Manuwald, Katharina Mertens-Fleury, Jamie Page, Aimut Suerbaum, Annette Volfing.

The saint and visionary author John the Evangelist becomes the focus of spiritual and literary discussion in a great range of Middle High German writings, many of them not previously examined by scholars. These include not just sermons and devotional literature (sometimes aimed specifically at women in religious orders), but also narrative romance in verse and 'Meisterlieder', the metrically intricate didactic poetry of the later part of the period. Paying particular attention to the theme of 'imitatio' - the extent to which the saint is presented as a suitable role-model for different categories of reader - Annette Volfing reveals the considerable variations in the literary uses of John in different genres.The strength of the book depends partly on the fact that it draws attention to a body of largely unknown literary texts, and partly on the fact that its analysis involves the juxtaposition of genres normally considered in isolation. Above all, it provides a coherent overview of a theme of central importance to the history of Western spirituality.

The Daughter Zion allegory represents a particular narrative articulation of the paradigm of bridal mysticism deriving from the Song of Songs, the core element of which is the quest of Daughter Zion for a worthy object of love. Examining medieval German religious writing (verse and prose) and Dutch prose works, Annette Volfing shows that this storyline provides an excellent springboard for investigating key aspects of medieval religious and literary culture. In particular, she argues, the allegory lends itself to an exploration of the medieval sense of self; of the scope of human agency within the mystical encounter; of the gendering of the religious subject; of conceptions of space and enclosure; and of fantasies of violence and aggression. Volfing suggests that Daughter Zion adaptations increasingly tended to empower the religious subject to seek a more immediate relationship with the divine and to embrace a wider range of emotions: the mediating personifications are gradually eliminated in favour of a model of religious experience in which the human subject engages directly with Christ. Overall, the development of the allegory from the twelfth to the fifteenth centuries marks the striving towards a greater sense of equality and affective reciprocity with the divine, within the context of an erotic union.

The Daughter Zion allegory represents a particular narrative articulation of the paradigm of bridal mysticism deriving from the Song of Songs, the core element of which is the quest of Daughter Zion for a worthy object of love. Examining medieval German religious writing (verse and prose) and Dutch prose works, Annette Volfing shows that this storyline provides an excellent springboard for investigating key aspects of medieval religious and literary culture. In particular, she argues, the allegory lends itself to an exploration of the medieval sense of self; of the scope of human agency within the mystical encounter; of the gendering of the religious subject; of conceptions of space and enclosure; and of fantasies of violence and aggression. Volfing suggests that Daughter Zion adaptations increasingly tended to empower the religious subject to seek a more immediate relationship with the divine and to embrace a wider range of emotions: the mediating personifications are gradually eliminated in favour of a model of religious experience in which the human subject engages directly with Christ. Overall, the development of the allegory from the twelfth to the fifteenth centuries marks the striving towards a greater sense of equality and affective reciprocity with the divine, within the context of an erotic union.

The Daughter Zion allegory represents a particular narrative articulation of the paradigm of bridal mysticism deriving from the Song of Songs, the core element of which is the quest of Daughter Zion for a worthy object of love. Examining medieval German religious writing (verse and prose) and Dutch prose works, Annette Volfing shows that this storyline provides an excellent springboard for investigating key aspects of medieval religious and literary culture. In particular, she argues, the allegory lends itself to an exploration of the medieval sense of self; of the scope of human agency within the mystical encounter; of the gendering of the religious subject; of conceptions of space and enclosure; and of fantasies of violence and aggression. Volfing suggests that Daughter Zion adaptations increasingly tended to empower the religious subject to seek a more immediate relationship with the divine and to embrace a wider range of emotions: the mediating personifications are gradually eliminated in favour of a model of religious experience in which the human subject engages directly with Christ. Overall, the development of the allegory from the twelfth to the fifteenth centuries marks the striving towards a greater sense of equality and affective reciprocity with the divine, within the context of an erotic union.

The Daughter Zion allegory represents a particular narrative articulation of the paradigm of bridal mysticism deriving from the Song of Songs, the core element of which is the quest of Daughter Zion for a worthy object of love. Examining medieval German religious writing (verse and prose) and Dutch prose works, Annette Volfing shows that this storyline provides an excellent springboard for investigating key aspects of medieval religious and literary culture. In particular, she argues, the allegory lends itself to an exploration of the medieval sense of self; of the scope of human agency within the mystical encounter; of the gendering of the religious subject; of conceptions of space and enclosure; and of fantasies of violence and aggression. Volfing suggests that Daughter Zion adaptations increasingly tended to empower the religious subject to seek a more immediate relationship with the divine and to embrace a wider range of emotions: the mediating personifications are gradually eliminated in favour of a model of religious experience in which the human subject engages directly with Christ. Overall, the development of the allegory from the twelfth to the fifteenth centuries marks the striving towards a greater sense of equality and affective reciprocity with the divine, within the context of an erotic union.

The twin themes of punishment and penance considered through both historical and literary medieval German texts.The supposed brutality of medieval punishment looms large in the popular contemporary imagination, yet this perception can obscure the diverse and nuanced reactions of medieval society to violent or criminal acts. This collectionaddresses the ways in which different approaches to punishment are depicted and discussed in written texts, focusing in particular on the often complex intersection - semantic, theoretical and theological - between punishment andpenitential practices, both self-imposed and imposed by others. Often in dialogue with theoretical approaches (for example, those of René Girard or Michel Foucault), individual essays explore a range of themes: the intersection ofthe literary representation of acts of punishment and penance with historical experience; the ways in which acts of punishment and penance engage the wishes and desires of those inflecting or witnessing them; legal and theological implications; the symbolic and communicative capital of the body. They focus on a range of texts (romance, lyric, mystical writing, saints' lives) written in German, from the twelfth to the sixteenth century.Sarah Bowden is Lecturer in German at King's College London; Annette Volfing is Professor of Medieval German Studies at the University of Oxford and Fellow of Oriel College.Contributors: Sarah Bowden, Björn Buschbeck, Sebastian Coxon, Racha Kirakosian, Andreas Kraß, Henrike Manuwald, Katharina Mertens-Fleury, Jamie Page, Aimut Suerbaum, Annette Volfing.