Bettina Bildhauer – författare

The Middle Ages continue to provide an important touchstone for the way the modern West presents itself and its relationship with the rest of the globe. This volume brings together leading scholars of literature and history, together with musicians, novelists, librarians, and museum curators in order to present exciting, up-to-date perspectives on how and why the Middle Ages continue to matter in the 20th and 21st centuries. Presented here, their essays represent a unique dialogue between scholars and practitioners of 'medievalism'. Framed by an introductory essay on the broad history of the continuing evolution of the idea of 'The Middle Ages' from the 14th century to the present day, chapters deal with subjects as diverse as: the use of Old Norse sagas by Republican deniers of climate change; the way figures like the Irish hero Cú Chulainn and St Patrick were used to give legitimacy to political affiliations during the Ulster 'Troubles'; the use of the Middle Ages in films by Pasolini and Tarantino; the adoption of the 'Green Man' motif in popular culture; Lady Gaga's manipulation of medieval iconography in her music videos; the translation of medieval poetry from manuscript to digital media; and the problem of writing national history free from the 'toxic medievalism' of the 19th and 20th centuries. This book will appeal to anyone interested in the Middle Ages and its impact on recent political and cultural history. It is dedicated to the memory of Seamus Heaney, who gave his last overseas lecture in St Andrews in 2013, the year this book was conceived, and whose late poetry this book also discusses.

This is the first interdisciplinary study of one of the crucial elements of medieval imaginations of the world: blood. It takes a theoretically informed approach to the subject and is thus the first to propose that blood shapes the body as a distinct identity. The author shows that by taking blood and bodies seriously, we gain significant new insights into medieval culture. The author's central thesis is that blood affirms the body as one of the major tenets of medieval thought and identity. 'The body' is not a given, enclosed, unified entity, always already different from the mind and from its surroundings. The concept of such an enclosed body is instead produced by various strategies, of which several use blood. This book will appeal to scholars and students who are interested in the history of the body across a wide range of disciplines: German studies, literature, medieval history, history of religion, history of medicine and gender studies.

Medieval film explores theoretical questions about the ideological, artistic, emotional and financial investments inhering in cinematic renditions of the medieval period. What does it mean to create and watch a ‘medieval film’? What is a medieval film and why are they successful? This is the first work that attempts to answer these questions, drawing, for instance, on film theory, postcolonial theory, cultural studies and the growing body of work on medievalism. Contributors investigate British, German, Italian, Australian, French, Swedish and American film, exploring topics such translation, temporality, film noir, framing and period film – and find the medieval lurking in unexpected corners. In addition it provides in-depth studies of individual films from different countries including The Birth of a Nation to Nosferatu, and Robin Hood: Prince of Thieves.Medieval film will be of interest to medievalists working in disciplines including literature, history, art history, to scholars working on film and in cultural studies. It will also be of interest to undergraduates, postgraduates and to an informed enthusiast in film or/and medieval culture.

Medieval film explores theoretical questions about the ideological, artistic, emotional and financial investments inhering in cinematic renditions of the medieval period. What does it mean to create and watch a 'medieval film'? What is a medieval film and why are they successful? This is the first work that attempts to answer these questions, drawing, for instance, on film theory, postcolonial theory, cultural studies and the growing body of work on medievalism. Contributors investigate British, German, Italian, Australian, French, Swedish and American film, exploring topics such translation, temporality, film noir, framing and period film - and find the medieval lurking in inexpected corners. In addition it provides in-depth studies of individual films from different countries including The Birth of a Nation to Nosferatu, and Robin Hood: Prince of Thieves. Medieval Film will be of interest to medievalists working in disciplines including literature, history, to scholars working on film and in cultural studies. It will also be of interest to undergraduates, postgraduates and to an informed enthusiast in film or/and medieval culture.

Medieval film explores theoretical questions about the ideological, artistic, emotional and financial investments inhering in cinematic renditions of the medieval period. What does it mean to create and watch a ‘medieval film’? What is a medieval film and why are they successful? This is the first work that attempts to answer these questions, drawing, for instance, on film theory, postcolonial theory, cultural studies and the growing body of work on medievalism. Contributors investigate British, German, Italian, Australian, French, Swedish and American film, exploring topics such translation, temporality, film noir, framing and period film – and find the medieval lurking in unexpected corners. In addition it provides in-depth studies of individual films from different countries including The Birth of a Nation to Nosferatu, and Robin Hood: Prince of Thieves.Medieval film will be of interest to medievalists working in disciplines including literature, history, art history, to scholars working on film and in cultural studies. It will also be of interest to undergraduates, postgraduates and to an informed enthusiast in film or/and medieval culture.

The figure of the monster in medieval culture functions as a vehicle for a range of intellectual and spiritual inquiries, from questions of language and representation to issues of moral, theological and cultural value. Monsters embody cultural tensions that go far beyond the idea of the monster as simply an unintelligible and abject other. This text looks at both the representation of literal monsters and the consumption and exploitation of monstrous metaphors in a wide variety of high and late-medieval cultural productions, from travel writing and mystical texts, to sermons, manuscript illuminations and maps. Individual essays explore the ways in which monstrosity shaped the construction of gendered and racial identities, religious symbolism and social prejudice in the Middle Ages. Reading the Middle Ages through its monsters provides an opportunity to view medieval culture from fresh perspectives. It should be of interest in the concept of monstrosity and its significance for medieval cultural production.

The figure of the monster in medieval culture functions as a vehicle for a range of intellectual and spiritual inquiries, from questions of language and representation to issues of moral, theological and cultural value. Monsters embody cultural tensions that go far beyond the idea of the monster as simply an unintelligible and abject other. This text looks at both the representation of literal monsters and the consumption and exploitation of monstrous metaphors in a wide variety of high and late-medieval cultural productions, from travel writing and mystical texts, to sermons, manuscript illuminations and maps. Individual essays explore the ways in which monstrosity shaped the construction of gendered and racial identities, religious symbolism and social prejudice in the Middle Ages. Reading the Middle Ages through its monsters provides an opportunity to view medieval culture from fresh perspectives. It should be of interest in the concept of monstrosity and its significance for medieval cultural production.

The figure of the monster in medieval culture functions as a vehicle for a range of intellectual and spiritual inquiries, from questions of language and representation to issues of moral, theological and cultural value. Monsters embody cultural tensions that go far beyond the idea of the monster as simply an unintelligible and abject other. This text looks at both the representation of literal monsters and the consumption and exploitation of monstrous metaphors in a wide variety of high and late-medieval cultural productions, from travel writing and mystical texts, to sermons, manuscript illuminations and maps. Individual essays explore the ways in which monstrosity shaped the construction of gendered and racial identities, religious symbolism and social prejudice in the Middle Ages. Reading the Middle Ages through its monsters provides an opportunity to view medieval culture from fresh perspectives. It should be of interest in the concept of monstrosity and its significance for medieval cultural production.