Eleanor Johnson – författare

A LOS ANGELES TIMES MOST ANTICIPATED BOOK OF 2025 A compelling, intelligent, and timely exploration of the horror genre from one of Columbia University’s most popular professors, shedding light on how classic horror films demonstrate larger cultural attitudes about women’s rights, bodily autonomy, and more.In May of 2022, Columbia University’s Dr. Eleanor Johnson watched along with her students as the Supreme Court reversed Roe v. Wade. At the same time, her class was studying the 1968 horror film Rosemary’s Baby and Johnson had a sudden epiphany: horror cinema engages directly with the combustive politics of women’s rights and offer a light through the darkness and an outlet to scream. With a voice as persuasive as it is insightful, Johnson reveals how classics like Rosemary’s Baby, The Exorcist, and The Shining expose and critique issues of reproductive control, domestic violence, and patriarchal oppression. Scream with Me weaves these iconic films into the fabric of American feminism, revealing that true horror often lies not in the supernatural, but in the familiar confines of the home, exposing the deep-seated fears and realities of women’s lives. While on the one hand a joyful celebration of seminal and beloved horror films, Scream with Me is also an unflinching and timely recognition of the power of this genre to shape and reflect cultural dialogues about gender and power.

Literary scholars often avoid the category of the aesthetic in discussions of ethics, believing that purely aesthetic judgments can vitiate analyses of a literary work’s sociopolitical heft and meaning. In Practicing Literary Theory in the Middle Ages, Eleanor Johnson reveals that aesthetics—the formal aspects of literary language that make it sense-perceptible—are indeed inextricable from ethics in the writing of medieval literature.   Johnson brings a keen formalist eye to bear on the prosimetric form: the mixing of prose with lyrical poetry. This form descends from the writings of the sixth-century Christian philosopher Boethius—specifically his famous prison text, Consolation of Philosophy—to the late medieval English tradition. Johnson argues that Boethius’s text had a broad influence not simply on the thematic and philosophical content of subsequent literary writing, but also on the specific aesthetic construction of several vernacular traditions. She demonstrates the underlying prosimetric structures in a variety of Middle English texts—including Chaucer’s Troilus and Criseyde and portions of the Canterbury Tales, Thomas Usk’s Testament of Love, John Gower’s Confessio amantis, and Thomas Hoccleve’s autobiographical poetry—and asks how particular formal choices work, how they resonate with medieval literary-theoretical ideas, and how particular poems and prose works mediate the tricky business of modeling ethical transformation for a readership.

Literary scholars often avoid the category of the aesthetic in discussions of ethics, believing that purely aesthetic judgments can vitiate analyses of a literary work's sociopolitical heft and meaning. In Practicing Literary Theory in the Middle Ages, Eleanor Johnson reveals that aesthetics the formal aspects of literary language that make it sense-perceptible are indeed inextricable from ethics in the writing of medieval literature. Johnson brings a keen formalist eye to bear on the prosimetric form: the mixing of prose with lyrical poetry. This form descends from the writings of the sixth-century Christian philosopher Boethius specifically his famous prison text, Consolation of Philosophy to the late medieval English tradition. Johnson argues that Boethius's text had a broad influence not simply on the thematic and philosophical content of subsequent literary writing, but also on the specific aesthetic construction of several vernacular traditions.She demonstrates the underlying prosimetric structures in a variety of Middle English texts including Chaucer's Troilus and Criseyde and portions of the Canterbury Tales, Thomas Usk's Testament of Love, John Gower's Confessio amantis, and Thomas Hoccleve's autobiographical poetry and asks how particular formal choices work, how they resonate with medieval literary-theoretical ideas, and how particular poems and prose works mediate the tricky business of modeling ethical transformation for a readership.

What does it mean to contemplate? In the Middle Ages, more than merely thinking with intensity, it was a religious practice entailing utter receptiveness to the divine presence. Contemplation is widely considered by scholars today to have been the highest form of devotional prayer, a rarified means of experiencing God practiced only by the most devout of monks, nuns, and mystics.Yet, in this groundbreaking new book, Eleanor Johnson argues instead for the pervasiveness and accessibility of contemplative works to medieval audiences. By drawing together ostensibly diverse literary genres—devotional prose, allegorical poetry, cycle dramas, and morality plays—Staging Contemplation paints late Middle English contemplative writing as a broad genre that operated collectively and experientially as much as through radical individual disengagement from the world. Johnson further argues that the contemplative genre played a crucial role in the exploration of the English vernacular as a literary and theological language in the fifteenth century, tracing how these works engaged modes of disfluency—from strained syntax and aberrant grammar, to puns, slang, code-switching, and laughter—to explore the limits, norms, and potential of English as a devotional language. Full of virtuoso close readings, this book demonstrates a sustained interest in how poetic language can foster a participatory experience of likeness to God among lay and devotional audiences alike.

What does it mean to contemplate? In the Middle Ages, more than merely thinking with intensity, it was a religious practice entailing utter receptiveness to the divine presence. Contemplation is widely considered by scholars today to have been the highest form of devotional prayer, a rarified means of experiencing God practiced only by the most devout of monks, nuns, and mystics.             Yet, in this groundbreaking new book, Eleanor Johnson argues instead for the pervasiveness and accessibility of contemplative works to medieval audiences. By drawing together ostensibly diverse literary genres—devotional prose, allegorical poetry, cycle dramas, and morality plays—Staging Contemplation paints late Middle English contemplative writing as a broad genre that operated collectively and experientially as much as through radical individual disengagement from the world. Johnson further argues that the contemplative genre played a crucial role in the exploration of the English vernacular as a literary and theological language in the fifteenth century, tracing how these works engaged modes of disfluency—from strained syntax and aberrant grammar, to puns, slang, code-switching, and laughter—to explore the limits, norms, and potential of English as a devotional language. Full of virtuoso close readings, this book demonstrates a sustained interest in how poetic language can foster a participatory experience of likeness to God among lay and devotional audiences alike.

A groundbreaking examination of ecological thought in medieval England.While the scale of today’s crisis is unprecedented, environmental catastrophe is nothing new. Waste and the Wasters studies the late Middle Ages, when a convergence of land contraction, soil depletion, climate change, pollution, and plague subsumed Western Europe. In a culture lacking formal scientific methods, the task of explaining and coming to grips with what was happening fell to medieval poets. The poems they wrote used the terms “waste” or “wasters” to anchor trenchant critiques of people’s unsustainable relationships with the world around them and with each other. In this book, Eleanor Johnson shows how poetry helped medieval people understand and navigate the ecosystemic crises—both material and spiritual—of their time.

A groundbreaking examination of ecological thought in medieval England.While the scale of today’s crisis is unprecedented, environmental catastrophe is nothing new. Waste and the Wasters studies the late Middle Ages, when a convergence of land contraction, soil depletion, climate change, pollution, and plague subsumed Western Europe. In a culture lacking formal scientific methods, the task of explaining and coming to grips with what was happening fell to medieval poets. The poems they wrote used the terms “waste” or “wasters” to anchor trenchant critiques of people’s unsustainable relationships with the world around them and with each other. In this book, Eleanor Johnson shows how poetry helped medieval people understand and navigate the ecosystemic crises—both material and spiritual—of their time.

A groundbreaking examination of ecological thought in medieval England. While the scale of today’s crisis is unprecedented, environmental catastrophe is nothing new. Waste and the Wasters studies the late Middle Ages, when a convergence of land contraction, soil depletion, climate change, pollution, and plague subsumed Western Europe. In a culture lacking formal scientific methods, the task of explaining and coming to grips with what was happening fell to medieval poets. The poems they wrote used the terms “waste” or “wasters” to anchor trenchant critiques of people’s unsustainable relationships with the world around them and with each other. In this book, Eleanor Johnson shows how poetry helped medieval people understand and navigate the ecosystemic crises—both material and spiritual—of their time.

How an ancient myth about a sexually voracious, baby-slaying, loudmouthed demoness became the defining misogynistic archetype of Western civilizationFor as long as human societies have been telling stories, the patriarchy has felt threatened by women. In this book, Eleanor Johnson provides an engaging cultural history of a figure she calls the ';monstrous bitch,' the notorious female who has haunted the patriarchal imagination for centuries, feared for her sexual promiscuity, her exercise of reproductive agency and control, and her outspoken way of contesting patriarchal power.In a narrative brimming with insight, Johnson traces the origins of female monstrosity to the demoness Lamashtu of ancient Mesopotamia, showing how this infanticidal, hypersexual, loudmouthed monster appears in different guises throughout history. In classical Greece, she reemerges as the sorceress Medea, the child-devouring monster Lamia, and the vengeful Furies. In the medieval and early modern periods, she is an oversexed, baby-slaying, spellcasting witch; in the Romantic and Victorian eras, a vampiress; and in the modern age of psychoanalysis, a mental patient. After this longue duree history, Johnson shows how monstrous bitchery has been challenged and reinterpreted in contemporary cinematic popular culture, becoming an expression of heroism and resistance in films like Ginger Snaps, Jennifer's Body, and The Witch. She demonstrates how deeply embedded the roots of misogyny have become, and why it is more critical today than ever that we expose and address them.An irreverent look at a pervasive trope that runs through four thousand years of Western culture, Monstrous Bitch reveals that while representations of the powerful woman have evolved over time, the fear and demonization of her remains the same.

How an ancient myth about a sexually voracious, baby-slaying, loudmouthed demoness became the defining misogynistic archetype of Western civilizationFor as long as human societies have been telling stories, the patriarchy has felt threatened by women. In this book, Eleanor Johnson provides an engaging cultural history of a figure she calls the ';monstrous bitch,' the notorious female who has haunted the patriarchal imagination for centuries, feared for her sexual promiscuity, her exercise of reproductive agency and control, and her outspoken way of contesting patriarchal power.In a narrative brimming with insight, Johnson traces the origins of female monstrosity to the demoness Lamashtu of ancient Mesopotamia, showing how this infanticidal, hypersexual, loudmouthed monster appears in different guises throughout history. In classical Greece, she reemerges as the sorceress Medea, the child-devouring monster Lamia, and the vengeful Furies. In the medieval and early modern periods, she is an oversexed, baby-slaying, spellcasting witch; in the Romantic and Victorian eras, a vampiress; and in the modern age of psychoanalysis, a mental patient. After this longue duree history, Johnson shows how monstrous bitchery has been challenged and reinterpreted in contemporary cinematic popular culture, becoming an expression of heroism and resistance in films like Ginger Snaps, Jennifer's Body, and The Witch. She demonstrates how deeply embedded the roots of misogyny have become, and why it is more critical today than ever that we expose and address them.An irreverent look at a pervasive trope that runs through four thousand years of Western culture, Monstrous Bitch reveals that while representations of the powerful woman have evolved over time, the fear and demonization of her remains the same.

As manufactured goods became more easily available, ladies developed crafts such as needlework, to occupy their increased leisure time. This book illustrates and describes over 200 items used by Victorian and Edwardian ladies in their needlecrafts. It includes needlecases, scissors, tape-measures, thread waxers, pincushions and thimble.

To many people a thimble may seem to be simply a mundane and commonplace object with unromantic shape and associations, even if the work with which it assists can frequently be exquisite and imaginative. This book will open a door to the charm of the humble thimble in all its variety, from the simple workaday type to the rarer and more exquisite examples that gave scope for artists and craftsmen, and indeed still do. It will give those new to a fascinating collecting field an introduction to the possibilities that exist, including the parallel subject of thimble cases. The more interesting old thimbles are less plentiful than they once were but are still worth searching for in antique shops and antique fairs, while those currently being made and on sale in good gift shops can make a worthy addition to any comprehensive collection.

As human societies evolved, clothing became more than just a basic necessity to protect the body from cold. Both men and women used their costume to display their status and wealth. This additional function of dress was accompanied by the appearance of a wide variety of complementary accessories. These included perfume and scent bottles, jewellery, buttons, buckles, buttonhooks, hat pins, gloves, handbags, purses, fans, parasols and many other items and, since the First World War, objects associated with make-up and smoking. In this book Eleanor Johnson describes and illustrates many of the items that one may come across.

NATIONAL BESTSELLER“An indispensable work of feminist criticism.” —Elle“Convincing and illuminating.” —The Atlantic A compelling, intelligent, and timely exploration of the horror genre from one of Columbia University’s most popular professors, shedding light on how classic horror films demonstrate larger cultural attitudes about women’s rights, bodily autonomy, and more.When the Supreme Court decided to reverse Roe v. Wade in the spring of 2022, Dr. Eleanor Johnson and her class were in the middle of studying the 1968 horror classic Rosemary’s Baby, a film that understands reproductive coercion as the soul of horror. Teaching this film to her distraught students led Johnson to an epiphany: horror cinema engages directly with the combustive politics of women’s rights and the despotic atmosphere in America, both in the 1970s and today. In ten “riveting, enlightening, and occasionally scream-inducing” (Shelf Awareness) essays, Johnson reveals with intellect and empathy how classics like Rosemary’s Baby, The Exorcist, and The Shining expose and critique issues of reproductive control, domestic violence, and patriarchal oppression. By weaving these iconic films into the fabric of American feminism, Johnson reveals that true horror often lies not in the supernatural but in the familiar (and all too often, lethal) confines of the home. “With wit and relish” (BookPage), Scream with Me is an accessible and “thought-provoking” (Library Journal) recognition of the power of the horror genre to shape and reflect cultural dialogues about gender and power.

A compelling, intelligent, and timely exploration of the horror genre from one of Columbia University’s most popular professors, shedding light on how classic horror films demonstrate larger cultural attitudes about women’s rights, bodily autonomy, and more.In May of 2022, Columbia University’s Dr. Eleanor Johnson watched along with her students as the Supreme Court reversed Roe v. Wade. At the same time, her class was studying the 1968 horror film Rosemary’s Baby and Johnson had a sudden epiphany: horror cinema engages directly with the combustive politics of women’s rights and offer a light through the darkness and an outlet to scream. With a voice as persuasive as it is insightful, Johnson reveals how classics like Rosemary’s Baby, The Exorcist, and The Shining expose and critique issues of reproductive control, domestic violence, and patriarchal oppression. Scream with Me weaves these iconic films into the fabric of American feminism, revealing that true horror often lies not in the supernatural, but in the familiar confines of the home, exposing the deep-seated fears and realities of women’s lives. While on the one hand a joyful celebration of seminal and beloved horror films, Scream with Me is also an unflinching and timely recognition of the power of this genre to shape and reflect cultural dialogues about gender and power.

NATIONAL BESTSELLER An indispensable work of feminist criticism. Elle Convincing and illuminating. The Atlantic A compelling, intelligent, and timely exploration of the horror genre from one of Columbia Universitys most popular professors, shedding light on how classic horror films demonstrate larger cultural attitudes about womens rights, bodily autonomy, and more.When the Supreme Court decided to reverse Roe v. Wade in the spring of 2022, Dr. Eleanor Johnson and her class were in the middle of studying the 1968 horror classic Rosemarys Baby, a film that understands reproductive coercion as the soul of horror. Teaching this film to her distraught students led Johnson to an epiphany: horror cinema engages directly with the combustive politics of womens rights and the despotic atmosphere in America, both in the 1970s and today. In ten riveting, enlightening, and occasionally scream-inducing (Shelf Awareness) essays, Johnson reveals with intellect and empathy how classics like Rosemarys Baby, The Exorcist, and The Shining expose and critique issues of reproductive control, domestic violence, and patriarchal oppression. By weaving these iconic films into the fabric of American feminism, Johnson reveals that true horror often lies not in the supernatural but in the familiar (and all too often, lethal) confines of the home. With wit and relish (BookPage), Scream with Me is an accessible and thought-provoking (Library Journal) recognition of the power of the horror genre to shape and reflect cultural dialogues about gender and power.

Literary scholars often avoid the category of the aesthetic in discussions of ethics, believing that purely aesthetic judgments can vitiate analyses of a literary work's sociopolitical heft and meaning. In "Practicing Literary Theory in the Middle Ages", Eleanor Johnson reveals that aesthetics - the formal aspects of literary language that make it senseperceptible - are indeed inextricable from ethics in the writing of medieval literature. Johnson brings a keen formalist eye to bear on the prosimetric form: the mixing of prose with lyrical poetry. This form descends from the writings of the sixth-century Christian philosopher Boethius - specifically his famous prison text, "Consolation of Philosophy" - to the late-medieval English tradition. Johnson argues that Boethius' text had a broad influence not simply on the thematic and philosophical content of subsequent literary writing, but also on the specific aesthetic construction of several vernacular traditions.She demonstrates the underlying prosimetric structures in a variety of Middle English texts - including Chaucer's "Troilus and Criseyde and portions of the Canterbury Tales", Thomas Usk's "Testament of Love", John Gower's "Confessio Amantis", and Thomas Hoccleve's autobiographical poetry - and asks how particular formal choices work, how they resonate with medieval literary-theoretical ideas, and how particular poems and prose works mediate the tricky business of modeling ethical transformation for a readership.

What does it mean to contemplate? In the Middle Ages, more than merely thinking with intensity, it was a religious practice entailing utter receptiveness to the divine presence. Contemplation is widely considered by scholars today to have been the highest form of devotional prayer, a rarified means of experiencing God practiced only by the most devout of monks, nuns, and mystics.Yet, in this groundbreaking new book, Eleanor Johnson argues instead for the pervasiveness and accessibility of contemplative works to medieval audiences. By drawing together ostensibly diverse literary genres—devotional prose, allegorical poetry, cycle dramas, and morality plays—Staging Contemplation paints late Middle English contemplative writing as a broad genre that operated collectively and experientially as much as through radical individual disengagement from the world. Johnson further argues that the contemplative genre played a crucial role in the exploration of the English vernacular as a literary and theological language in the fifteenth century, tracing how these works engaged modes of disfluency—from strained syntax and aberrant grammar, to puns, slang, code-switching, and laughter—to explore the limits, norms, and potential of English as a devotional language. Full of virtuoso close readings, this book demonstrates a sustained interest in how poetic language can foster a participatory experience of likeness to God among lay and devotional audiences alike.