Lisa M. Bitel – författare

At a time when Europeans still longed to be Roman and were just learning to be Christian, two extraordinary holy women-Genovefa of Paris (ca. 420-502) and Brigit of Kildare (ca. 450-524)-began to roam their homelands. One of these saints raised an apostolic church in the imperial city that would become Paris. The other scavenged fragments of that dwindling empire for the foundations of a grand Roman basilica built deep in barbarian territory. Both brought Christianity and romanitas (Roman-ness) to their people. By examining the ruins of their cities and churches, the workings of their cults, and the many generations of their devotees, Lisa Bitel shows how Brigit and Genovefa helped northern Europeans map new religion onto familiar landscapes. Landscape with Two Saints tells the twin stories of these charismatic women but also explains how ordinary people lived through religious change at the very beginning of the Middle Ages. Tales of ancient conversions on distant landscapes have much to teach us about lived and built religion, why people choose new beliefs, and how they act out those beliefs in meaningful ways. The combined history of Brigit and Genovefa explains not just how a couple of legendary peripatetic women could become targets of devotion, but how and where Europeans became Christian, and what it meant to them on a daily basis. The story of these two saintly cults-not just in the pages of manuscripts, but on the streets of cities, in the stones of cemeteries, and in the walls of churches-also demonstrates the pervasive influence of gender and ethnicity, as well as regional culture and material environment, on the whole process of religious change. Bitel contends that in the building blocks of their churches and the tracks they once traveled, Genovefa and Brigit show us what the written words of missionaries and theologians never can: the active participation of converts in the history of their own conversion.

Nine tales of early Irish literature beautifully retold in a modern, evocative styleA mysterious woman appears nightly at the bedside of a prince and sings to him until he falls sick with love for her. A determined hero tracks his beloved through several incarnations, struggling to win her back. A young warrior seeks a woman who turns into a swan. These are the plots of little-known, anonymous tales composed over a thousand years ago in the monastic libraries of Ireland. In poetry and prose, they tell us what happens when human and supernatural lovers cross the boundaries between our world and the Otherworld (síd). Set in a lost time of heroes, demi-gods, warrior queens, and other folk of the Irish Otherworld (áes síde), these stories inspired some of the earliest fairy tales of France and England. What is more, they are sexier, funnier, and bloodier than better-known medieval myths and romances. In Otherworld, historian and novelist Lisa M. Bitel offers lively retellings of these Irish original myths using her expertise in Irish history and literature to guide modern readers. She traces themes and characters that link the nine magical tales, explains customs and locations, and brings out the humor. Like all storytellers--whether medieval or modern, performers or scribes--Bitel interprets the originals as she leads her readers over the boundary of reality to the Otherworld. Drawings especially created for the book by Saba Joshaghani accompany these astonishing tales.

Nine tales of early Irish literature beautifully retold in a modern, evocative style A mysterious woman appears nightly at the bedside of a prince and sings to him until he falls sick with love for her. A determined hero tracks his beloved through several incarnations, struggling to win her back. A young warrior seeks a woman who turns into a swan. These are the plots of little-known, anonymous tales composed over a thousand years ago in the monastic libraries of Ireland. In poetry and prose, they tell us what happens when human and supernatural lovers cross the boundaries between our world and the Otherworld (sid). Set in a lost time of heroes, demi-gods, warrior queens, and other folk of the Irish Otherworld (aes side), these stories inspired some of the earliest fairy tales of France and England. What is more, they are sexier, funnier, and bloodier than better-known medieval myths and romances. In Otherworld, historian and novelist Lisa M. Bitel offers lively retellings of these Irish original myths using her expertise in Irish history and literature to guide modern readers. She traces themes and characters that link the nine magical tales, explains customs and locations, and brings out the humor. Like all storytellers--whether medieval or modern, performers or scribes--Bitel interprets the originals as she leads her readers over the boundary of reality to the Otherworld. Drawings especially created for the book by Saba Joshaghani accompany these astonishing tales.

Nine tales of early Irish literature beautifully retold in a modern, evocative style A mysterious woman appears nightly at the bedside of a prince and sings to him until he falls sick with love for her. A determined hero tracks his beloved through several incarnations, struggling to win her back. A young warrior seeks a woman who turns into a swan. These are the plots of little-known, anonymous tales composed over a thousand years ago in the monastic libraries of Ireland. In poetry and prose, they tell us what happens when human and supernatural lovers cross the boundaries between our world and the Otherworld (sid). Set in a lost time of heroes, demi-gods, warrior queens, and other folk of the Irish Otherworld (aes side), these stories inspired some of the earliest fairy tales of France and England. What is more, they are sexier, funnier, and bloodier than better-known medieval myths and romances. In Otherworld, historian and novelist Lisa M. Bitel offers lively retellings of these Irish original myths using her expertise in Irish history and literature to guide modern readers. She traces themes and characters that link the nine magical tales, explains customs and locations, and brings out the humor. Like all storytellers--whether medieval or modern, performers or scribes--Bitel interprets the originals as she leads her readers over the boundary of reality to the Otherworld. Drawings especially created for the book by Saba Joshaghani accompany these astonishing tales.

Lisa Bitel uses the history of two unique holy women--Genovefa of Paris (ca. 420-509) and Brigit of Kildare (ca.452-524)--to reveal how ordinary Europeans lived through Christianization at the dawn of the Middle Ages. Most converts did not have a sudden epiphany, Bitel argues. Instead they learned and lived their new religion in continuous conversation with preachers, saints, rulers, and neighbors. Together, they built their faith over many years, brick by brick, into their churches and shrines, cemeteries, houses, and even their markets and farms.

Lisa Bitel uses the history of two unique holy women--Genovefa of Paris (ca. 420-509) and Brigit of Kildare (ca.452-524)--to reveal how ordinary Europeans lived through Christianization at the dawn of the Middle Ages. Most converts did not have a sudden epiphany, Bitel argues. Instead they learned and lived their new religion in continuous conversation with preachers, saints, rulers, and neighbors. Together, they built their faith over many years, brick by brick, into their churches and shrines, cemeteries, houses, and even their markets and farms.

This is a history of the early European middle ages through the eyes of women, combining the rich literature of women's history with original research in the context of mainstream history and traditional chronology. The book begins at the end of the Roman empire and ends with the start of the long eleventh century, when women and men set out to test the old frontiers of Europe. The book recreates the lives of ordinary women but also tells personal stories of individuals. Each chapter also questions an assumption of medieval historiography, and uses the few documents produced by women themselves, along with archaeological evidence, art, and the written records of medieval men, to tell of women, their experiences and ideas, and their relations with men. It covers the continent and its exotic edges, such as Iceland, Ireland, and Iberia; looking at women Christian and non-Christian alike.

This is a history of the early European middle ages through the eyes of women, combining the rich literature of women's history with original research in the context of mainstream history and traditional chronology. The book begins at the end of the Roman empire and ends with the start of the long eleventh century, when women and men set out to test the old frontiers of Europe. The book recreates the lives of ordinary women but also tells personal stories of individuals. Each chapter also questions an assumption of medieval historiography, and uses the few documents produced by women themselves, along with archaeological evidence, art, and the written records of medieval men, to tell of women, their experiences and ideas, and their relations with men. It covers the continent and its exotic edges, such as Iceland, Ireland, and Iberia; looking at women Christian and non-Christian alike.

Isle of the Saints recreates the harsh yet richly spiritual world of medieval Irish monks on the Christian frontier of barbarian Europe. Lisa Bitel draws on accounts of saints' lives written between 800 and 1200 to explain, from the monks' own perspective, the social networks that bound them to one another and to their secular neighbors.

"This book disperses the shadows in an obscure but important landscape. Lisa Bitel addresses both the history of women in early Ireland and the history of myth, legend, and superstition which surrounded them. It is a powerful and exact book and an invaluable addition to our expanding sense of Ireland through the eyes of Irish women."—Eavan Boland, author of In a Time of Violence: Poems"It is refreshing to read in a book by a woman on medieval women that not all clerics hated women and that not all men were oversexed villains consciously bent on exploiting women. [Bitel] challenges not only the medieval Irish male construct of female behavior, but she is also courageous enough to question constructs of medieval women invented by modern Irish medieval historians."—Times Higher Education Supplement

For more than twenty years, Maria Paula Acuña has claimed to see the Virgin Mary, once a month, at a place called Our Lady of the Rock in the Mojave Desert of California. Hundreds of men, women, and children follow her into the desert to watch her see what they cannot. While she sees and speaks with the Virgin, onlookers search the skies for signs from heaven, snapping photographs of the sun and sky. Not all of them are convinced that Maria Paula can see the Virgin, yet at each vision event they watch for subtle clues to Mary's presence, such as the unexpected scent of roses or a cloud in the shape of an angel. The visionary depends on her audience to witness and authenticate her visions, while observers rely on Maria Paula and the Virgin to create a sacred space and moment where they, too, can experience firsthand one of the oldest and most fundamental promises of Christianity: direct contact with the divine. Together, visionary and witnesses negotiate and enact their monthly liturgy of revelations.Our Lady of the Rock, which features text by Lisa M. Bitel and more than sixty photographs by Matt Gainer, shows readers what happens in the Mojave Desert each month and tells us how two thousand years of Christian revelatory tradition prepared Maria Paula and her followers to meet in the desert. Based on six years of observation and interviews, chapters analyze the rituals, iconographies, and physical environment of Our Lady of the Rock. Bitel and Gainer also provide vivid portraits of the pilgrims—who they are, where they come from, and how they practice the traditional Christian discernment of spirits and visions.Our Lady of the Rock follows three pilgrims as they return home with relics and proofs of visions where, out of Maria Paula's sight, they too have learned to see the Virgin. The book also documents the public response from the Catholic Church and popular news media to Maria Paula and other contemporary visionaries. Throughout, Our Lady of the Rock locates Maria Paula and her followers in the context of recent demographic and cultural shifts in the American Southwest, the astonishing increase in reported apparitions and miracles from around the world, the latest developments in communications and visual technologies, and the never-ending debate among academics, faith leaders, scientists, and citizen observers about sight, perception, reason, and belief.

For more than twenty years, Maria Paula Acuña has claimed to see the Virgin Mary, once a month, at a place called Our Lady of the Rock in the Mojave Desert of California. Hundreds of men, women, and children follow her into the desert to watch her see what they cannot. While she sees and speaks with the Virgin, onlookers search the skies for signs from heaven, snapping photographs of the sun and sky. Not all of them are convinced that Maria Paula can see the Virgin, yet at each vision event they watch for subtle clues to Mary's presence, such as the unexpected scent of roses or a cloud in the shape of an angel. The visionary depends on her audience to witness and authenticate her visions, while observers rely on Maria Paula and the Virgin to create a sacred space and moment where they, too, can experience firsthand one of the oldest and most fundamental promises of Christianity: direct contact with the divine. Together, visionary and witnesses negotiate and enact their monthly liturgy of revelations.Our Lady of the Rock, which features text by Lisa M. Bitel and more than sixty photographs by Matt Gainer, shows readers what happens in the Mojave Desert each month and tells us how two thousand years of Christian revelatory tradition prepared Maria Paula and her followers to meet in the desert. Based on six years of observation and interviews, chapters analyze the rituals, iconographies, and physical environment of Our Lady of the Rock. Bitel and Gainer also provide vivid portraits of the pilgrims—who they are, where they come from, and how they practice the traditional Christian discernment of spirits and visions.Our Lady of the Rock follows three pilgrims as they return home with relics and proofs of visions where, out of Maria Paula's sight, they too have learned to see the Virgin. The book also documents the public response from the Catholic Church and popular news media to Maria Paula and other contemporary visionaries. Throughout, Our Lady of the Rock locates Maria Paula and her followers in the context of recent demographic and cultural shifts in the American Southwest, the astonishing increase in reported apparitions and miracles from around the world, the latest developments in communications and visual technologies, and the never-ending debate among academics, faith leaders, scientists, and citizen observers about sight, perception, reason, and belief.

Isle of the Saints recreates the harsh yet richly spiritual world of medieval Irish monks on the Christian frontier of barbarian Europe. Lisa Bitel draws on accounts of saints' lives written between 800 and 1200 to explain, from the monks' own perspective, the social networks that bound them to one another and to their secular neighbors.

"This book disperses the shadows in an obscure but important landscape. Lisa Bitel addresses both the history of women in early Ireland and the history of myth, legend, and superstition which surrounded them. It is a powerful and exact book and an invaluable addition to our expanding sense of Ireland through the eyes of Irish women."—Eavan Boland, author of In a Time of Violence: Poems"It is refreshing to read in a book by a woman on medieval women that not all clerics hated women and that not all men were oversexed villains consciously bent on exploiting women. [Bitel] challenges not only the medieval Irish male construct of female behavior, but she is also courageous enough to question constructs of medieval women invented by modern Irish medieval historians."—Times Higher Education Supplement

In Gender and Christianity in Medieval Europe, six historians explore how medieval people professed Christianity, how they performed gender, and how the two coincided. Many of the daily religious decisions people made were influenced by gender roles, the authors contend. Women's pious donations, for instance, were limited by laws of inheritance and marriage customs; male clerics' behavior depended upon their understanding of masculinity as much as on the demands of liturgy. The job of religious practitioner, whether as a nun, monk, priest, bishop, or some less formal participant, involved not only professing a set of religious ideals but also professing gender in both ideal and practical terms. The authors also argue that medieval Europeans chose how to be women or men (or some complex combination of the two), just as they decided whether and how to be religious. In this sense, religious institutions freed men and women from some of the gendered limits otherwise imposed by society.Whereas previous scholarship has tended to focus exclusively either on masculinity or on aristocratic women, the authors define their topic to study gender in a fuller and more richly nuanced fashion. Likewise, their essays strive for a generous definition of religious history, which has too often been a history of its most visible participants and dominant discourses. In stepping back from received assumptions about religion, gender, and history and by considering what the terms "woman," "man," and "religious" truly mean for historians, the book ultimately enhances our understanding of the gendered implications of every pious thought and ritual gesture of medieval Christians.Contributors:Dyan Elliott is John Evans Professor of History at Northwestern University. Ruth Mazo Karras is professor of history at the University of Minnesota, and the general editor of The Middle Ages Series for the University of Pennsyvlania Press. Jacqueline Murray is dean of arts and professor of history at the University of Guelph. Jane Tibbetts Schulenberg is professor of history at the University of Wisconsin-Madison.