Medieval Animals – serie

When one thinks about medieval animals, snails rarely come to mind. Just as history has long had its biases, so has the study of animals – both have long focused on the ‘crowned heads’. A focus on the seemingly insignificant, on the small and the frail, offers a fresh point of view. This book studies the uses and representations of medieval snails, spanning material culture, medicine and gastronomy as well as a great variety of texts and images – taking into consideration bestiaries, sermons, poems and insults, as well as marginalia, sculpture, paintings and painted ceilings. Observing the Middle Ages from the viewpoint of a snail can be surprising, and lead us to delve into material everyday life as well as the core of culture-building. This study concludes with a novel reading of the famed ‘snail-combat motif’, in which a knight cowers faced with a ferocious mollusc, making a connection between Gothic marginalia and a new, most malleable cultural expression: the meme.

Introducing the Medieval Ass presents a lucid, accessible, and comprehensive picture of the ass’s enormous socio-economic and cultural significance in the Middle Ages and beyond. In the Middle Ages, the ass became synonymous with human idiocy, a comic figure representing foolish peasants, students too dull to learn, and their asinine teachers. This trope of foolishness was so prevalent that by the eighteenth century the word ‘ass’ had been replaced by ‘donkey’. Economically, the medieval ass was a vital, utilitarian beast of burden, rather like today’s ubiquitous white van; culturally, however, the medieval ass enjoyed a rich, paradoxical reputation. Its hard work was praised, but its obstinacy condemned. It exemplified the good Christian, humbly bearing Christ to Jerusalem, but also represented Sloth, a mortal sin. Its potent sexual reputation – one literary ass had sex with a woman – was simultaneously linked to sterility and, to this day, ‘ass’ and ‘arse’ remain culturally-connected homophones.'In the medieval world, the ass’s reputation – sacred or profane, derided or acclaimed – was codified in fact, fiction and image. However, unusual its binary nature may seem to the modern-day reader, paradoxical rhetoric was a common feature in medieval beast genres, and the fact that the ass had contesting reputations offers multiple avenues for analysis.' - Read more about this on page 3 of the Booklaunch https://edition.pagesuite-professional.co.uk/html5/reader/production/default.aspx?pubname=&edid=eacd7c66-df5c-4335-86ee-cad05c826bda

Introducing the Medieval Ass presents a lucid, accessible, and comprehensive picture of the ass’s enormous socio-economic and cultural significance in the Middle Ages and beyond. In the Middle Ages, the ass became synonymous with human idiocy, a comic figure representing foolish peasants, students too dull to learn, and their asinine teachers. This trope of foolishness was so prevalent that by the eighteenth century the word ‘ass’ had been replaced by ‘donkey’. Economically, the medieval ass was a vital, utilitarian beast of burden, rather like today’s ubiquitous white van; culturally, however, the medieval ass enjoyed a rich, paradoxical reputation. Its hard work was praised, but its obstinacy condemned. It exemplified the good Christian, humbly bearing Christ to Jerusalem, but also represented Sloth, a mortal sin. Its potent sexual reputation – one literary ass had sex with a woman – was simultaneously linked to sterility and, to this day, ‘ass’ and ‘arse’ remain culturally-connected homophones.'In the medieval world, the ass’s reputation – sacred or profane, derided or acclaimed – was codified in fact, fiction and image. However, unusual its binary nature may seem to the modern-day reader, paradoxical rhetoric was a common feature in medieval beast genres, and the fact that the ass had contesting reputations offers multiple avenues for analysis.' - Read more about this on page 3 of the Booklaunch https://edition.pagesuite-professional.co.uk/html5/reader/production/default.aspx?pubname=&edid=eacd7c66-df5c-4335-86ee-cad05c826bda

Introducing the Medieval Ass presents a lucid, accessible, and comprehensive picture of the ass’s enormous socio-economic and cultural significance in the Middle Ages and beyond. In the Middle Ages, the ass became synonymous with human idiocy, a comic figure representing foolish peasants, students too dull to learn, and their asinine teachers. This trope of foolishness was so prevalent that by the eighteenth century the word ‘ass’ had been replaced by ‘donkey’. Economically, the medieval ass was a vital, utilitarian beast of burden, rather like today’s ubiquitous white van; culturally, however, the medieval ass enjoyed a rich, paradoxical reputation. Its hard work was praised, but its obstinacy condemned. It exemplified the good Christian, humbly bearing Christ to Jerusalem, but also represented Sloth, a mortal sin. Its potent sexual reputation – one literary ass had sex with a woman – was simultaneously linked to sterility and, to this day, ‘ass’ and ‘arse’ remain culturally-connected homophones.'In the medieval world, the ass’s reputation – sacred or profane, derided or acclaimed – was codified in fact, fiction and image. However, unusual its binary nature may seem to the modern-day reader, paradoxical rhetoric was a common feature in medieval beast genres, and the fact that the ass had contesting reputations offers multiple avenues for analysis.' - Read more about this on page 3 of the Booklaunch https://edition.pagesuite-professional.co.uk/html5/reader/production/default.aspx?pubname=&edid=eacd7c66-df5c-4335-86ee-cad05c826bda

What comes to mind when we think of swans? Likely their beauty in domestic settings, their preserved status, their association with royalty, and possibly even the phrase ‘swan song’. This book explores the emergence of each of these ideas, starting with an examination of the medieval swan in natural history, exploring classical writings and their medieval interpretations and demonstrating how the idea of a swan’s song developed. The book then proceeds to consider literary motifs of swan-to-human transformation, particularly the legend of the Knight of the Swan. Although this legend is known today largely through Wagner’s opera, it was a best-seller in the Middle Ages, and courts throughout Europe strove to be associated as descendants of this Swan Knight. Consequently, the swan was projected as an icon of courtly and eventual royal status. The book’s third chapter looks at the swan as icon of the Lancasters, particularly important during the reign of Richard II and the War of the Roses, and the final chapter examines the swan as an important item of feasting, focusing on cookery and husbandry to argue that over time the right to keep swans became an increasingly restricted right controlled by the English crown. Each of the swan’s medieval associations are explored as they developed over time to the modern day.

This book is an entertaining, informative and enchanting introduction to its subject – just as those medieval banes of the farmyard, the Fox and the Vixen, were enchanting in escapades from fables and funny tales, from beastly epic poems and bestiaries, and from medieval material culture (in Danish wall-paintings and Dutch manuscript illustrations and statues, stained-glass and Italian mosaics). There exist books on medieval fox stories and on the animal’s iconography, which are important themes in this study, but this book is the first holistic approach to all types of manifestations of foxes in medieval culture – from medical recipes and fur trade, to Bible commentaries and hunting manuals.

This book is an entertaining, informative and enchanting introduction to its subject – just as those medieval banes of the farmyard, the Fox and the Vixen, were enchanting in escapades from fables and funny tales, from beastly epic poems and bestiaries, and from medieval material culture (in Danish wall-paintings and Dutch manuscript illustrations and statues, stained-glass and Italian mosaics). There exist books on medieval fox stories and on the animal’s iconography, which are important themes in this study, but this book is the first holistic approach to all types of manifestations of foxes in medieval culture – from medical recipes and fur trade, to Bible commentaries and hunting manuals.

This book is an entertaining, informative and enchanting introduction to its subject – just as those medieval banes of the farmyard, the Fox and the Vixen, were enchanting in escapades from fables and funny tales, from beastly epic poems and bestiaries, and from medieval material culture (in Danish wall-paintings and Dutch manuscript illustrations and statues, stained-glass and Italian mosaics). There exist books on medieval fox stories and on the animal’s iconography, which are important themes in this study, but this book is the first holistic approach to all types of manifestations of foxes in medieval culture – from medical recipes and fur trade, to Bible commentaries and hunting manuals.

An annotated edition of Leon Modena’s Hebrew Musar book Tsemaḥ Tsaddik (‘Pious Plant’), originally published in Venice in 1600. Tsemaḥ Tsaddik follows the format of a medieval Physiologus, where each chapter corresponds to a specific animal and addresses various human behaviors, traits, vices or virtues. Additionally, each chapter features an explanation of its theme, evidenced by quotes from the Old Testament, Greek and Roman philosophers, Rabbinic Sages and fathers of the Church – along with at least one folktale. The translation is accompanied by a thorough and comprehensive introduction to describe the world of Musar pre-modern books, and offers insights into Modena’s cultural context.

An annotated edition of Leon Modena’s Hebrew Musar book Tsemaḥ Tsaddik (‘Pious Plant’), originally published in Venice in 1600. Tsemaḥ Tsaddik follows the format of a medieval Physiologus, where each chapter corresponds to a specific animal and addresses various human behaviors, traits, vices or virtues. Additionally, each chapter features an explanation of its theme, evidenced by quotes from the Old Testament, Greek and Roman philosophers, Rabbinic Sages and fathers of the Church – along with at least one folktale. The translation is accompanied by a thorough and comprehensive introduction to describe the world of Musar pre-modern books, and offers insights into Modena’s cultural context.

What did medieval people call the animals they lived and worked with? Why did they give them the names they did? This book sets out to answer these questions. Drawing evidence from literary, documentary and material sources, it surveys the surviving evidence of pet-naming from the period, as well as examining the labels given to livestock and working animals, and the folk-names given to wild birds and beasts. Alongside building up a corpus of names, the conventions that directed animal naming in the Middle Ages are considered, as well as how proper nouns behaved when given to non-human organisms. Through its inquiry, the book lays bare the period’s larger attitudes towards animals, their functions and identities, and at the same time sheds light on how the Middle Ages conceived the natural world as a whole and its relationship with human beings and their culture.

What did medieval people call the animals they lived and worked with? Why did they give them the names they did? This book sets out to answer these questions. Drawing evidence from literary, documentary and material sources, it surveys the surviving evidence of pet-naming from the period, as well as examining the labels given to livestock and working animals, and the folk-names given to wild birds and beasts. Alongside building up a corpus of names, the conventions that directed animal naming in the Middle Ages are considered, as well as how proper nouns behaved when given to non-human organisms. Through its inquiry, the book lays bare the period’s larger attitudes towards animals, their functions and identities, and at the same time sheds light on how the Middle Ages conceived the natural world as a whole and its relationship with human beings and their culture.

What did medieval people call the animals they lived and worked with? Why did they give them the names they did? This book sets out to answer these questions. Drawing evidence from literary, documentary and material sources, it surveys the surviving evidence of pet-naming from the period, as well as examining the labels given to livestock and working animals, and the folk-names given to wild birds and beasts. Alongside building up a corpus of names, the conventions that directed animal naming in the Middle Ages are considered, as well as how proper nouns behaved when given to non-human organisms. Through its inquiry, the book lays bare the period’s larger attitudes towards animals, their functions and identities, and at the same time sheds light on how the Middle Ages conceived the natural world as a whole and its relationship with human beings and their culture.

When one thinks about medieval animals, snails rarely come to mind. Just as history has long had its biases, so has the study of animals – both have long focused on the ‘crowned heads’. A focus on the seemingly insignificant, on the small and the frail, offers a fresh point of view. This book studies the uses and representations of medieval snails, spanning material culture, medicine and gastronomy as well as a great variety of texts and images – taking into consideration bestiaries, sermons, poems and insults, as well as marginalia, sculpture, paintings and painted ceilings. Observing the Middle Ages from the viewpoint of a snail can be surprising, and lead us to delve into material everyday life as well as the core of culture-building. This study concludes with a novel reading of the famed ‘snail-combat motif’, in which a knight cowers faced with a ferocious mollusc, making a connection between Gothic marginalia and a new, most malleable cultural expression: the meme.

When one thinks about medieval animals, snails rarely come to mind. Just as history has long had its biases, so has the study of animals – both have long focused on the ‘crowned heads’. A focus on the seemingly insignificant, on the small and the frail, offers a fresh point of view. This book studies the uses and representations of medieval snails, spanning material culture, medicine and gastronomy as well as a great variety of texts and images – taking into consideration bestiaries, sermons, poems and insults, as well as marginalia, sculpture, paintings and painted ceilings. Observing the Middle Ages from the viewpoint of a snail can be surprising, and lead us to delve into material everyday life as well as the core of culture-building. This study concludes with a novel reading of the famed ‘snail-combat motif’, in which a knight cowers faced with a ferocious mollusc, making a connection between Gothic marginalia and a new, most malleable cultural expression: the meme.

Since the Middle Ages, bears have most frequently been seen as objects. For many centuries, Europeans regarded bears as pests to be eradicated because of the danger they posed to human beings and livestock, whilst in recent decades they have increasingly been seen as victims to be protected from human violence. When a bear attacks, the contemporary response is typically to blame human beings’ failure, either to signal their presence in bears’ habitats or to bear-proof their backyards. For climate change activists, the polar bear has become emblematic of the threat posed by humans to the natural world, even though the polar bear’s population has steadily increased in recent times. At two extremes, bears have been objects of predation or pity. In medieval times, however, bears were not objects but subjects viewed as creatures of God. They were seen as being in possession of something analogous to rationality, which enabled them to display surprising intelligence: as warriors endowed with both strength and courage to which humans could only aspire; as fierce competitors in bear-baiting spectacles, like prize-fighters engaged in a bloody sport; or as lovers, inclined to abduct women and have children with them. People treated bears as they expected to be treated themselves, and expected them to behave as humans would; not as passive victims of human action, but as active subjects.

Since the Middle Ages, bears have most frequently been seen as objects. For many centuries, Europeans regarded bears as pests to be eradicated because of the danger they posed to human beings and livestock, whilst in recent decades they have increasingly been seen as victims to be protected from human violence. When a bear attacks, the contemporary response is typically to blame human beings’ failure, either to signal their presence in bears’ habitats or to bear-proof their backyards. For climate change activists, the polar bear has become emblematic of the threat posed by humans to the natural world, even though the polar bear’s population has steadily increased in recent times. At two extremes, bears have been objects of predation or pity.In medieval times, however, bears were not objects but subjects viewed as creatures of God. They were seen as being in possession of something analogous to rationality, which enabled them to display surprising intelligence: as warriors endowed with both strength and courage to which humans could only aspire; as fierce competitors in bear-baiting spectacles, like prize-fighters engaged in a bloody sport; or as lovers, inclined to abduct women and have children with them. People treated bears as they expected to be treated themselves, and expected them to behave as humans would; not as passive victims of human action, but as active subjects.