(2015). This volume provides the first edition and systematic study of the Liber florum celestis doctrineby the Benedictine John of Morigny. Until recently this work was known only through a chronicle report of its burning at Paris in 1323, on the grounds that it revived a condemned ritual called the Ars notoria. However, it survives in three versions in more than twenty copies from across Europe, few of which indicate doubt as to its orthodoxy.
(2015) One of a handful of texts from the last years of Henry VI’s reign, John Hardyng’s first Chronicle, written in 18,782 lines of verse and seven folios of prose, offers a compelling insight into the tastes, hopes, and anxieties of a late fifteenth century gentleman who witnessed — and often participated in — the key events that defined his era.
(2005). Julian of Norwich (c. 1343-c. 1416) is the earliest woman writer of English we know about and is now widely recognized as one of the great speculative theologians of the Middle Ages. This book presents a new edition of her writings in Middle English, one that makes possible the serious study of her thought not just for students and scholars of Middle English but for those with little or no previous experience with the language.
(2010). The deepest periodic division in English literary history has been between the Medieval and the Early Modern. Both periods are starting to look different in dialogue with each other, but the change underway has yet to find collected voices behind it. Cultural Reformations aims to provide those voices.
(2009). The idea for the Bloomfield Lectures was . . . [to] reflect to some extent Morton Bloomfield’s own wide and varied interests – in literature, in the history of philosophy, in language studies, in Judaic studies. The contents of the present volume show to what extent the lectures reflect this range; doubtless those lectures to come will reflect even more of the areas of study that Morton pursued.
(2011). When we think of breaking images, we assume that it happens somewhere else. We tend to look with horror on iconoclasm. This book argues instead that iconoclasm is a central strand of Anglo-American modernity. Our horror at the destruction of art derives in part from the fact that we too did, and still do, that. This is most obviously true of England’s iconoclastic century between 1538 and 1643.