Introduction: Laughter as an expression of human nature in the Middle Ages and the early modern period: literary, historical, theological, philosophical, and psychological reflections -- Judith Hagen. Laughter in Procopius's wars -- Livnat Holtzman. "Does God really laugh?": appropriate and inappropriate descriptions of God in Islamic traditionalist theology -- Daniel F. Pigg. Laughter in Beowulf: ambiguity, ambivalence, and group identity formation -- Mark Burde. The parodia sacra problem and medieval comic studies -- Olga V. Trokhimenko. Women's laughter and gender politics (...) in medieval conduct discourse -- Madelon Köhler-Busch. Pushing decorum: uneasy laughter in Heinrich von Dem Türlîn's Diu crône -- Connie L. Scarborough. Laughter and the comic in a religious text -- John Sewell. The son rebelled and so the father made man alone: ridicule and boundary maintenance in The Nizzahon vetus -- Birgit Wiedl. Laughing at the beast: the judensau: anti-Jewish propaganda and humor from the Middle Ages to the early modern period -- Fabian Alfie. Yes . . . but was it funny? Cecco Angiolieri, Rustico Filippi and Giovanni Boccaccio -- Nicolino Applauso. Curses and laughter in medieval Italian comic poetry -- Feargal Béarra. Tromdhámh guaire: a context for laughter and audience in early modern Ireland -- Jean E. Jost. Humorous transgression in the non-conformist fabliaux: a Bakhtinian analysis of three comic tales -- Gretchen Mieszkowski. Chaucerian comedy: Troilus and Criseyde -- Sarah Gordon. Laughing and eating in the fabliaux -- Christine Bousquet-Labouérie. Laughter and medieval stalls -- Scott L. Taylor. Esoteric humor and the incommensurability of laughter -- Jean N. Goodrich. The function of laughter in The second shepherds' play -- Albrecht Classen. Laughing in late-medieval verse and prose narratives -- Rosa Alvarez perez. The workings of desire: Panurge and the dogs -- Elizabeth Chesney Zegura. Laughing out loud in the Heptaméron: a reassessment of Marguerite de Navarre's ambivalent humor -- Lia B. Ross. You had to be there: the elusive humor of the Sottie -- Kyle Diroberto. Sacred parody in Robert Greene's Groatsworth of wit -- Martha Moffitt Peacock. The comedy of the shrew: theorizing humor in early modern Netherlandish art -- Jessica Tvordi. The comic personas of Milton's Prolusion VI: negotiating masculine identity through self-directed humor -- John Alexander. Ridentum dicere verum (using laughter to speak the truth): laughter and the language of the early modern clown "pickelhering" in German literature of the late seventeenth century (1675-1700) -- Thomas Willard. Andreae's ludibrium: Menippean satire in The chymische hochzeit -- Diane Rudall. The comic power of illusion-allusion -- Allison P. Coudert. Laughing at credulity and superstition in the long eighteenth century. (shrink)

With a few notable exceptions, urban garden scholarship tends to be either celebratory or critical of the role urban gardens play in wider political, social, cultural, economic and ecological dynamics. Drawing on urban political ecology scholarship, this article explores the question of nature within scholarship on urban gardens. I argue that failing to adequately scrutinize the co-constitutive character of nature and society has led some scholars to overlook the potential for urban gardens to achieve broader socio-political goals, and led others (...) to overstate the potential. Employing a political ecology approach to urban garden analysis clarifies the material and discursive role of nature in urban garden practice, and ultimately contributes to untangling the potential and limits of urban gardens as sites of socio-political change. (shrink)

In her recent paper, “Belief, Values and the Will,” Trudy Govier raises several interesting and challenging points. Most interesting is her conclusion that it is at least logically possible for a person to believe something “simply in virtue of having taken that decision,” i.e., by fiat. In otherwords, it is possible to believe something by an act of will.

The most characteristic feature of all satirical writing appears to be its elusiveness. Though much work has been done in recent years on satire, no definition has as yet been offered that has met with general approval. However, to some extent Roman verse satire seems to be the exception that proves the rule. For in view of the statements which the main representatives of this genre themselves have made on their satires, most modern critics are agreed on their major characteristics. (...) Yet some poems which the ancient satirists included in their collections have not been accepted as satires by contemporary scholars, while others seem to have eluded satisfactory interpretation, as e.g. Horace's fourth satire of the second book. (shrink)

Die Beiträge zur Altertumskunde enthalten Monographien, Sammelbände, Editionen, Übersetzungen und Kommentare zu Themen aus den Bereichen Klassische, Mittel- und Neulateinische Philologie, Alte Geschichte, Archäologie, Antike Philosophie sowie Nachwirken der Antike bis in die Neuzeit. Dadurch leistet die Reihe einen umfassenden Beitrag zur Erschließung klassischer Literatur und zur Forschung im gesamten Gebiet der Altertumswissenschaften.

Die neu gegründete Reihe Paracelsus Studien bietet ein wissenschaftliches Forum für interdisziplinäre Forschungen, die sich kultur- und wissenschaftshistorisch Modellen eines ganzheitlichen Weltbildes widmen und den Dialog zwischen den Disziplinen anregen. Der frühneuzeitliche Alchemist, Mystiker, Theologe und Philosoph Paracelsus (1493-1541) dient hierfür als Leitfigur und Vorbild. Als eröffnender Sammelband fokussiert Mystik und Natur Epochen und Persönlichkeiten der Geistesgeschichte von der Spätantike bis in die Gegenwart, die sich der Integration von Spiritualität und Wissenschaft widmeten: Hildegard von Bingen, Jakob Böhme, Emanuel Swedenborg, Josef (...) Goerres und Johann Wolfgang von Goethe stehen ebenso im Mittelpunkt der Untersuchungen wie gegenwärtige ganzheitliche Ansätze und ihre historischen Bezüge. (shrink)

The notions of other peoples, cultures, and natural conditions have always been determined by the epistemology of imagination and fantasy, providing much freedom and creativity, and yet have also created much fear, anxiety, and horror. In this regard, the pre-modern world demonstrates striking parallels with our own insofar as the projections of alterity might be different by degrees, but they are fundamentally the same by content. Dreams, illusions, projections, concepts, hopes, utopias/dystopias, desires, and emotional attachments are as specific and impactful (...) as the physical environment. This volume thus sheds important light on the various lenses used by people in the Middle Ages and the early modern age as to how they came to terms with their perceptions, images, and notions. Previous scholarship focused heavily on the history of mentality and history of emotions, whereas here the history of pre-modern imagination, and fantasy assumes center position. Imaginary things are taken seriously because medieval and early modern writers and artists clearly reveal their great significance in their works and their daily lives. This approach facilitates a new deep-structure analysis of pre-modern culture. (shrink)

This is an anthology of literary, religious, and philosophical texts from the entire Middle Ages and the early modern age that address already quite explicitly religious toleration and even tolerance.

Magic appears frequently in medieval narrative, offering both danger and opportunity to the individual. The link between magic and fear is one of the most intriguing aspects of courtly romance, and this phenomenon is extremely well-developed in Konrad von Wiirzburg's Partonopier und Meliur. Konrad displays remarkable skill in developing the psychological aspects of his protagonists, and this paper demonstrates that the process of personal growth for the hero of this text is reflected in multiple manifestations of fear Partonopier is initially (...) afraid of the strange forest, the supernatural ship, the deserted city, the dark night and the invisible Meliur; later he fears losing both Meliur's love and God's grace. Fear proves to be the basic element of his entire life, but it provides him with the opportunity to search for himself; his path towards maturity is directly linked to his ability to overcome it. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)