...David Aers; Sarah Beckwith; Ritva Palmén Current approaches to understanding shame are rooted in controversial and even radically contrasting assumptions about shame and its relevance for social interaction and individual well-being. Classical and medieval sources themselves embrace surprisingly...

.... Niles, and in Kevin Kiernan's Electronic Beowulf . The emendation proposed by Klaeber in his second supplement is imbricated in the shameful history of Old English studies and the project of constructing legendary origins for whiteness. Kiernan and the fourth edition editors each reject Klaeber's...

...Allison Adair Alberts This essay argues that the South English Legendary 's life of Saint Margaret, patron saint of childbirth, reflects the devotional practice of imitatio Christi when it represents labor pains not as the shameful curse of Eve but as a miraculous moment in which the mother...

... of Eclanum; Julian has twitted Augustine with both hating sex and talking endlessly and indecently about it, archly noting that even Adam and Eve covered their nakedness. Augustine fires back, “It is worse to praise what they felt in their shame than to strip it bare, you most shameless man...

...- larly when, with the rest of the common diseases afflicting them, the shameful parts [pudendorum loca] are affected. For because of the condition of the female body, their organs are receptive to all diseases, which women often render quite severe from...

...” is expelled from the (male) monastic community, as Bessarion speaks of “we” monks in contrast to “women. ” The function of this woman is to shame male monks. Shaming men, Clark has taught us, is one of the most ubiquitous functions of the “ woman ” that ancient Christian authors...

... The tattoo is, then, a 404Journal of Medieval and Early Modern Studies / 33.3 / 2003 sign of shame and subjugation, whereby the body is marked by another and also marked as “other. ” Y et here as elsewhere—most notably in the dis- course of martyrdom and the Žgure of the cruciŽed Christ...

... on these themes, Stubbes’s book is a sort of urtext for complaint against fashion. Stubbes’s derision of fashionable apparel is necessarily shaped by a Christian perspective.25 He reminds the reader that clothing was “given us of God to cover our shame, to keep our bodies from cold . . . and to put...

... recognized, remorse, fellow- feeling, mutuality, and trust carried deeply gen- dered associations: as a figure called Shame jeers at Faithful in the Valley of Humiliation in part one, a tender conscience was an unmanly thing (PPr 72). The story of female companionship in part two, which gives central place...

... no moral underpinning. It reflects the monarch’s frus- Diggelmann / Hewing the Ancient Elm  261 tration at military failure, and his shame at the fact that his men have suc- ceeded only in destroying a defenseless tree: When the King of France heard about...

... to which I'd now like to turn, since it underscores how affective community is produced. In The Raven's Almanac the Abbess fears that shame will fall upon her house if the nuns’ pregnancies are discovered. Yet the solution she ultimately concocts—a fire at night—is so spectacular that it draws a gigantic...

... on Appleford / Shakespeare’s Katherine of Aragon  157 England by a self-indulgent king, not a heroically suffering queen, identi- fied with the equivocal figure of Anne, and opposed by the ethically power- ful if politically impotent Katherine. Reform Catholicism: “Mend ’em for shame my lords...

... of Veritie and Chastitie that results in their side-­by-­side placement in the public stocks, subversively chained together and publicly shamed. In the stocks and outside the tav- ern, these uncontrollable women upstage the male characters that surround them, undermining any chance for positive reform...

... that shame involves: hiding and seeking, from this point of view, can be associated with the play’s relentless impulse to strip its victims bare and expose them to a pitilessly shaming gaze.40 But it is striking how the language of hiding and seeking also responds to the actor’s situation...

..., to paint the Fall is to fail. The only option is to indicate where history is heading by admitting premonitions of uncertainty, instability, and shame into the picture plane. Paintings of paradise needed to operate proleptically; they had to point to an outcome of sin, punishment, and exile. To do so...

... are closely related to the charivari , an ordeal of shame recorded in cities, towns, and villages across medieval and early modern Europe. In many of the French communities Davis describes, both the charivaris and the annual carnival festivities were administered by guilds that called themselves abbeys...

..., in augmenting his power, nor enhancing his honor without causing poverty, feebleness, or shame, which of themselves been evil things, it followeth well that riches, power, nor honor be not very perfect good things only of themselves, because as I said, they cannot be attained...

... along with their dress, wanting to look now like the French, now like the Spanish. And certainly, to their damage and shame, they openly reveal their lack of stability and firmness, because such men never acknowledge that in other times they ruled the other nations...

... in these our days of free profession to blush for shame.1 John Foxe’s depiction of early-­sixteenth-­century Lollards was clearly designed to make his Elizabethan contemporaries reflect upon their failings as godly Protestants. Foxe depicts Lollardy, in this passage and throughout Acts...

... What every free person ought to know: No one can have honour Who brings shame to his lord. Nor can his lord have it either If he wishes to shame his people. If either one fails the other Evil befalls them both.33 Eucharistic sacrifice played...