Margery Kempe

Graphic portrayals of the suffering Jesus Christ pervade late medieval English art, literature, drama, and theology. These images have been interpreted as signs of a new emphasis on the humanity of Jesus. To others they indicate a fascination with a terrifying God of vengeance and a morbid obsession with death. In The Grief of God, however, Ellen Ross offers a different understanding of the purpose of this imagery and its meaning to the people of the time. Analyzing a wide range of textual and pictorial evidence, the author finds that the bleeding flesh of the wounded Savior manifests divine presence; in the intensified corporeality of the suffering Jesus whose flesh not only condemns, but also nurtures, heals, and feeds, believers meet a trinitarian God of mercy. Ross explores the rhetoric of transformation common to English medieval artistic, literary, and devotional sources. The extravagant depictions of pain and anguish, the author shows, constitute an urgent appeal to respond to Jesus' expression of love. She also explains how the inscribing of Christ's pain on the bodies of believers at times erased the boundaries between human and divine so that holy persons, and in particular, holy women, participated in the transformative power of Christ. In analyzing the dialects of mercy and justice; the construction of sacred space and time; sacraments and ritual celebration, social action, and divine judgment; and the dynamics of women's public religious authority, this study of religion and culture explores the meaning of the late medieval Christian affirmation that God bled and wept and suffered on the cross to draw persons to Godself. This interdisciplinary study of sermon literature, manuscript illuminations and church wall paintings, drama, hagiographic narratives, and spiritual treaties illuminates the religious sensibilities, practices, and beliefs that constellate around the late medieval fascination with the bleeding body of the suffering Jesus Christ.

This thought-provoking book explores medieval perceptions of pilgrimage, gender and space.

It examines real-life evidence for the widespread presence of women pilgrims taken from secular and literary texts and representations of women pilgrims in the visual arts. Along the way some intriguing connections are made-including the inextricable link between women pilgrims and sexuality, and the sense that this sexuality tainted the sacred space of the pilgrimage.

Explores a unique intersection between women's studies, medieval history, religion and culture.

These pages capture a thousand years of devotional and visionary writing by medieval women. The writers come from all different backgrounds and traditions, and they include founders of religious communities, hermits and recluses, wives and mothers, wandering teachers, heretics and reformers. What they all had in common was a belief that they had been chosen to speak, and here we have the evidence of their visions and experiences of the divine. Covering a span of time from late antiquity to the 15th century, the writings include examples of lyric poetry, drama (including the first play written by a woman), epics, saints' lives, and letters. as well as some newly invented genres such as the spiritual autobiography, the guide to prayer, progression of visions, and in Inquisition depositions. A new portrait of the female writer in the Middle Ages emerges, a more accurate portrait than was ever before possible, as many of these texts have either been out of print or are here translated for the first time. We see women writers of the Middle Ages doing what they did best: writing devotional, visionary, and erotic literature from a very personal viewpoint, and what they say to the modern reader has much to do with nature of creativity and the creative experience of women.