Titlebook: Visions and Voice-Hearing in Medieval and Early Modern Contexts; Hilary Powell,Corinne Saunders Book 2021 The Editor(s) (if applicable) an

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Medieval and Early Modern Visions and Voices: Contexts and Approaches,ing inner, spiritual lives. The essays, which span the period 1100 to 1700, are shown to offer diverse new insights into a complex, controversial and contested category of human experience and to offer a timely intervention within the wider project of the Medical Humanities.

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Medieval and Early Modern Visions and Voices: Contexts and Approaches,sed at Durham University, which has complemented biomedical approaches with perspectives drawn from the medical humanities. The cultural, literary and intellectual contexts of the medieval and early modern periods offer new frameworks for thinking: such experiences were interpreted according to medi

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FLING

,Gabriel’s Annunciation and the Problems of Angelic Voice, a function that the Middle Ages considered potentially problematic, for what does it mean to speak of ‘voice’ in terms of an angel? Medieval scholasticism considered the issue of how a non-corporeal being might achieve the production of sound; how angels would communicate with one another; and how

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Choreography

Staging Conversion: Preternatural Voices and Visions in the Medieval Drama,c voices are always realised to some degree: they are embodied by corporeal actors who share the physical space with the human agents they come to haunt. With regard to visions and voices, medieval drama requires both showing . telling. For instance, in the English biblical drama there are myriad wa

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Julian of Norwich, the Carrow Psalter and Embodied Cinema,stians, however, were more likely to have multi-sensory encounters, often triggered by intensely affective gazing upon devotional artefacts. The human being, argues Hans Belting, is a ‘living organ for images’: visionary encounters set devotional art in cinematic motion. Visions were on a continuum