Titlebook: Voice and Voicelessness in Medieval Europe; Irit Ruth Kleiman Book 2015 The Editor(s) (if applicable) and The Author(s) 2015 aesthetics.cr

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Voice and Wisdom in Early Italian Arteval art conveyed nothing about auditory experience. Indeed, sculptors and painters in Dante’s time empowered images to make claims on sound. These claims are especially evident where images addressed their audiences as the beholders of voices.

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Editor’s Introduction The categories of . and . were deeply embedded in medieval definitions of the human, as they remain for contemporary thinkers such as Jacques Lacan or Stanley Cavell. For medieval thinkers, as for these and other recent authors, the compelling omnipresence of Voice as a topos in Western traditions

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Language Without Voice: , as a Political Issueal narratives abound with angels appearing to humans under the guise of human form, behaving like human beings and addressing them directly in a human language like alien visitors, or undercover agents. One might wonder, however, if angels, when they are not on missions, have lives of their own and

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Mimicry, Subjectivity, and the Embodied Voice in Anglo-Saxon Bird Riddlesage. The notion of voice was central to ancient and early medieval theories of cognition and language, and the same people who composed and compiled Anglo-Saxon riddles also drew on the grammatical tradition to write about human communication in its various linguistic, grammatical, and literary form

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Ritual Voices and Social Silence: Funerary Lamentations in Byzantiumting her son’s death at the foot of the Cross traces the first lines of what will become a common image of the Virgin.. Already in Gregory’s text, Mary takes up a curious threnody, a chanted funerary lamentation, in which she weaves together ancient and pagan figures, letting the traditional cries o

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