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By Nicola F. McDonald, W. M. Ormrod

'Rites of passage' is a time period and notion extra used than thought of, and no prior test has been made to use and try out its implications within the box of Medieval reviews. during this selection of essays, a bunch of medievalists from a variety of disciplines give some thought to a number of the theoretical versions - folklorist, anthropological, psychoanalytical - that may be used to examine cultures of transition within the heritage and literature of fourteenth-century Europe. Ranging over a large choice of texts from chronicles to romances, from clergymen' manuals to courtesy books, from nation documents to the writings of Chaucer, Gower and Froissart, the members determine and examine medieval attitudes to the method of switch in lifecycle, prestige, gender and tool. A noticeable advent by way of Miri Rubin attracts jointly the tips and fabrics mentioned within the e-book to demonstrate the relevance and significance of anthropology to the learn of medieval tradition.

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Extra resources for Rites of Passage: Cultures of Transition in the Fourteenth Century

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See V. Green, An Account of the Discovery of the Body of King John, in the Cathedral Church of Worcester, July 17th 1797 (London, 1797), pp. 4–6. Carpenter, ‘Burial of King Henry III’, pp. 435–6, speculates that the monk’s cowl might be interpreted as a coronation coif. qxd 6/22/04 11:02 AM Page 24 Joel Burden corpse is described as being bound tightly in waxed linen cloth overlaid with a dalmatic of red silk damask and wrapped around with a stole decorated with glass and beads. Within these outer layers it was revealed that the corpse was dressed in a royal mantle of crimson satin, fastened at the shoulder with a giltmetal brooch.

Brown, ‘Death and the Human Body in the Later Middle Ages: The Legislation of Boniface VIII on the Division of the Corpse’, Viator 12 (1981), 221–70. 34 The crudely carved trunk of Edward III’s surviving funeral effigy would have been clothed with royal robes. Meanwhile, it is obvious from the frontally bent arms and the positioning of the missing hands on the effigy that items of regalia were intended to be held in a manner reminiscent of Edward III’s gilt-copper tomb effigy. This stiff frontal posture is also reflected in contemporary manuscript illuminations of the funeral of a king, as seen for example in the Westminster Abbeyproduced Liber regalis.

While prescription and tradition dictated that the basic formula of a ritual remain the same, it was the malleable nature of the performance that shaped each rite of passage as a unique opportunity for the organizer and experience for the participant. In this sense, the funeral of Edward II was only different from other royal rites of passage of the fourteenth century in that its invented tradition of deploying a funeral effigy of the dead king represented a more extreme example of the politicization of ritual performance.

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