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Author:   Graham Williams (University of Sheffield, UK) ,  Charlotte Steenbrugge (University of Sheffield, UK)
Publisher:   Bloomsbury Publishing PLC
Imprint:   Bloomsbury Academic
ISBN:  

9781350217720

ISBN 10:   1350217727
Pages:   274
Publication Date:   21 April 2022
Audience:   College/higher education ,  Tertiary & Higher Education
Format:   Paperback
Publisher's Status:   Active
Availability:   Manufactured on demand  
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Table of Contents

List of Figures List of Tables List of Contributors Acknowledgements List of Abbreviations Introduction, Graham Williams (University of Sheffield, UK) and Charlotte Steenbrugge (University of Sheffield, UK) 1. Crying out with the Compunction of the Prodigal Son: Byzantine Hymns, Liturgical Emotions and Icons of Repentance, Andrew Mellas (St Andrew's Theological College, Australia) 2. Repenting in their Own Words: Old English Vocabulary for Compunction, Contrition, and Penitence, Daria Izdebska (Liverpool Hope University, UK) 3. A Concept with Relevance? Compunction in Old Norse-Icelandic Literature, Roland Scheel (University of Gottingen, Germany) 4. William of Auvergne and Compunction: Describing the World through Metaphors, Béatrice Delaurenti 5. Sea-Water in Flame: Compunction in the Lambeth and Trinity Homilies, Ayoush Lazikani (University of Oxford, UK) 6. The Expressions of Remorse in Old and Middle French Literature, Corinne Denoyelle (University of Grenoble-Alpes, France) and translated by Emily Reed 7. Peter’s Three Tears, Véronique Plesch (Colby College, USA) Bibliography Index

Reviews

Ranging far geographically, temporally, and methodologically, this illuminating book demonstrates the varied roles compunction played not only in the languages, gestures, and feelings of medieval devotion but also in the conceptions and practices of its daily life. * Barbara H. Rosenwein, Professor Emerita, Loyola University Chicago, USA * This fascinating re-examination of the strategies by which compunction is understood and expressed in the medieval arts provides comprehensive exploration of its subject that will appeal to anyone with an interest in emotions scholarship, whatever their discipline. * Frances McCormack, School of English and Creative Arts, National University of Ireland, Galway, Ireland *

Author Information

Graham Williams is Senior Lecturer in the History of English at the University of Sheffield, UK. Charlotte Steenbrugge is Vice-Chancellor Fellow at the School of English, University of Sheffield, UK.

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