By E. Burns
The various cultural services of costume, textiles, and clothwork are utilized in this number of essays to check long-standing assumptions in regards to the heart a while. At one finish of the spectrum, questions of costume name up feminist theoretical investigations into the physique and subjectivity, whereas broadening these questions to comprise theories of masculinity and queer identification besides. on the different severe, the construction and distribution of textiles includes us into the area of financial historical past and the learn of fabric commodities, exchange and cultural styles of trade inside western Europe and among east and west. members to this quantity symbolize a large array of disciplines presently all in favour of rethinking medieval tradition by way of the fabric global.
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Extra info for Medieval Fabrications: Dress, Textiles, Clothwork, and Other Cultural Imaginings
A will from 1429, for example, bequeaths to the "chapel of oure lady ... " 3 As Charles Kightly' s discussion of wall hangings in medieval York suggests, textiles could be a source of household ornamentation, a marker of social 22 CLAIRE SPONSLER status, and an opportunity for entertainment, given their typical preference for depicting narrative. 4 How people might have "read" woven stories is suggested by an episode in Caxton's version of the romance Blanchardyn and Eglantine (ca. 1489). In chapter two, Blanchardine, walking in his father's palace with his tutor, gazes at the "hangings ofTapestrie and Arras" on the wall.
17 A note at the top of one page of the Legend ofSt. 21, in Stow's hand, claims that it was written by Lydgate for the armorers "to peynt about ther haulle," suggesting that all24 5lines of the poem were meant to be painted around their hall. In the case of many of Lydgate's tapestry or mural poems, however, it seems possible that instead of being represented on or alongside the visual representation the verses were read aloud as the pictorial image was viewed or displayed. The language of Shirley's seven headings in Bycorne and Chychevache shows how hard it can be to decipher the original presentational format of the poem.
Shirley introduces the Legend of St. George as the "devyse of a steyned halle of