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Edited by Larissa Tracy and Kelly DeVries

The spectacle of the wounded body figured prominently in the Middle Ages, from images of Christ’s wounds on the cross, to the ripped and torn bodies of tortured saints who miraculously heal through divine intervention, to graphic accounts of battlefield and tournament wounds—evidence of which survives in the archaeological record—and literary episodes of fatal (or not so fatal) wounds. This volume offers a comprehensive look at the complexity of wounding and wound repair in medieval literature and culture, bringing together essays from a wide range of sources and disciplines including arms and armaments, military history, medical history, literature, art history, hagiography, and archaeology across medieval and early modern Europe.
Contributors are Stephen Atkinson, Debby Banham, Albrecht Classen, Joshua Easterling, Charlene M. Eska, Carmel Ferragud, M.R. Geldof, Elina Gertsman, Barbara A. Goodman, Máire Johnson, Rachel E. Kellett, Ilana Krug, Virginia Langum, Michael Livingston, Iain A. MacInnes, Timothy May, Vibeke Olson, Salvador Ryan, William Sayers, Patricia Skinner, Alicia Spencer-Hall, Wendy J. Turner, Christine Voth, and Robert C. Woosnam-Savage.

Adria LaViolette

bow of Britain’s ambitions in the region, and a “spectacle of radical modernity” (p. 103) of the late nineteenth century. With Indian and German design and construction input, Victorian decorative flourishes, 360-degree panoptic verandas, and inspiration from Indian Ocean trading houses, the building

Karim Sadr

infields. The degree of elaboration and visibility of these passages may have served to display wealth as well. In 1801, William Somerville noted that the spectacle of the cows coming home at sunset was the highlight of the day for the inhabitants of Leetakoo. They lined up to watch them pass and proud