|The Language of the Paris Manuscript||xxiii|
|A Glossary of Frequently Used Words||xxv|
|The Text of Showings||1|
|The Short Text of A Book of Showings [A Woman as Teacher]||129|
|The Book of Margery Kempe||130|
|[A Visit with Julian of Norwich]||130|
|[Meditation on the Passion]||131|
|The Trinity [The Two Parts of the Mind]||135|
|The Scale of Perfection [The Two Parts of the Soul]||136|
|De Institutione Inclusarum [Jesus as Mother]||137|
|Ancrene Wisse (A Guide for Anchoresses) [Jesus as Mother]||139|
|From The Life of an Anchoress||143|
|[The Trope of the Scribe and the Question of Literary Authority in the Texts of Julian of Norwich]||150|
|From The Humanity of Christ: Reflections on Julian of Norwich's Revelation of Love||158|
|From The Likeness of God and the Restoration of Humanity in Julian of Norwich's Showings||164|
|[Human Nature: The Image of God]||176|
|[Jesus as Mother]||190|
|The Art of Mystical Loving: Julian of Norwich||196|
Showings of Julian of Norwich / Edition 1by Julian of Norwich, Denise N. Baker
Pub. Date: 11/28/2004
Publisher: Norton, W. W. & Company, Inc.
Carefully edited for the undergraduate reader, this Norton Critical Edition includes an informed introduction, focusing on Julian’s theology and preparing students to understand the complex, controversial themes of the text, particularly Julian’s solution to the
Julian of Norwich is among the most intriguing religious visionaries in Christian history.
Carefully edited for the undergraduate reader, this Norton Critical Edition includes an informed introduction, focusing on Julian’s theology and preparing students to understand the complex, controversial themes of the text, particularly Julian’s solution to the problem of evil in Revelation XIII and XIV. Paragraph divisions have been organized to emphasize the thematic units of each chapter, and the sentences have been punctuated for clarity.
The text included is a Middle English edition, based on the Paris manuscript (1580–1650) of the long text, with language akin to Chaucer’s and therefore more accessible than other Middle English editions.
"Contexts" includes contemporary texts that help students better understand Julian’s originality, including selections from works by Margery Kempe, Augustine, Aelred of Rievaulx, and Walter Hilton.
"Criticism" brings together interpretations that address the themes and style of the Showings by Sandra McEntire, Lynn Staley, B. A. Windeatt, and David Aers, among others.
A Selected Bibliography is also included.
Table of Contents
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As is usual, Norton has provided the academic world with an invaluable resource by issuing The Showings of Julian of Norwich in a Critical Edition. The text is faithful to that of the Middle English original, with some standardized spelling, punctuation and paragraph divisions introduced to eliminate the variances which existed in the orignal tongue. To have this text in a readily available edition, and in the Middle English language, is cause enough for muted celebration. It should prove to be of nearly incalculable worth to the scholar of either the Medieval English period or literature, or those who are studying medieval theology. However, it should be noted that Julian's Showings exist in two accepted forms, the short and the long. This NCE contains only the longer version, while some others, most notably the Penguin edition, contain both. This is a small caveat, as the longer version seems to have been regarded as more authoritative than the shorter, even though the latter was composed long before its successor. Also of note: This edition is not designed in any way for the casual reader. The supplementary material and layout of the text will most likely defeat the person who picks this up out of sheer curiosity. Still, as an academic resource, this NCE of Julian's Showings is, I believe, the finest readily available in your local bookshop as of this writing. NCEs rarely go out of print (they never die; they just undergo revision), so the continued availability of this edition should be assured. For the medieval scholar, go get this now.