Reviewed by:

• Medieval Clothing and Textiles ed. by Monica L. Wright, Robin Netherton and Gale R. Owen-Crocker
• Julie Hotchin

For fifteen years Medieval Clothing and Textiles has provided a forum for interdisciplinary research into ‘the fabric of the medieval world’ (p. xi). The seven articles in this issue exhibit the excellent scholarship for which the series is known. The contributors are concerned with various aspects of the manufacture, materiality, use, and cultural meanings of cloth and clothing. They examine evidence from the early to the late Middle Ages, extending from Scandinavia to southern Europe. This volume marks a transition for the series, with Monica Wright assuming the role as lead editor of this issue while founding editors Robin Netherton and Gale Owen-Crocker step back from steering this influential series.

Gale Owen-Crocker, who has been a driving force in textile studies for nearly five decades, opens the volume with a succinct and characteristically perceptive survey of the state of the field. Presenting an overview of textile studies [End Page 256] for researchers new to the field, she considers methodological and interpretive challenges in the analysis of material textile artefacts, textual evidence, and discusses recent theoretically informed approaches such as object biographies. The footnotes are replete with references to databases, repositories, sources, and other research guides, all of which are introduced with informed commentary to orient readers to the key resources for medieval textile studies. Researchers new to the field will find much of value here, and the article is ideally suited to teaching.

Two articles engage with questions about the materiality of textiles and how it influences the cultural meanings of cloth and clothing. Working from the critical insight that material resonances matter for metaphor, Maren Clegg Hyer examines the interplay between interlace designs in Anglo-Saxon textiles and literature as expressed in the metaphor of ‘wordweaving’. Her analysis of Latin and vernacular poetry demonstrates how authors drew on the familiar, recognizable patterns of textile and manuscript interlace design to create ‘experientially resonant’ poetic metaphors particular to their historical place and context.

In the other article to examine textile artefacts, Tina Anderlini undertakes a comprehensive analysis of medallion silks. Drawing on surviving fragments, textual, visual, and material evidence, she demonstrates the importance of these luxury fabrics for display in religious settings. She also shows how these textiles influenced other aspects of material culture, examining wall painting, sculpture, and mosaics to demonstrate how the roundel design of these silks served as a ‘source of inspiration for other arts and a strong sign of sanctity, honour, power, and wealth’ (p. 136).

An unusual depiction of weaving cloth is the focus of Joanne W. Anderson’s study of a painted Annunciation scene in a church in South Tyrol. Focusing on the depictions of the Virgin weaving and an unfinished heraldic textile on her loom, Anderson deftly contextualizes the imagery to show how it expresses the devotional and social identities of the patrons. She concludes that material processes of cloth production also serve as a metaphor for creation, ‘of both things and life in the making’ (p. 159).

A theme taken up by several contributors is how clothing signifies identity, denotes personal change, and mediates social relations. Through an intertextual analysis of the depiction of attire and changes of dress in The Niebelungenlied and the Völsunga Saga, Elizabeth M. Swedo argues that clothing was a ‘versatile and powerful signifier’ (p. 54). She distinguishes aesthetic preferences for types of clothing in the two traditions, arguing that ‘fictive clothing’, especially that which served as the vehicle for narrative action, needed to resonate with the cultural expectations and social experience of the audience.

The material and cultural importance of cloth and clothing in elite households is the subject of Hugh Thomas’s finely grained study of the use of textiles at the court of John I of England. Drawing on household accounts such as close rolls, this study models approaches to...

审核人：

• 中世纪服装和纺织品编辑。莫妮卡·莱特（Monica L. Wright），罗宾·尼瑟顿（Robin Netherton）和盖尔·R。欧文·克罗克（Gale R.Owen-Crocker）
• 朱莉·霍钦（Julie Hotchin）

十五年来，中世纪服装和纺织品为“中世纪世界的织物”（p。xi）的跨学科研究提供了一个论坛。本期的七篇文章展示了该系列所著称的优秀学术成就。贡献者关注布和衣服的制造，材料，用途和文化含义的各个方面。他们研究了从中世纪到晚期（从斯堪的纳维亚半岛到南欧）的证据。该卷标志着该系列的过渡，Monica Wright担任本期的主编，而创始编辑Robin Netherton和Gale Owen-Crocker则退出了指导这一有影响力的系列的工作。

盖尔·欧文·克罗克（Gale Owen-Crocker）从事纺织品研究已有近五十年的历史，他通过对该领域的现状进行了简要且具有特征性的洞察力来介绍该书。介绍纺织品研究概述[结束页256]对于刚进入该领域的研究人员，她在材料纺织品假象，文本证据的分析中考虑了方法论和解释方面的挑战，并讨论了诸如对象传记之类的理论上最新的方法。脚注中充斥着对数据库，存储库，资源和其他研究指南的引用，所有这些都附带有见地的评论，以使读者了解中世纪纺织品研究的关键资源。刚进入该领域的研究人员将在这里发现很多价值，并且该文章非常适合教学。

有两篇文章涉及有关纺织品的重要性以及它如何影响衣服和布料的文化含义的问题。玛伦·克莱格·海耶（Maren Clegg Hyer）从批判性材料共鸣对隐喻的批判性洞察力出发，考察了盎格鲁-撒克逊纺织品中的隔行设计与以“织法”隐喻表达的文学之间的相互作用。她对拉丁和白话诗歌的分析表明，作者是如何利用熟悉的，可识别的纺织品和手稿交错设计模式来创建特定于其历史位置和背景的“体验共鸣”的诗意隐喻的。

在另一篇文章中，我们对纺织品的人工制品进行了研究，蒂娜·安德利尼（Tina Anderlini）对圆角绸进行了全面的分析。她利用尚存的碎片，文字，视觉和物质证据，证明了这些豪华织物在宗教环境中展示的重要性。她还展示了这些纺织品如何影响物质文化的其他方面，研究了壁画，雕塑和马赛克，以展示这些丝绸的圆形设计如何作为“其他艺术的灵感来源和神圣，尊贵，力量的强烈标志” ，和财富”（第136页）。

乔安妮·W·安德森（Joanne W. Anderson）对南蒂罗尔州一座教堂的彩绘天使报喜场景的研究重点是编织布的不寻常描绘。安德森（Anderson）着眼于维京人的编织和织布机上未完成的纹章纺织品的描写，巧妙地将图像形象化，以显示其如何表达顾客的虔诚和社会身份。她的结论是，布料生产的物质过程也可以作为创造的隐喻，“既涉及事物又涉及生活”（第159页）。

几个贡献者所讨论的主题是服装如何表示身份，表示个人改变并调解社会关系。通过对《The Niebelungenlied》和《VölsungaSaga》中服装和着装变化的描写分析，伊丽莎白·M·斯韦多认为服装是“多功能而有力的象征”（第54页）。她区分了两种传统中对服装类型的审美偏好，认为“虚拟服装”，特别是作为叙事手段的服装，需要引起观众的文化期望和社会经验的共鸣。

休·托马斯（Hugh Thomas）在英格兰约翰一世（John I. 这项研究利用家庭账户（如封闭账户）来模拟...