| Acknowledgments | 11 |
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| Introduction: Change in the Middle Ages | 15 |
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| The Ulster Werewolves | 15 |
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| Change: The Concept | 19 |
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| Change and the Twelfth Century | 22 |
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| Hybrid and Metamorphosis | 28 |
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| Some Methodological Considerations | 33 |
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| I | Wonder | 37 |
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| Recent Scholarship on Wonder and Wonders | 40 |
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| The Many Wonder Discourses of the Middle Ages | 42 |
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| Theological and Philosophical Discussion | 48 |
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| Admiratio in Devotional Literature | 51 |
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| The Marvelous in Literature of Entertainment | 53 |
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| The Range of Wonder Responses | 56 |
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| Wonder and Significance | 69 |
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| Wonder as Cognitive, Perspectival, and Non-appropriative | 72 |
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| Wonder and the Modern Historian | 73 |
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| II | Metamorphosis, or Gerald and the Werewolf | 77 |
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| Again the Question of Bodily Change | 79 |
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| Ovidian Poetry as Fascination with Change | 86 |
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| Theological Speculation on Growth and Change | 89 |
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| Werewolf Stories as Testing of Boundaries | 92 |
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| The Ovid Reception as Enthusiasm for Order | 98 |
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| Learned Theology and Miracle Stories as Ontological Control | 101 |
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| Were Medieval Werewolves Really Metempsychosis? | 105 |
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| Conclusion | 109 |
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| III | Monsters, Medians, and Marvelous Mixtures: Hybrids in the Spirituality of Bernard of Clairvaux | 113 |
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| Mixture and Monster | 117 |
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| Similitude and Doubleness | 127 |
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| Change and Unitas | 131 |
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| Natural Philosophy as the Context of Bernard's Understanding | 144 |
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| Twelfth-Century Religious Life as Context | 147 |
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| Literature and Art as Context | 150 |
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| Conclusion: Hybridity in the Spirituality of Bernard of Clairvaux | 158 |
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| IV | Shape and Story | 163 |
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| The Problem of Personal Identity | 163 |
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| Some Stories About Werewolves: Ovid's Lycaon | 166 |
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| Stories About Werewolves and Metamorphosis: Angela Carter | 173 |
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| Metamorphosis and Identity | 176 |
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| Shape and Story, Body and Narrative | 180 |
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| Metamorphosis in Dante | 182 |
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| Conclusion | 187 |
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| Afterword | 191 |
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| Notes | 195 |
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| Photo Credits | 275 |
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| Index | 277 |
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