Introduction - Julia Boffey and Christiania Whitehead Editings Issues in
Middle English Lyrics - Thomas G. Duncan Moving Lights: An Affective
Reading of On leome is in þis world ilist and Church Wall Paintings -
Ayoush Lazikani Blood and Chocolate: Affective Layering in Swete Ihesu, now
wil I synge - Daniel McCann Textual and Affective Stability in All Other
Love is Like the Moon - Michael Kuczynski The Unlikely Landscapes of On God
Ureisun of Ure Lefdi - Annie Sutherland 'Adreynt in shennesse': Blood,
Shame and Contrition in Quis est iste qui uenit de Edom? - Hetta Elizabeth
Howes Ihesus woundes so wide and the fons vitae: Text, Image and the
Manuscript Context - Natalie Jones 'Written in gold upon a purple stain':
Mariological Rhetoric and the Material Culture of Aureate Diction - Anne
Marie D'Arcy Textual Lyricism in Lydgate's Fifteen Joys and Sorrows of Mary
- Mary Wellesley Voice and Response: Lyric Rewriting of the Song of Songs -
Anne Baden-Daintree Compiling the Lyric: Richard Rolle, Textual Dynamism
and Devotional Song in London, British Library, Additional MS 37049 -
Katherine Zieman Lyric Interventions in Troilus and Criseyde - Elizabeth
Robertson Poems that Speak Volumes: Lydgate's Thoroughfare of Woe, and
Lyric as Epitome - Julia Boffey 'Short song is good in ale': Charles
d'Orléans and Authorial Intentions in the Middle English Ballade 84 - Denis
Renevey All Adam's Children: The Early Middle English Lyric Sequence in
Oxford, Jesus College, MS 29 (II) - Susanna Fein Musical and Poetic Form in
Stond wel, moder, under rode - Christiania Whitehead Tutivillus and the
Policing of Speech in Oxford, Bodleian Library, MS Douce 104 - Mary C.
Flannery Have This in Mind: Word and Image in Audelay's Writing - Jane
Griffiths 'The Dance of the Intellect among Words': Wyatt's In eternum and
Late Medieval Lyric Practice - Joel Grossman Afterword: The Study of
Medieval Lyrics in 1960s Oxford and Today - John C. Hirsh Bibliography
