This thesis will examine how the Middle Ages are historically interpreted and portrayed in the United States. In order to keep this study within reasonable bounds, the research will exclude films, television, novels, and other forms of media that rely on the Pre-Modern period of European history for entertainment purposes. This thesis will narrow its focus on museums, non-profit organizations, and other institutions, examining their methods of research and interpretation, the levels of historical accuracy or authenticity they hold themselves to, and their levels of success. This thesis ultimately hopes to prove that the medieval period offers the same level of public interest as popular periods of American history.

This focus on reenactment serves to illustrate the need for an American audience to form a simulated connection to a historical period for which they inherently lack geographic or cultural memory. The utilization of hyperreality as described by Umberto Eco lends itself readily to this historic period, and plays to the American desire for total mimetic immersion and escapism. After examining the Metropolitan Museum of Art’s exhibition of medieval history as high art and culture, the thesis focuses on historical reenactment, as it offers a greater level of visitor interaction, first by analyzing R.G. Collingwood’s definition of “reenactment” and it’s relation to the modern application in order to establish it as a veritable academic practice.

The focus of the thesis then turns to the historical interpretation/reenactment program identified here as historical performance, which uses trained actors in controlled museum conditions to present historically accurate demonstrations meant to bring the artifacts on display to simulated life. Beginning with the template first established by the Royal Armories Museum in the United Kingdom, a comparative study utilizing research and interviews highlights the interpretative methods of the Frazier History Museum, and those of the Higgins Armory Museum. By comparing both museum’s methods, a possible template for successfully educating the American public about the European Middle Ages; while a closer examination of the Frazier Museum’s survival compared to the Higgins Armory’s termination may illustrate what future institutions must do or avoid to thrive.

This dissertation explores the relationship between motherhood and power in seventeenth-century England. While historians have traditionally researched the role of mothers within the family unit, this study explores the more public and discursive roles of motherhood. It argues that the various threads of discourse surrounding maternity betray a common desire to circumscribe and condemn maternal authority, as this authority was threatening to masculinity and patriarchal rule. It finds that maternity was frequently cited as harmful and dangerous; household conduct books condemned the passionate and irrational nature of maternal love and its deleterious effects upon both mother and child. Furthermore, various images of ‘unnatural motherhood’ reveal larger concerns over social disorder. Sensationalistic infanticide and monstrous birth stories in cheap print display contemporary fears of lascivious, scolding, and unregulated women who were subversive to patriarchal authority and thus threatened the social status quo. The female reproductive body similarly threatened masculinity; an analysis of midwifery manuals show that contemporary authors had to reconcile women’s reproductive power with what they believed to be an inferior corporeal body. This study ends with a discussion of the representation of mothers in published funeral sermons as these mothers were textually crafted to serve as examples of ‘good mothering,’ offering a striking comparison to the ‘unnatural mothers’ presented in other sources. Motherhood in seventeenth-century England, then, involved a great deal more than the relationship between mother and child. It was a cultural site in which power was contested, and a site in which authors expressed anxiety over the irrational female mind and the unregulated, sexual female body.