1. The book reconciles two strands of interpretation that have polarized St. Joseph into distinct early and late manifestations, one comical and derogatory and the other idealized 2. It explains the centrality and functions of humor in private devotional and public religious art, identifying its audience not only as the laity, but as the clergy as well (offering a corrective to lay edification as the sole explanation for humor's presence in religious imagery) 3. It opens a new line of interpretation in medieval and early modern cultural studies, moving beyond the relegation of humor to the margins: revealing the presence and centrality of humor within religious scenes from ca. 1300 to 1600, and acknowledging the importance of play for religious experiences.
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