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The liturgy, the Eucharist and Christ our brother
Alana Harris

Chapter 3 Gatherings at the family table The liturgy, the Eucharist and Christ our brother Drink the wine and chew the wafer Two, four, six, eight Time to transubstantiate In his popular pamphlet examining the ways in which ‘the Catholic world [we] knew seems to have been turned upside down – and so quickly’, Frank Sheed presciently recognised that, of all the changes instituted around the time of the Council: for the man-in-the-pew the question ‘Is it the same Church?’ often enough boils down to the question ‘Is it the same Mass?’1 Writing two decades later in

in Faith in the family
Confessional conflict and Elizabethan romances
Christina Wald

’, communicants had to see beyond deceptive outer appearances, just like Philoclea. The belief or disbelief in transubstantiation was at the heart of the heated Eucharist debate during the Reformation and became a touchstone of religious allegiance for centuries to come. According to the Catholic doctrine of transubstantiation, the celebration of the Eucharist is a repetition of Christ’s original sacrifice. ‘Hoc est corpus meum’, Christ’s (translated) words which are spoken by the priest, mean that the bread is indeed transformed into Christ’s body. Liturgy here counters

in Forms of faith
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A context for The Faerie Queene
Margaret Christian

1 Introduction: a context for The Faerie Queen Spenser characterized The Faerie Queene as “an historicall fiction” created to “fashion a gentleman or noble person in virtuous and gentle discipline.” He explained his work to his friend Walter Raleigh as an alternative to “good discipline deliuered plainly in way of precepts, or sermoned at large” – an alternative, that is, to religious rhetoric like liturgies, homilies, and sermons.1 Spenser admitted that his method of “clowdily enwrap[ing]” his teaching “in Allegorical deuises” “will seeme displeasaunt” to some

in Spenserian allegory and Elizabethan biblical exegesis
E.A. Jones

underscored the idea that anchorites were dead to the world by numerous striking echoes of the medieval liturgy of death and burial: from the procession through the cemetery to reach the cell, to the psalms and antiphons chosen, the performance of the ‘last rites’, the open grave and the sprinkling of dust upon the recluse. 3 The verbatim recording of an anchorite’s profession [ 6 ] is a late development, and perhaps

in Hermits and anchorites in England, 1200–1550
Episcopal authority and the reconciliation of excommunicants in England and Francia c.900–c.1150
Sarah Hamilton

-century episcopal collection of law and liturgy, usually, if anachronistically, known as the ‘commonplace book’ of Archbishop Wulfstan of Worcester (1002–16) and York (1002–23): Cambridge, Corpus Christi College, MS 265 (hereinafter C ) and Oxford, Bodleian Library, MS Barlow 37 (hereinafter D ). 9 C was compiled at Worcester in the third quarter of the eleventh century, while D

in Frankland
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Three Advent Sunday sermons
Eyal Poleg

former substantiating their message, the latter a prerequisite in order to make the Bible relevant to their audiences. This was done in tandem with other forms of biblical mediation: preachers acted within sacred time and space, with sermons traditionally being part of the celebration of the liturgy; preaching and exegesis were often practised by the same people for similar aims. The interplay between authority and contextualisation, between Bible, audience, and preacher, stands at the core of this chapter. Preaching was a vital form of biblical mediation all

in Approaching the Bible in medieval England
Boundary rituals, community, and Ascension theology in homilies for Rogationtide
Johanna Kramer

programmatic teaching of Ascension theology. This chapter moves in its analysis from the conventional and formal ways of teaching theology (homilies conveying patristic doctrines) to the spatial and ritual practices of Rogationtide liturgy (relic processions, field perambulations and blessings, agricultural prayers), and, finally, to popular religious rituals and beliefs about the importance of the land and its boundaries (field perambulations, agricultural healing rituals, boundary marking). From these sources, we can see that the teaching of

in Between earth and heaven
E.A. Jones

the uncompromising repression of heresy, the early fifteenth century is now recognised for its movement of orthodox reform, which saw (amongst other developments) a monastic revival and a renewal of the liturgy. 1 We have already seen evidence of increased scrutiny of potential anchorites in this period (see Chapter I , especially [ 2 ]), and the attention paid to the solitary vocations in the

in Hermits and anchorites in England, 1200–1550
The uses of John’s devotional method within the walls of Fécamp
Lauren Mancia

and embracing suffering and the contemplative life. In De fuga saeculi , for instance, Ambrose encourages readers to use Christ’s passion to model the rejection of the world. 11 If a monk were seeking to supplement his understanding of devotional models of the CT , such as Hannah, for example, whose canticle the monks would sing in the liturgy and on ferial Wednesdays, he need not look further than the lavish eleventh-century copy of Augustine’s De civitate dei , which could provide a reader with more background on Hannah. 12 There, in Book 17, Augustine spends

in Emotional monasticism
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Bernhard Zeller, Charles West, Francesca Tinti, Marco Stoffella, Nicolas Schroeder, Carine van Rhijn, Steffen Patzold, Thomas Kohl, Wendy Davies, and Miriam Czock

service books. Carolingian initiatives were influential, as indicated in the capitulary Admonitio generalis , which advocated the singing of Roman chant, cantum Romanum . 93 In practice, however, there remained great diversity within the Carolingian world throughout the ninth and tenth centuries, with elements of older Gallican practice adopted variously into the Roman rite in different parts of Francia and, in Italy, both Milanese and Beneventan liturgy retaining distinctive traits. 94 Practice was therefore highly localised, as is evident from the great variety

in Neighbours and strangers