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Paul Whitfield White

discussion, as it raises important questions about how scholarship traditionally has treated Elizabethan biblical drama. First, it problematises the tendency to see early English drama as either strictly ‘religious’ or ‘secular’. 2 For much of the twentieth century, criticism viewed biblical plays as typically ‘medieval’, amateur, provincial, didactic, and ideologically conservative (i.e. ‘Catholic’); whereas secular plays were viewed as ‘renaissance’, professional, London-based, commercial, and either advancing the status

in Enacting the Bible in medieval and early modern drama
Elisabeth Dutton

theatricality of the Mass has been the object of discussion at least since Honorius Augustodunensis, in the twelfth century, made an analogy between the liturgical celebrant and an actor taking on the role of Christ: in the twentieth century O. B. Hardison went so far as to argue that in liturgy were the origins of English drama, though scholars, notably Lawrence Clopper, have argued firmly against this aspect of Hardison's work. 20 Discussion is dogged, as Bruce Holsinger points out, by an ‘all-or-nothing’ approach: liturgy

in Enacting the Bible in medieval and early modern drama
Jill Fitzgerald

measurements, the manuscript closes resolutely with the phrase, ‘Finit Liber II. Amen’. 6 Nineteenth-century scholars such as John Josias Conybeare, Benjamin Thorpe, and Bernhard ten Brink assumed that the poem was fragmentary and that it must have been arranged in a piecemeal or even arbitrary fashion. 7 Friedrich Groschopp likewise saw structural incompatibilities in the poem owing to its blending of narrative-dramatic and hortatory-homi-letic elements. 8 These perceived shortcomings were reiterated in the twentieth century by scholars such as C. Abbetmeyer. 9 The

in Rebel angels
Patterns of transmission
László Sándor Chardonnens

original research. The corpus is split into manuscripts and printed books. Manuscript sources date from the earliest, ninth-century alphabetical dream books and lunaries onwards. No date limit is set for manuscripts, since post-medieval copies invariably reflect medieval practices, a case in point being the texts copied out of antiquarian and scholarly interest between the seventeenth and twentieth centuries. 34 The transmission of dream divination in print starts at around 1475. The cut-off date for printed books is 1550, since the approximately seventy

in Aspects of knowledge
Author: Laura Varnam

The church as sacred space places the reader at the heart of medieval religious life, standing inside the church with the medieval laity in order to ask what the church meant to them and why. It examines the church as a building, idea, and community, and explores the ways in which the sanctity of the church was crucial to its place at the centre of lay devotion and parish life. At a time when the parish church was facing competition for lay attention, and dissenting movements such as Lollardy were challenging the relevance of the material church, the book examines what was at stake in discussions of sanctity and its manifestations. Exploring a range of Middle English literature alongside liturgy, architecture, and material culture, the book explores the ways in which the sanctity of the church was constructed and maintained for the edification of the laity. Drawing on a wide range of contemporary theoretical approaches, the book offers a reading of the church as continually produced and negotiated by the rituals, performances, and practices of its lay communities, who were constantly being asked to attend to its material form, visual decorations, and significance. The meaning of the church was a dominant question in late-medieval religious culture and this book provides an invaluable context for students and academics working on lay religious experience and canonical Middle English texts.

Laura Varnam

.), Enterprise and Individuals in Fifteenth Century Europe (Stroud: Alan Sutton, 1991), pp. 132–50, p. 134. 45 Cohen, Symbolic Construction of Community, p. 50. 46 I will discuss this in detail in Chapter 3. 47 Smith, To Take Place, p. 104. 48 Brereton, ‘Sacred space’, p. 534. 49 Lefebvre, The Production of Space, p. 220. 50 Victor Turner, ‘Frame, flow, and reflection: ritual and drama as public liminality’, in Michel Benamou and Charles Caramelo (eds), Performance in Postmodern Culture (Milwaukee: Center for Twentieth Century Studies, University of Wisconsin

in The church as sacred space in Middle English literature and culture