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Palm Sunday processions
Eyal Poleg

:1–9) The Gospel of Matthew was read during the Palm Sunday procession and served as the rationale for the day’s liturgy. A comparison between the biblical narrative (with parallels in Mk 11:1–11; Lk 19:28–38; Jn 12:12–16) and its liturgical re-enactment, however, may result in a few raised eyebrows. If ‘The liturgy was the primary context within which medieval Christians heard, read and understood the Bible’, 1 then why are many of the liturgy’s crowning moments nowhere to be found or marginalised in the biblical narrative; where are elements that defined the day in

in Approaching the Bible in medieval England
Martin Heale

The liturgy – the regular round of services in worship of God – was the core of the monastic life. Numerous liturgical manuscripts survive, mainly from larger houses, detailing for the inmates’ benefit how these services should be ordered. The study of liturgical books is a highly complex and specialist field, and as a result this section makes

in Monasticism in late medieval England, c. 1300–1535
Margaret Christian

35 2 Allegorical reading in occasional Elizabethan liturgies An occasional liturgy is a service of prayers and Bible readings responding to a specific occasion – a local or national emergency like an earthquake, epidemic, or threatened invasion, or a national celebration like the anniversary of Queen Elizabeth’s accession to the throne. In order to appreciate how occasional liturgies relate to The Faerie Queene, it will be helpful to recall the biblical structure of the liturgy that Spenser’s original readers regularly heard in church and were encouraged to use

in Spenserian allegory and Elizabethan biblical exegesis
Els Rose
and
Arthur Westwell

through the entire period, and it does not appear to reflect the centralised imposition of one form of ‘correct’ liturgy. 3 Rather than a uniform vision of liturgical correctness, such manuscripts reflect many individualised and different initiatives to improve liturgical performance and understanding. What would the ‘reform’ of a liturgy of such varied character even look like, and under what parameters

in Rethinking the Carolingian reforms
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Liturgical Gloves and the Construction of Public Religious Identity
Cordelia Warr

Within the Catholic Church from around the tenth century onwards, liturgical gloves could be worn on specific occasions by those of the rank of bishop and above. Using a pair of seventeenth-century gloves in the Whitworth as a basis for further exploration, this article explores the meanings ascribed to liturgical gloves and the techniques used to make them. It argues that, within the ceremony of the mass, gloves had a specific role to play in allowing bishops to function performatively in the role of Christ.

Bulletin of the John Rylands Library
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Jake Griesel
and
Esther Counsell

ecclesiastical polity, governing structure, and liturgy which retained much greater continuity with traditional medieval patterns than was the case with Reformed churches elsewhere. 2 Standing above this organic grafting of Reformed theology with the traditional episcopal structures of the English Church was the Tudor Royal Supremacy – a thorough re-endorsement of the magisterial Reformers’ powerful imbuing of Protestant princes and magistrates with ecclesiastical jurisdiction and of their duty to take charge of religion ( cura

in Reformed identity and conformity in England, 1559–1714
Some contexts for Amoretti 67–70
Anne Lake Prescott

significance of Amoretti 67 ( Am . 67), and also to suggest a hitherto unremarked source or analogue for the lover's unusual situation in this sonnet and for several sonnets that follow it. Finally, I will try to tie these sonnets even more closely than they have been linked so far to the liturgy, both to that of the relatively deer-poor Book of Common Prayer and to the older Sarum rite. As the notes to the Variorum edition of Spenser demonstrate, it is hard to read Am. 67 without recalling Petrarch, so much so that one may well suspect an almost

in David, Donne, and Thirsty Deer
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Gender, self, and representation in late medieval Metz

Performing women takes on a key problem in the history of drama: the ‘exceptional’ staging of the life of Catherine of Siena by a female actor and a female patron in 1468 Metz. These two creators have remained anonymous, despite the perceived rarity of this familiar episode; this study of their lives and performances, however, brings the elusive figure of the female performer to centre stage. Beginning with the Catherine of Siena play and broadening outward, Performing women integrates new approaches to drama, gender, and patronage with a performance methodology to trace connections among the activities of the actor, the patron, their female family members, and peers. It shows that the women of fifteenth-century Metz enacted varied kinds of performance that included and extended beyond the theatre: decades before the 1468 play, for example, Joan of Arc returned from the grave in the form of a young woman named Claude, who was acknowledged formally in a series of civic ceremonies. This in-depth investigation of the full spectrum of evidence for female performance – drama, liturgy, impersonation, devotional practice, and documentary culture – both creates a unique portrait of the lives of individual women and reveals a framework of ubiquitous female performance. Performing women offers a new paradigm: women forming the core of public culture. Networks of gendered performance offered roles of expansive range and depth to the women of Metz, and positioned them as vital and integral contributors to the fabric of urban life.

Liminality and the Ascension of Christ in Anglo-Saxon literature
Author:

This book offers readers a new understanding of the methods of religious instruction and the uses of religious texts in Anglo-Saxon England, capturing the lived significance of these texts to contemporary audiences. An examination of Anglo-Saxon texts based on their didactic strategies, succeed at teaching theology, and blended cultural influences allows us to evaluate both celebrated and neglected texts more even-handedly and in a new light. The book first deals with the history and character of the theology of Christ's Ascension. It traces the history of Ascension theology from its scriptural roots to its patristic elaborations and to its transmission in Anglo-Saxon England, presenting those doctrines and themes that become most relevant to insular authors. The history of Ascension theology shows that Anglo-Saxon authors make deliberate and innovative choices in how they present the inherited patristic theology to their contemporary audiences. The book then contends that both the martyrologist and the Blickling homilist recognize the importance of liminality to Ascension theology and use the footprints as the perfect vehicle to convey this. It also examines the ways in which Anglo-Saxon authors construct spatial relationships to establish symbolic relationships between three major Christological events: the Ascension, the Harrowing of Hell, and Christ's Entry into heaven. Analysing individual Rogationtide and Ascension homilies, both Latin and vernacular, the book moves from the formal preaching of theology to the spatial practices of Rogationtide liturgy to the popular beliefs about boundaries and the earth.

Pain and prayer, 1920–1970
Brian Heffernan

. The rise of the liturgy The discursive shift from dolorism to contemplation was reinforced by a separate but related development: the rise of the liturgy in Carmel. The ritual aspects of Mass and the divine office were traditionally de-emphasised to ensure that they did not jeopardise the primacy of mental prayer. As per the constitutions, the nuns recited the ordinary of the Mass and the psalms of the

in Modern Carmelite nuns and contemplative identities