The Cambridge History of CHRISTIANITY
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Preliminary Investigation of the Iconography of the Woman with the Skull from the Puerta De Las Platerías of Santiago De Compostela
PRELIMINARY INVESTIGATION OF THE ICONOGRAPHY OF THE WOMAN WITH THE SKULL FROM THE PUERTA DE LAS PLATERÍAS OF SANTIAGO DE COMPOSTELA By KAREN FAYE WEBB A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2004 Copyright 2004 by Karen Faye Webb To Dan and Judy Webb ACKNOWLEDGMENTS I am indebted to many individuals for their support and guidance in my physical and conceptual pilgrimage to Santiago de Compostela. I would most like to thank Dr. David Stanley who has been my constant supporter as my toughest critic and my most caring mentor. Dr. Carolyn Watson’s medieval art class at Furman University introduced me to the complex beauty of the south transept portal. My parents indulged my awe of this portal and physically and metaphorically climbed the steps leading to the Puerta de las Platerías with me to pay homage to the Woman with the Skull. Without them, this study would not have been possible. I would like to thank my reader, Dr. John Scott, for his insightful comments, and Jeremy Culler, Sarah Webb and Sandra Goodrich for their support, friendship, and unwavering faith in me. Finally, I would like to thank the Woman with the Skull, who brought me on this pilgrimage and has given me a new awareness about art and myself. iv TABLE OF CONTENTS page ACKNOWLEDGMENTS ................................................................................................. iv LIST OF FIGURES .......................................................................................................... -
A Concise History of the Baptists
A Concise History Of The Baptists FROM THE TIME OF CHRIST THEIR FOUNDER TO THE 18TH CENTURY. Taken from the New Testament, the first fathers, early writers, and historians of all ages; CHRONOLOGICALLY ARRANGED; Exhibiting their churches with their order in various countries under different names from the establishment of Christianity to the present age: with correlative information, supporting the early and only practice of believers’ immersion: also OBSERVATIONS AND NOTES on the abuse of the ordinance, and the rise of minor and infant baptism. By G. H. Orchard Baptist Minister, Steventon, Bedfordshire, England, 1855 TABLE OF CONTENTS CHAPTER ONE Section 1: Primitive Baptists Section 2: Primitive Baptists Continued Section 3: Primitive Baptists Continued Section 4: Primitive Baptists Continued CHAPTER TWO Section 1: Churches in Italy Section 2: African Churches Section 3: African Churches Continued Section 4: Oriental Churches Section 5: Oriental Churches Continued Section 6: Churches in Italy Resumed Section 7: Churches in Gaul Section 8: Churches in France Continued Section 9: Churches in France Continued Section 10: Churches in Bohemia Section 11: Churches in Piedmont Section 12: German and Dutch Baptists BAPTIST HISTORY A Concise History Of The Baptists By G. H. Orchard CHAPTER 1 SECTION I: PRIMITIVE BAPTISTS. "From the days of John the Baptist till now, the kingdom of heaven suffereth violence, and the violent taketh it by force."--Matt. 11:12. 1. Ecclesiastical history must ever prove an interesting subject to every true lover of Zion. Not only does every saint feel personally interested in her blessings, but he solicitously wishes and prays for their diffusion, as widely as the miseries of man prevail. -
Constructing the Cámara Santa: Architecture, History, and Authority in Medieval Oviedo
Constructing the Cámara Santa: Architecture, History, and Authority in Medieval Oviedo by Flora Thomas Ward A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Flora Thomas Ward 2014 Constructing the Cámara Santa: Architecture, History, and Authority in Medieval Oviedo Flora Thomas Ward Doctor of Philosophy Department of Art University of Toronto 2014 Abstract My dissertation examines the Cámara Santa of the Cathedral of Oviedo as both a medieval and modern monument, shaped by twelfth-century bishops and twentieth-century restorers. I consider the space as a multi-media ensemble, containing manuscripts, metalwork, and sculpture, arguing that we must view it as a composite—if fragmented—whole. My analysis focuses on the twelfth century, a crucial period during which the structure, decoration, and contents of the Cámara Santa were reworked. A key figure in this story is Bishop Pelayo of Oviedo (d. 1153), who sought to enhance the antiquity and authority of the see of Oviedo by means of the cult of its most important reliquary: the Arca Santa. I argue that this reliquary shapes the form and function of the twelfth-century Cámara Santa, considering the use of the space in the context of liturgy and pilgrimage. Finally, I consider the sculpture that lines the walls of the space, arguing that it animates and embodies the relics contained within the Arca Santa, interacting with the pilgrims and canons who used the space. Thus, this sculpture represents the culmination of the long twelfth-century transformation of the Cámara Santa into a space of pilgrimage focused around the Arca Santa and the memory of the early medieval patrons of the Cathedral of Oviedo, a memory which abides to this day. -
The Cruciform Womb: Process, Symbol and Salvation in Bodleian Library MS
The Cruciform Womb: Process, Symbol and Salvation in Bodleian Library MS. Ashmole 399 Karl Whittington Introduction Among the medical texts and illustrations that make up MS Ashmole 399 in the Bodleian Library in Oxford lies an image of striking graphic power and beauty (Figure 1). Colored lines curve and twist, connecting abstract shapes and irregular fields of text. At the top corners of the manuscript page, two red lines curve down towards the center, stopping abruptly and jutting out to form two points before continuing as parallel straight lines to the bottom of the page. Around them, shapes lie across the largely symmetrical surface: two black lines arch over the top of the red lines, connecting to two spheres that float near the center of the page. In the bottom corners, two columnar forms anchor the composition, and just inside of them lie two large teardrop-shaped red forms, outlined in green ink. At the top stands a tiny human, enclosed in a shaded oval. Small captions and labels cover parts of each shape, while longer texts weave haphazardly around them. This image is a diagram of the female sexual anatomy, from a thirteenth-century book of medical texts Figure 1. Female anatomy, Oxford, Bodleian and illustrations. Modern viewers can Library MS Ashmole 399, fol. 13v. Different Visions: A Journal of New Perspectives on Medieval Art (ISSN 1935-5009) Issue 1, September 2008 Whittington– The Cruciform Womb: Process, Symbol and Salvation in Bodleian Library MS. Ashmole 399 decipher easily only a few of these forms: to us, the drawing resembles some kind of map or abstract diagram more than a representation of actual anatomy, or anything else recognizable, for that matter. -
Sex with Guilt
Review Sex With Guilt James A. Brundage. Law, Sex, and Christian Society in Medieval Europe. Chicago: University of Chicago Press, 1987. Pp. xxiv, 674. $45.00. Paul Freedman Medieval law was an accretion of traditions from several sources. This is well known, for example, with regard to the historical development of English Common Law. Continental and church law of the Middle Ages was built on a foundation of Roman or Roman-inspired codes and prac- tices and so tended to emphasize statute and authoritative executive state- ments more than did customary laws. In both its political government and legislation the medieval church was increasingly centralized. Nevertheless, even the church faced the task of reconciling diverse norms and precedents (Biblical, Patristic, Roman, Germanic) that reflected conflicting proce- dures and social expectations. One might expect medieval canon law relat- ing to sexual behavior to have been straightforward and unyielding, but this is not the case. Because of the interaction of ethical and textual tradi- tions, and the nature of medieval society (which was rather more exuber- ant than is commonly believed), the development of ecclesiastical regula- tion was slow and complex. The Middle Ages was hardly unique in attempting to control the mani- festations of sexual desire. All societies have both informal expectations and formal rules about sex and marriage. Where they differ, often radi- cally, is in marking off aspects of sexual and domestic relations considered private and thus left to individual conscience or preference from those sub- Yale Journal of Law & the Humanities, Vol. 1, Iss. 2 [1989], Art. 5 Yale Journal of Law & the Humanities [Vol. -
The Sermon of Urban II in Clermont and the Tradition of Papal Oratory Georg Strack Ludwig-Maximilians-Universität, Munich
medieval sermon studies, Vol. 56, 2012, 30–45 The Sermon of Urban II in Clermont and the Tradition of Papal Oratory Georg Strack Ludwig-Maximilians-Universität, Munich Scholars have dealt extensively with the sermon held by Urban II at the Council of Clermont to launch the First Crusade. There is indeed much room for speculation, since the original text has been lost and we have to rely on the reports of it in chronicles. But the scholarly discussion is mostly based on the same sort of sources: the chronicles and their references to letters and charters. Not much attention has been paid so far to the genre of papal synodal sermons in the Middle Ages. In this article, I focus on the tradition of papal oratory, using this background to look at the call for crusade from a new perspective. Firstly, I analyse the versions of the Clermont sermon in the crusading chronicles and compare them with the only address held by Urban II known from a non-narrative source. Secondly, I discuss the sermons of Gregory VII as they are recorded in synodal protocols and in historiography. The results support the view that only the version reported by Fulcher of Chartres corresponds to a sort of oratory common to papal speeches in the eleventh century. The speech that Pope Urban II delivered at Clermont in 1095 to launch the First Crusade is probably one of the most discussed sermons from the Middle Ages. It was a popular motif in medieval chronicles and is still an important source for the history of the crusades.1 Since we only have the reports of chroniclers and not the manuscript of the pope himself, each analysis of this address faces a fundamental problem: even the three writers who attended the Council of Clermont recorded three different versions, quite distinctive both in content and style. -
I Speak As One in Doubt
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses Dissertations and Theses August 2019 I Speak as One in Doubt Margaret Hazel Wilson Follow this and additional works at: https://scholarworks.umass.edu/masters_theses_2 Part of the Fine Arts Commons, Interdisciplinary Arts and Media Commons, and the Sculpture Commons Recommended Citation Wilson, Margaret Hazel, "I Speak as One in Doubt" (2019). Masters Theses. 807. https://scholarworks.umass.edu/masters_theses_2/807 This Open Access Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. I Speak as One in Doubt. A Thesis Presented by Margaret Hazel Wilson Submitted to the Graduate School of the University of Massachusetts in partial fulfillment of the requirements for the degree of MASTER OF FINE ARTS May 2019 Department of Art I Speak as One in Doubt. A Thesis Presented by MARGARET HAZEL WILSON Approved as to style and content by: _____________________________ Alexis Kuhr, Chair _____________________________ Jenny Vogel, Member _____________________________ Robin Mandel, Member _____________________________ Sonja Drimmer, Member ______________________________ Young Min Moon, Graduate Program Director Department of Art ________________________________ Shona MacDonald, Department Chair Department of Art DEDICATION To my mom, who taught me to tell meandering stories, and that learning, and changing, is something to love. ACKNOWLEDGEMENTS I would like to offer my heartfelt thanks to my committee members for their generous dialogue in the course of this thesis, especially my chair, Alexis Kuhr, for her excellent listening ear. -
“A Lady Wandering in a Faraway Land” the Central European Queen/Princess Motif in Italian Heretical Cults1
“A LADY WANDERING IN A FARAWAY LAND” THE CENTRAL EUROPEAN QUEEN/PRINCESS MOTIF IN ITALIAN HERETICAL CULTS1 Dávid Falvay “Il fiut ung temps une damoyselle, fille de roy, de grant cueur et de noblesse et aussi de noble courage, et demouroit en astrange païs” (Marguerite Porete) Introduction In the twelfth and thirteenth centuries a new religious model formed in Western Europe. People started to require an active, personal participation in religious life. The popularity of different heresies, the flourishing of popular movements on the borderline between heresy and acceptance, and finally, the foundation and development of the new mendicant orders, first of all the Dominicans and Franciscans, are all manifestations of this new model of religious life. At the beginning of the thirteenth century, with the foundation of the mendicant orders, a new form and ideal of sainthood was created for both men and women.2 By the time this model was formed we can record the double character of this ideal: together with Saint Francis, who was the most influential model, Saint Claire became the archetype for women who decided to follow a life dedicated to Christ. For the fourteenth and fifteenth centuries another characteristic woman figure appeared, Saint Catherine, who inspired the formation of the female model. In Central Europe a slightly different model was formed for women. The prototype of that female sainthood was Saint Elisabeth of Hungary. The main difference was that in the West the saints were 1 This study is a shortened version of my MA thesis defended at the Department of Medieval Studies in June 2001. -
Petre Clemens—Lugentium Siccentur Motet in Honor of Clement VI
Petre clemens—Lugentium siccentur motet in honor of Clement VI Ivrea, Biblioteca Capitolare MS 115 Philippe de Vitry (1291–1361) fols. 37v–38 ed. Anna Zayaruznaya 5 + + + + [Triplum] [O. ] & ‚ – ‚‚ ‚ ‚ ‚ – ‚ – ‚ ‚ ‚ Pe- tre cle - mens tam re quam no - mi‚ - ne cui‚‚ ‚ ‚ – nas-cen - + + [Motetus] [O. ] K K K K ‚ – ‚ & ‚‚ ‚ ‚ – ‚ Lu - gen - ti - um sic - cen - tur o - cu‚ - + Tenor [ . ] V b O ‚ ‚ – ‚ ‚ – – – \ [Non\ est inventus] \ 10 + + K & – ‚ ‚ ‚ ‚ ‚ ‚ – ‚ ‚ ‚ ti Do - nan - tis dex - te - ra non de - fu - + + ‚ ‚ ‚ & – ‚. ‚ ‚ ‚ ‚ ‚ ‚ ‚ – li, plau - dant se - nes,– ex - ul - tent par - vu - li, V b – – – – \ \ This edition is a companion to Anna Zayaruznaya, “Hockets as Compositional and Scribal Practice in the ars nova Motet—A Letter from Lady Music,” Journal of Musicology 30, no. 4 (2013): 461–501, and the text underlay has been subject to aggressive editorial intervention for reasons discussed there. It is not a diplomatic transcription, but rather an edition employing a simplified form of fourteenth-century French (ars nova) notation in score. Note-values have been left unreduced. Under the reigning mensuration (0. ) there are up to three minims (M) in each semibreve (S), up to three semibreves in each breve (B), and two breves in each long (L). When triple divisions of notes are involved, two processes occur in ars nova notation which do not happen in modern notation. In imperfec- tion, a smaller note “takes” value from a longer one so that the two together can add up to three beats. Thus MS MS denotes an iambic pattern, but if the minims were omitted the semibreves alone would have the value of three minims each (compare triplum and mote- tus in m. -
Unai Members List August 2021
UNAI MEMBER LIST Updated 27 August 2021 COUNTRY NAME OF SCHOOL REGION Afghanistan Kateb University Asia and the Pacific Afghanistan Spinghar University Asia and the Pacific Albania Academy of Arts Europe and CIS Albania Epoka University Europe and CIS Albania Polytechnic University of Tirana Europe and CIS Algeria Centre Universitaire d'El Tarf Arab States Algeria Université 8 Mai 1945 Guelma Arab States Algeria Université Ferhat Abbas Arab States Algeria University of Mohamed Boudiaf M’Sila Arab States Antigua and Barbuda American University of Antigua College of Medicine Americas Argentina Facultad de Ciencias Económicas de la Universidad de Buenos Aires Americas Argentina Facultad Regional Buenos Aires Americas Argentina Universidad Abierta Interamericana Americas Argentina Universidad Argentina de la Empresa Americas Argentina Universidad Católica de Salta Americas Argentina Universidad de Congreso Americas Argentina Universidad de La Punta Americas Argentina Universidad del CEMA Americas Argentina Universidad del Salvador Americas Argentina Universidad Nacional de Avellaneda Americas Argentina Universidad Nacional de Cordoba Americas Argentina Universidad Nacional de Cuyo Americas Argentina Universidad Nacional de Jujuy Americas Argentina Universidad Nacional de la Pampa Americas Argentina Universidad Nacional de Mar del Plata Americas Argentina Universidad Nacional de Quilmes Americas Argentina Universidad Nacional de Rosario Americas Argentina Universidad Nacional de Santiago del Estero Americas Argentina Universidad Nacional de -
Sacred Music and Female Exemplarity in Late Medieval Britain
UNIVERSITY OF CALIFORNIA Los Angeles The Iconography of Queenship: Sacred Music and Female Exemplarity in Late Medieval Britain A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Musicology by Gillian Lucinda Gower 2016 © Copyright by Gillian Lucinda Gower 2016 ABSTRACT OF THE DISSERTATION The Iconography of Queenship: Sacred Music and Female Exemplarity in Late Medieval Britain by Gillian Lucinda Gower Doctor of Philosophy in Musicology University of California, Los Angeles, 2016 Professor Elizabeth Randell Upton, Chair This dissertation investigates the relational, representative, and most importantly, constitutive functions of sacred music composed on behalf of and at the behest of British queen- consorts during the later Middle Ages. I argue that the sequences, conductus, and motets discussed herein were composed with the express purpose of constituting and reifying normative gender roles for medieval queen-consorts. Although not every paraliturgical work in the English ii repertory may be classified as such, I argue that those works that feature female exemplars— model women who exemplified the traits, behaviors, and beliefs desired by the medieval Christian hegemony—should be reassessed in light of their historical and cultural moments. These liminal works, neither liturgical nor secular in tone, operate similarly to visual icons in order to create vivid images of exemplary women saints or Biblical figures to which queen- consorts were both implicitly as well as explicitly compared. The Iconography of Queenship is organized into four chapters, each of which examines an occasional musical work and seeks to situate it within its own unique historical moment. In addition, each chapter poses a specific historiographical problem and seeks to answer it through an analysis of the occasional work. -
'How the Corpse of a Most Mighty King…' the Use of the Death and Burial of the English Monarch
1 Doctoral Dissertation ‘How the Corpse of a Most Mighty King…’ The Use of the Death and Burial of the English Monarch (From Edward to Henry I) by James Plumtree Supervisors: Gábor Klaniczay, Gerhard Jaritz Submitted to the Medieval Studies Department and the Doctoral School of History Central European University, Budapest in partial fulfillment of the requirements for the degree of Doctor of Philosophy CEU eTD Collection Budapest 2014 2 Table of Contents TABLE OF CONTENTS .................................................................................................... 2 TABLE OF FIGURES ........................................................................................................ 3 ABBREVIATIONS ............................................................................................................ 4 INTRODUCTION .............................................................................................................. 6 1. ‘JOYFULLY TAKEN UP TO LIVE WITH GOD’ THE ALTERED PASSING OF EDWARD .......................................................................... 13 1. 1. The King’s Two Deaths in MS C and the Vita Ædwardi Regis .......................... 14 1. 2. Dead Ends: Sulcard’s Prologus and the Bayeux Tapestry .................................. 24 1. 3. The Smell of Sanctity, A Whiff of Fraud: Osbert and the 1102 Translation ....... 31 1. 4. The Death in Histories: Orderic, Malmesbury, and Huntingdon ......................... 36 1. 5. ‘We Have Him’: The King’s Cadaver at Westminster .......................................