Studies in Late Medieval Wall Paintings, Manuscript Illuminations, and Texts, DOI 10.1007/978-3-319-47476-2 BIBLIOGRAPHY
CODA PARTICIPATING IN SYMBOLS OF DEATH Like Nicholas Love’s Mirror, The Somonyng of Everyman is adapted from a Continental text, in this case from the Dutch Elckerlijc. As reading matter designed to appeal to the merchant and artisan classes in an urban setting, Everyman invokes neither pastoral nor monastic contemplation but rather invites participation through an imaginative confrontation with Death and subsequent pilgrimage leading to entry into the grave. The study of Everyman in terms of participation in the symbols of death and dying can serve as an appropriate capstone to the present volume, hence originally intended to be a final chapter. The essay can be accessed at https://works.bepress.com/clifford_davidson/265. © The Author(s) 2017 111 C. Davidson, Studies in Late Medieval Wall Paintings, Manuscript Illuminations, and Texts, DOI 10.1007/978-3-319-47476-2 BIBLIOGRAPHY Alexander, Jennifer. “Coventry Holy Trinity Wall Painting.” EDAM Newsletter 11 no. 2 (1989): 37. Alkerton, Richard. [Easter Week sermon, 1406.] British Library, Add. MS. 37677. Allen, Hope Emily, ed. English Writings of Richard Rolle. 1931; reprint, Oxford: Clarendon (1963). ——— and Sanford Brown Meech, eds. The Book of Margery Kempe. EETS, o.s. 212. London: Oxford University Press (1940). Anderson, M. D. The Imagery of British Churches. London: John Murray (1955). Arbismann, Rudolph. “The Concept of ‘Christus Medicus’ in St. Augustine.” Traditio 10 (1954): 1–28. Ashley, Kathleen, and Pamela Sheingorn. Interpreting Cultural Symbols: Sainte Anne in Late Medieval Society. Athens: University of Georgia Press (1990). Aston, Margaret. England’s Iconoclasts I: Laws Against Images. Oxford: Clarendon Press (1988). Augustine of Hippo, St.
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