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Based in records and iconography, this book surveys medieval
festival playing in Britain more comprehensively than any other
work to date. The study presents an inclusive view of the drama in
the British Isles, from Kilkenny to Great Yarmouth, from Scotland
to Cornwall. It offers detailed readings of individual
plays-including the York Creed Play, Pentecost and Corpus Christi
plays and the little studied Bodley plays, among others - as well
as a summary of what is known of their production. Clifford
Davidson here extends the usual chronological range to include work
typically categorized as early modern, enabling a juxtaposition of
earlier plays with later plays to yield a better understanding of
both. Complementing documentary evidence with iconographic detail
and citation of music, he pinpoints a number of common
misconceptions about medieval drama. By organizing the study around
the rituals of the liturgical seasons, he clarifies the
relationship between liturgical feast and dramatic celebration.
Based in records and iconography, this book surveys medieval
festival playing in Britain more comprehensively than any other
work to date. The study presents an inclusive view of the drama in
the British Isles, from Kilkenny to Great Yarmouth, from Scotland
to Cornwall. It offers detailed readings of individual
plays-including the York Creed Play, Pentecost and Corpus Christi
plays and the little studied Bodley plays, among others - as well
as a summary of what is known of their production. Clifford
Davidson here extends the usual chronological range to include work
typically categorized as early modern, enabling a juxtaposition of
earlier plays with later plays to yield a better understanding of
both. Complementing documentary evidence with iconographic detail
and citation of music, he pinpoints a number of common
misconceptions about medieval drama. By organizing the study around
the rituals of the liturgical seasons, he clarifies the
relationship between liturgical feast and dramatic celebration.
This volume is an interdisciplinary consideration of late medieval
art and texts, falling into two parts: first, the iconography and
context of the great Doom wall painting over the tower arch at Holy
Trinity Church, Coventry, and second, Carthusian studies treating
fragmentary wall paintings in the Carthusian monastery near
Coventry; the devotional images in the Carthusian Miscellany; and
meditation for "simple souls" in the Carthusian Nicholas Love's
Mirror of the Blessed Life of Jesus Christ. Emphasis is on such
aspects as memory, participative theology, devotional images,
meditative practice, and techniques of constructing patterns of
sacred imagery.
This volume is an interdisciplinary consideration of late medieval
art and texts, falling into two parts: first, the iconography and
context of the great Doom wall painting over the tower arch at Holy
Trinity Church, Coventry, and second, Carthusian studies treating
fragmentary wall paintings in the Carthusian monastery near
Coventry; the devotional images in the Carthusian Miscellany; and
meditation for "simple souls" in the Carthusian Nicholas Love's
Mirror of the Blessed Life of Jesus Christ. Emphasis is on such
aspects as memory, participative theology, devotional images,
meditative practice, and techniques of constructing patterns of
sacred imagery.
Mary of Nemmegen, a prose condensation in English of the Middle
Dutch play Mariken van Nieumeghen, is an important example of the
literature that was imported from Holland in the early part of the
sixteenth century. It also may be compared to Everyman, described
as a treatise "in the manner of a moral play." Mary of Nemmegen is
an analogue of the Faustus story. As such, it is also a window on
the obsession in its own time with the occult.
Aspects of medieval theatre examined for reflection of contemporary
life. The essays in this volume explore ways in which plays and
public spectacles mirrored the beliefs and values of the late
medieval world. Topics covered include seasonal festivals, trade
gilds, stagecraft, and the role played by themunicipal governments
in fostering and controlling dramatic productions. The geographic
range takes in all western Europe, with particular consideration of
the connections between the various medieval European dramatic
traditions. Inter-disciplinary in approach, perspectives range from
the history of theatre to cultural and political history and
literary criticism. There is particular emphasis on the real
advances that can be made in expanding knowledge of medieval
theatre through research in local and regional archives. ALAN E.
KNIGHT is professor emeritus of French at the Pennsylvania State
University. Contributors: ALEXANDRA F. JOHNSTON, LYNETTE R. MUIR,
PAMELA SHEINGORN, R.B. DOBSON, GERARD NIJSTEN, CLIFFORD DAVIDSON,
WIM HUESKEN, STEPHEN SPECTOR, ALAN E. KNIGHT
Each of these diverse essays confronts important issues in the
study of medieval art, literature, and drama. The topics covered
include the symbolism of scatological illustration in Gothic
manuscripts (Karl Wentersdorf), connections between word and
picture in religious art (Roger Ellis), and the relationship
perceived between divine and human creativity (R. W. Hanning),
while Clifford Davidson provides an exploration in the
phenomenology of space and time in medieval theater.
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