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The Bible and Literature is a 1.5 million word resource in five
volumes that provides researchers with an authoritative resource on
the impact and influence of the bible upon the development of
literature, charting this relationship from the classical period to
the modern day. The international spread of the biblical text is
reflected in a structure that considers the broader geographical,
philosophical, and theological factors that crop up when the
bible’s role in culture and society is considered. The work
reflects a broader cultural narrative that is dependent upon the
bible for its relevance and yet also contributes to the bible’s
own continuing relevance in modern society. Each volume is edited
by a leading specialist in the period, and begins with a set of
introductory materials including a chapter on how the biblical text
is mediated in the given period. Ten thematic essays then introduce
the key thinkers, works, events and themes of the period. Extracts
from primary materials are then presented with specialist
commentary showing how these texts interact with the bible itself.
The five volumes cover: The Late Classical and Medieval Periods,
The Renaissance and Reformation Periods, Enlightenment to
Romanticism, The Victorian Period, and The Modern Period.
First published in 1981. This book aims to show Romanticism as a
response to certain questions - in literature, art, religion,
philosophy and politics - that were being asked increasingly
towards the end of the eighteenth century. The essays focus on
growth and change (in society and the individual), nature, feeling
and reason, and subjectivism - examining how these questions arose,
why they were felt to be important and the kinds of answers that,
consciously or unconsciously, the Romantics provided. This title
will be of interest to students of literature, history and
philosophy.
Who are we and how do we define our inner selves? In his last work,
Professor Stephen Prickett presents a literary and cultural
exploration of our inner selves - and how we have created and
written about them - from the Old Testament to social media. What
he finds is that although our secret, inner, sense of self - what
we feel makes us distinctively 'us' - seems a natural and permanent
part of being human, it is in fact surprisingly new. Whilst
confessional religious writings, from Augustine to Jane Austen, or
even diaries of 20th-century Holocaust victims, have explored
inwards as part of a path to self-discovery, our inner space has
expanded beyond any possible personal experience. This development
has enhanced our capacity not merely to write about what we have
never seen, but even to create fantasies and impossible fictions
around them. Yet our secret selves can also be a source of terror.
The fringes of our inner worlds are often porous, ill-defined and
susceptible to frightening forms of external control. Mystics and
poets, from Dante to John Henry Newman or Gerard Manley Hopkins,
sought God in their secret spaces not least because they feared the
'abyss beneath.' From the origin of human consciousness through
modern history and into the future, Secret Selves uses literature
to consider the profound possibilities and ramifications of our
evolving ideas of self.
During the late eighteenth century the Bible underwent a shift in
interpretation so radical as to make it virtually a different book
from what it had been a hundred years earlier. Even as its text was
being revealed as neither stable nor original, the new notion of
the Bible as a cultural artefact became a paradigm for all
literature. In Origins of Narrative one of the world's leading
scholars in biblical interpretation, criticism and theory describes
how, while formal religion declined, the prestige of the Bible as a
literary and aesthetic model rose to new heights: not merely was
English, German and French Romanticism steeped in biblical
references of a new kind, but hermeneutics and, increasingly,
theories of literature and criticism were biblically derived.
Professor Prickett reveals how the Romantic Bible became
simultaneously a novel-like narrative work, an on-going site of
re-interpretation, and an all-embracing literary form giving
meaning to all other writing.
First published in 1981. This book aims to show Romanticism as a
response to certain questions - in literature, art, religion,
philosophy and politics - that were being asked increasingly
towards the end of the eighteenth century. The essays focus on
growth and change (in society and the individual), nature, feeling
and reason, and subjectivism - examining how these questions arose,
why they were felt to be important and the kinds of answers that,
consciously or unconsciously, the Romantics provided. This title
will be of interest to students of literature, history and
philosophy.
The idea of tradition seems a timeless one, but our modern
understanding of the term was actually shaped by the Victorian
revival of tradition as a cornerstone of religion, art and culture.
Stephen Prickett traces how the word 'tradition' fell out of use in
English by the middle of the eighteenth century and how it returned
in the nineteenth having radically changed and gained in meaning.
Prickett analyses the work of authors who, like Burke, perhaps
unexpectedly, avoid use of the concept, as well as those who, like
Coleridge, Keble and Newman, who, variously influenced by German
Romantics, explored it in detail, and disagreed profoundly with
each other as to its implications. An important contribution to
literature, history and theology, this sweeping work shows how
people manufacture their own idea of truth, customs, or ancient
wisdom to make sense of the past in terms of a problematic present.
Modern scholarship has tended to separate literature and theology.
Yet it is impossible to understand the ideas of such Victorian
theologians as Hare and Maurice, Keble and Newman without reference
to contemporary literary criticism - just as it is impossible to
understand criticism of the period (and the sensibility it implies)
isolated from its theology. This book is an attempt to reinterpret
a whole theological tradition in the light of its members' views on
language and poetry, and associated ideas of imagination, myth and
symbol. Dr Prickett argues that Coleridge and Wordsworth began a
theological revolution by reintroducing to the Anglican Church a
mode of thinking that had become submerged, or died out. "Their
'organic' aesthetics, with roots both in England and Germany,
carried with them a theory of symbolism and of the unconscious,
which, while originally derived from theology, provided an
independent and parallel tradition to contemporary 'Paleyite'
apologetic. From them Maurice, Keble and Newman were able to draw
the conception of an 'idea' as living and creative, and of the
Church itself as 'poetic'.
During the late eighteenth century the Bible underwent a shift in
interpretation so radical as to make it virtually a different book
from what it had been a hundred years earlier. Even as its text was
being revealed as neither stable nor original, the new notion of
the Bible as a cultural artefact became a paradigm for all
literature. In Origins of Narrative one of the world's leading
scholars in biblical interpretation, criticism and theory describes
how, while formal religion declined, the prestige of the Bible as a
literary and aesthetic model rose to new heights: not merely was
English, German and French Romanticism steeped in biblical
references of a new kind, but hermeneutics and, increasingly,
theories of literature and criticism were biblically derived.
Professor Prickett reveals how the Romantic Bible became
simultaneously a novel-like narrative work, an on-going site of
re-interpretation, and an all-embracing literary form giving
meaning to all other writing.
This study focuses on the Bible as a landmark of literature,
showing both how it has influenced writers through the ages and how
it in turn has been influenced by contemporary literature. It
describes what is known about the historical context of the
documents, the changes of interpretation they have undergone over
the centuries, and the problems and influence of various
translations, ranging from Tyndale to the Good News Bible.
Prickett charts the schism, opened at the end of the oighteenth
century, between biblical hermeneutics and literary criticism. This
split has profound implications for both contemporary biblical
translation and literary theory. The author investigates the
critical commonplace that religious language is essentially poetic,
and traces the development of that view in the writings of Dennis
and Vico, Herder and Eichhorn, Ccoleridge and Arnold, Wordsworth
and Hopkins, and Austin Farrer and Paul Ricouer. This concept
continues to provide a terminology for discussing narrative that
can no longer be interpreted literally or allegorically, but has
also led some critics to devise inadequate translation theories and
conceptions of metaphor.
Originally published in 1980, this is a study of the 'romanticism'
of Coleridge and Wordsworth. Their concern with creativity, and the
conditions that helped or hindered their own artistic development,
produced a new concept of mental growth - a 'modern' view of the
mind as organic, active, and unifying. In particular, we see how
their aesthetics evolved from a personal and intuitional need to
reaffirm 'value' in their own lives. Their discovery of the
fundamental ambiguity of such intuition is discussed in relation to
some ideas of Empson, Gombrich, and Ehrenzweig. As well as an essay
in criticism, this is a contribution to the history of ideas,
drawing together points in the background of philosophical and
psychological theory from Hartley and Wesley to John Stuart Mill.
Since many of our ideas about imagination, symbolism, and
creativity are ultimately derived from Coleridge and Wordsworth,
this is a book for students of romantic and modern literature.
An increasing number of contemporary scientists, philosophers and theologians downplay their professional authority and describe their work as simply "telling stories about the world". If this is so, literary criticism can and should be applied to all these fields. Yet story telling is neither innocent nor empty-handed. Register, rhetoric, and imagery all manipulate in their own ways. Above all, irony emerges as the natural mode of our modern fragmented culture. Since the eighteenth century there have been only two possible ways of understanding the world--the fundamentalist and the ironic.
The idea of tradition seems a timeless one, but our modern
understanding of the term was actually shaped by the Victorian
revival of tradition as a cornerstone of religion, art and culture.
Stephen Prickett traces how the word 'tradition' fell out of use in
English by the middle of the eighteenth century and how it returned
in the nineteenth having radically changed and gained in meaning.
Prickett analyses the work of authors who, like Burke, perhaps
unexpectedly, avoid use of the concept, as well as those who, like
Coleridge, Keble and Newman, who, variously influenced by German
Romantics, explored it in detail, and disagreed profoundly with
each other as to its implications. An important contribution to
literature, history and theology, this sweeping work shows how
people manufacture their own idea of truth, customs, or ancient
wisdom to make sense of the past in terms of a problematic present.
The Bible is the most important book in the history of Western
civilization, and also the most difficult to interpret. It has been
the vehicle of continual conflict, with every interpretation
reflecting passionately-held views that have affected not merely
religion, but politics, art, and even science. This unique edition
offers an exciting new approach to the most influential of all
English biblical texts - the Authorized King James Version,
complete with the Apocrypha. Its wide-ranging Introduction and the
substantial notes to each book of the Bible guide the reader
through the labyrinth of literary, textual, and theological issues,
using the most up-to-date scholarship to demonstrate how and why
the Bible has affected the literature, art and general culture of
the English-speaking world. ABOUT THE SERIES: For over 100 years
Oxford World's Classics has made available the widest range of
literature from around the globe. Each affordable volume reflects
Oxford's commitment to scholarship, providing the most accurate
text plus a wealth of other valuable features, including expert
introductions by leading authorities, helpful notes to clarify the
text, up-to-date bibliographies for further study, and much more.
The essays in this book criticise the new positivism in education
policy, whereby education is systematically reduced to those things
that can be measured by so-called 'objective' tests. Contributors
include Libby Purves, Evan Harris, Rowan Williams, Roger Scruton,
Robert Grant, Bruce Charlton and Anthony Smith.
An increasing number of contemporary scientists, philosophers and theologians downplay their professional authority and describe their work as simply "telling stories about the world". If this is so, literary criticism can and should be applied to all these fields. Yet story telling is neither innocent nor empty-handed. Register, rhetoric, and imagery all manipulate in their own ways. Above all, irony emerges as the natural mode of our modern fragmented culture. Since the eighteenth century there have been only two possible ways of understanding the world--the fundamentalist and the ironic.
Victorian fantasy is an art form that flourished in opposition to
the repressive social and intellectual conditions of
'Victorianism'. The author explores the ways in which Victorian
writers used non-realistic techniques - nonsense, dreams, visions,
and the creation of other worlds - to extend our understanding of
this world, and the creation of this world. This work focuses on
six key writers: Lear, Carroll, Kingsley, MacDonald, Kipling, and
Nesbit. Stephen Prickett traces the development of their art form,
their influence on each other, and how these writers used fantasy
to question the ideology of Victorian culture and society.
Romanticism was always culturally diverse. Though English-language
anthologies have previously tended to see Romanticism as
predominantly British, the term itself actually originated in
Germany, where it became the banner of a Europe-wide movement
involving the profound intellectual and aesthetic changes which we
now associate with modernity. This anthology is the first to place
British Romanticism within a comprehensive and multi-lingual
European context, showing how ideas and writers interconnected
across national and linguistic boundaries. By reprinting everything
in the original languages, together with an English translation of
all non-English material in parallel on the opposite page, it
offers a new intellectual map of Romanticism. Material is
thematically arranged as follows: - Art & Aesthetics - The Self
- History - Language - Hermeneutics & Theology - Nature - The
Exotic - Science While focusing on European texts, the inclusion of
essays on their North American and Japanese reception means that
Romanticism can be seen as a global phenomenon, influencing a
surprising number of the ways in which the modern world sees
itself.
Victorian fantasy is an art form that flourished in opposition to
the repressive social and intellectual conditions of
'Victorianism'. The author explores the ways in which Victorian
writers used non-realistic techniques - nonsense, dreams, visions,
and the creation of other worlds - to extend our understanding of
this world, and the creation of this world. This work focuses on
six key writers: Lear, Carroll, Kingsley, MacDonald, Kipling, and
Nesbit. Stephen Prickett traces the development of their art form,
their influence on each other, and how these writers used fantasy
to question the ideology of Victorian culture and society.
An authoritative assessment of the changing relationship between
the Bible and the arts In this unique Companion, 35 scholars, from
world-famous to just beginning, explore the role of the Bible in
art and of artistic motifs in the Bible. The specially commissioned
chapters demonstrate that just as the arts have portrayed biblical
stories in a variety of ways and media over the centuries, so what
we call 'the' Bible is not actually a single entity but has been
composed of fiercely contested translations of texts in many
languages, whose selection has depended historically on a variety
of cultural pressures, theological, social, and, not least,
aesthetic. Key Features: * Divided into 3 sections, Inspiration and
Theory, Art and Architecture, and Literature * Generously
illustrated * Covers aesthetic interpretations of specific biblical
books; of the Hebrew and Christian Bibles as a whole; the
transmission of biblical texts; various bindings and illustrations
of Bibles - in response to pressures as diverse as Islamic
craftsmanship and the English Reformation * Includes pieces on
biblical influences on poetry, painting, church architecture,
decoration, and stained glass; on poetry, hymns, novels, plays, and
fantasy literature * Spans the earliest days of the Christian era
to the present
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