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For the first time, a group of distinguished authors come together
to provide an authoritative exploration of the cultural history of
tragedy in the Middle Ages. Reports of the so-called death of
medieval tragedy, they argue, have been greatly exaggerated; and,
for the Middle Ages, the stakes couldn’t be higher. Eight essays
offer a blueprint for future study as they take up the extensive
but much-neglected medieval engagement with tragic genres, modes,
and performances from the vantage points of gender, politics,
theology, history, social theory, anthropology, philosophy,
economics, and media studies. The result? A recuperated medieval
tragedy that is as much a branch of literature as it is of
theology, politics, law, or ethics and which, at long last, rejoins
the millennium-long conversation about one of the world’s most
enduring art forms. Each chapter takes a different theme as its
focus: forms and media; sites of performance and circulation;
communities of production and consumption; philosophy and social
theory; religion, ritual and myth; politics of city and nation;
society and family, and gender and sexuality.
For the first time, a group of distinguished authors come together
to provide an authoritative exploration of the cultural history of
tragedy in the Middle Ages. Reports of the so-called death of
medieval tragedy, they argue, have been greatly exaggerated; and,
for the Middle Ages, the stakes couldn't be higher. Eight essays
offer a blueprint for future study as they take up the extensive
but much-neglected medieval engagement with tragic genres, modes,
and performances from the vantage points of gender, politics,
theology, history, social theory, anthropology, philosophy,
economics, and media studies. The result? A recuperated medieval
tragedy that is as much a branch of literature as it is of
theology, politics, law, or ethics and which, at long last, rejoins
the millennium-long conversation about one of the world's most
enduring art forms. Each chapter takes a different theme as its
focus: forms and media; sites of performance and circulation;
communities of production and consumption; philosophy and social
theory; religion, ritual and myth; politics of city and nation;
society and family, and gender and sexuality.
Mary Magdalene and the Drama of Saints Theater, Gender, and
Religion in Late Medieval England Theresa Coletti "This fascinating
and important interdisciplinary study of theatrical practice . . .
reveals the importance of Middle English drama to the religious
environment of fifteenth-century England"--"Religious Studies
Review" "In this richly rewarding book, Coletti is chiefly
interested in the questions that Mary Magdalene raises about women
and institutionalized religion, spirituality, and sexuality, and
the possibilities and limits of female religious authority. Coletti
pursues these questions by concentrating on one play, the
extraordinary East Anglian drama on the life of Mary Magdalene. . .
. Coletti provides a probing account of devotional and mystical
texts, saints' legends, homiletic traditions, and other religious
writings. . . . A masterful report on the cultural meanings of one
medieval performance, but also a compelling account of how such
performances matter for literary and cultural history."--"Medieval
and Renaissance Drama in England" A sinner-saint who embraced then
renounced sexual and worldly pleasures; a woman who, through her
attachment to Jesus, embodied both erotic and sacred power; a
symbol of penance and an exemplar of contemplative and passionate
devotion: perhaps no figure stood closer to the center of late
medieval debates about the sources of spiritual authority and
women's contribution to salvation history than did Mary Magdalene,
and perhaps nowhere in later medieval England was cultural
preoccupation with the Magdalene stronger than in fifteenth-century
East Anglia. Looking to East Anglian texts including the N-Town
Plays, "The Book of Margery Kempe," "The Revelations of Julian of
Norwich," and Bokenham's "Legend of Holy Women," Theresa Coletti
explores how the gendered symbol of Mary Magdalene mediates
tensions between masculine and feminine spiritual power,
institutional and individual modes of religious expression, and
authorized and unauthorized forms of revelation and sacred speech.
Using the Digby play "Mary Magdalene" as her touchstone, Coletti
engages a wide variety of textual and visual resources to make
evident the discursive and material ties of East Anglian dramatic
texts and feminine religion to broader traditions of cultural
commentary and representation. In bringing the disciplinary
perspectives of literary history and criticism, gender studies, and
social and religious history to bear on specific local instances of
dramatic practice, "Mary Magdalene and the Drama of Saints"
highlights the relevance of Middle English dramatic discourse to
the dynamic religious climate of late medieval England. In doing
so, the book decisively challenges the marginalization of drama
within medieval English studies, elucidates vernacular theater's
kinship with influential late medieval religious texts and
institutions, and articulates the changing possibilities for sacred
representation in the decades before the Reformation. Theresa
Coletti is Professor of English at the University of Maryland. She
is author of "Naming the Rose: Eco, Medieval Signs, and Modern
Theory." The Middle Ages Series 2004 360 pages 6 x 9 15 illus. ISBN
978-0-8122-3800-6 Cloth $75.00s 49.00 ISBN 978-0-8122-0164-2 Ebook
$75.00s 49.00 World Rights Literature, Religion, Women's/Gender
Studies Short copy: "A broad and deep analysis of Mary Magdalene's
prominence through overlapping discourses of late medieval English
culture. . . . An elegantly written and valuable resource on
theater, gender, and religion."--"Baylor Journal of Theater and
Performance"
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