The granting of indulgences by the Catholic Church has long been infamous as one of the grounds for Martin Luther's revolt from Christianity in the sixteenth century. Modern scholars have usually characterized the medieval practice as a defective one. In The Penitents' Treasury, historian Robert W. Shaffern debunks this argument through a reexamination of indulgences that shows how their alleged evils have been exaggerated throughout history. This provocative volume, a necessary read for anyone interested in medieval history and the history of religion, calls for much rethinking about the state of the church on the eve of the Reformation.
The granting of indulgences by the Catholic Church has long been infamous as one of the grounds for Martin Luther’s revolt from Christianity in the sixteenth century. Modern scholars have usually characterized the medieval practice as a defective one. In The Penitents’ Treasury, historian Robert W. Shaffern debunks this argument through a reexamination of indulgences that shows how their alleged evils have been exaggerated throughout history. This provocative volume, a necessary read for anyone interested in medieval history and the history of religion, calls for much rethinking about the state of the church on the eve of the Reformation.
At the five-hundredth anniversary of Martin Luther’s Ninety-Five Theses and the dawn of the Protestant movement, Indulgences: Luther, Catholicism, and the Imputation of Merit sets forth a revised theological interpretation of the Church’s practice of indulgences. Author Mary C. Moorman argues that Luther’s sola fide theology merely absolutized the very logic of indulgences which he sought to overthrow, while indulgences in their proper context remain an irreducible witness to the Church’s corporate nuptial covenant with Christ, by which penitents are drawn into deeper fellowship with the Church and the Church’s Lord. As Robert W. Shaffern, Professor of Medieval History at the University of Scranton, writes in his foreword to Indulgences, “Mary Moorman’s book joins a number of recent scholarly studies that revise substantially the old convictions about indulgences. She is mostly interested in how theological thinking about indulgences should be done today, with of course the help that patristic, medieval, and early modern authorities might lend. She brings to bear a broad range of primary and secondary sources on the issue of indulgences and constructs an impressive series of covalent images with which to understand the role of indulgences in today’s Christian Church.”
"Religions teach their adherents how to see and feel at the same time, so learning to see is not a disembodied process but one hammered out on the forge of human need, social relations, and material practice. Therefore, religions may be studied through the lens of salient visual themes. This book tells a history of Catholic and Protestant Christianity since the sixteenth century by selecting visual themes that have shaped the development of the religion throughout the modern era. Chapters examine a variety of visual practices, including imagination, envisioning nationhood, the likeness of Jesus, modern art as a spiritual quest, the material life of words, and the importance of images for education, devotion, worship, and domestic life."--Provided by publisher.
Indulgences have been synonymous with corruption in the Catholic Church ever since Martin Luther nailed his ninety-five theses to the church door in Wittenberg in 1517. Tingle explores the nature and evolution of indulgences in the Counter Reformation and how they were used as a powerful tool of personal and institutional reform.
The Routledge History of Medieval Christianity explores the role of Christianity in European society from the middle of the eleventh-century until the dawning of the Reformation. Arranged in four thematic sections and comprising 23 originally commissioned chapters plus introductory overviews to each part by the editor, this book provides an authoritative survey of a vital element of medieval history. Comprehensive and cohesive, the volume provides a holistic view of Christianity in medieval Europe, examining not only the church itself but also its role in, influence on, and tensions with, contemporary society. Chapters therefore range from examinations of structures, theology and devotional practices within the church to topics such as gender, violence and holy warfare, the economy, morality, culture, and many more besides, demonstrating the pervasiveness and importance of the church and Christianity in the medieval world. Despite the transition into an increasingly post-Christian age, the historic role of Christianity in the development of Europe remains essential to the understanding of European history – particularly in the medieval period. This collection will be essential reading for students and scholars of medieval studies across a broad range of disciplines.
In Beyond Reformation? An Essay on William Langland’s Piers Plowman and the End of Constantinian Christianity, David Aers presents a sustained and profound close reading of the final version of William Langland’s Piers Plowman, the most searching Christian poem of the Middle Ages in English. His reading, most unusually, seeks to explore the relations of Langland's poem to both medieval and early modern reformations together with the ending of Constantinian Christianity. Aers concentrates on Langland’s extraordinarily rich ecclesiastic politics and on his account of Christian virtues and the struggles of Conscience to discern how to go on in his often baffling culture. The poem’s complex allegory engages with most institutions and forms of life. In doing so, it explores moral languages and their relations to current practices and social tendencies. Langland’s vision conveys a strange sense that in his historical moment some moral concepts were being transformed and some traditions the author cherished were becoming unintelligible. Beyond Reformation? seeks to show how Langland grasped subtle shifts that were difficult to discern in the fourteenth century but were to become forces with a powerful future in shaping Western Christianity. The essay form that Aers has chosen for his book contributes to the effectiveness of the argument he develops in tandem with the structure of Langland’s poem: he sustains and tests his argument in a series of steps or “passus,” a Langlandian mode of proceeding. His essay unfolds an argument about medieval and early modern forms of Constantinian Christianity and reformation, and the way in which Langland's own vision of a secularizing, de-Christianizing late medieval church draws him toward the idea of a church of “fools,” beyond papacy, priesthood, hierarchy, and institutions. For Aers, Langland opens up serious diachronic issues concerning Christianity and culture. His essay includes a brief summary of the poem and modern translations alongside the original medieval English. It will challenge specialists on Langland's poem and supply valuable resources of thought for anyone who continues to struggle with the church of today.
Late Medieval and Renaissance art was surprisingly pushy; its architecture demanded that people move through it in prescribed patterns, its sculptures played elaborate games alternating between concealment and revelation, while its paintings charged viewers with imaginatively moving through them. Viewers wanted to interact with artwork in emotional and/or performative ways. This inventive and personal interface between viewers and artists sometimes conflicted with the Church’s prescribed devotional models, and in some cases it complemented them. Artists and patrons responded to the desire for both spontaneous and sanctioned interactions by creating original ways to amplify devotional experiences. The authors included here study the provocation and the reactions associated with medieval and Renaissance art and architecture. These essays trace the impetus towards interactivity from the points of view of their creators and those who used them. Contributors include: Mickey Abel, Alfred Acres, Kathleen Ashley, Viola Belghaus, Sarah Blick, Erika Boeckeler, Robert L.A. Clark, Lloyd DeWitt, Michelle Erhardt, Megan H. Foster-Campbell, Juan Luis González García, Laura D. Gelfand, Elina Gertsman, Walter S. Gibson, Margaret Goehring, Lex Hermans, Fredrika Jacobs, Annette LeZotte, Jane C. Long, Henry Luttikhuizen, Elizabeth Monroe, Scott B. Montgomery, Amy M. Morris, Vibeke Olson, Katherine Poole, Alexa Sand, Donna L. Sadler, Pamela Sheingorn, Suzanne Karr Schmidt, Anne Rudloff Stanton, Janet Snyder, Rita Tekippe, Mark Trowbridge, Mark S. Tucker, Kristen Van Ausdall, Susan Ward.
