Raybould's The Sibyl Series of the Fifteenth Century examines the change that occurred in representations of the sibyls during the early Renaissance, representations intended to provide new witness by these pagan prophetesses to the universality of the Christian message.
Robin Raybould's The Sibyl Series of the Fifteenth Century examines the startling and sudden change that occurred in the representation of the sibyls throughout Europe during the early Renaissance. Raybould describes how and why during this period the number, names, attributes and prophecies of these archaic prophetesses were selected and stabilized thus providing new witness to the Christian message in sharp contrast to earlier representations where the sibyls had played a minor role in the history of classical and Christian divination and prophecy. The book examines all the fifteenth-century instances of these series, as well as the manuscripts which describe them, identifies the origin of the sibylline prophecies and suggests reasons for the widespread popularity of this new artistic phenomenon.
The dry, wrinkled skin, crow's feet and rheumy eyes of old women can be seen universally; yet the actual images and their meaning differ widely, and the very absence of these old women in certain settings also reveals both a discomfort with the aged and an ease in their invisibility. This is true in writing about art and often in the art itself. The physical markers of aging, even implications of death or the nearness of death, make many of these images of old women, haunting; in the 16th and 17th centuries, they become emblems of anger and avarice, though portraits of known elderly women are often created with a sense of awe, and in some cases, authority. This book provides a frank examination of old women, from medieval “old wives” to contemporary reimaginations of shamans and witches and empowering self-portraits. Works from medieval Europe to colonial-time Polynesia, present West Africa, Japan, and the Americas, in a multiplicity of media are explored. These studies of varied representations of “old women” offer fresh perspectives and a dialogue about society's values and preconceptions regarding the “golden years” in different times and cultures. Images of old women may be the very opposite of what one considers the ideal, but this discussion makes these often overlooked images seem fresh and highlights their many positive associations.
With little scholarly attention having been given to the late medieval iconography that features on rood screens in the southwest of England, the significance of the figures painted at Berry Pomeroy has long been underappreciated. The unlocking of their meaning by the author has led to the discovery of a unique iconographic program. The gestures adopted by many of these figures belong to a common visual culture in the art and drama of the medieval church. The iconography, which reflects a Gothic Mannerist style of the early sixteenth century, displays a marked theatricality giving expression to the mysteries of the faith in the form of a drama. The narrative recorded has notable similarities to that found in a dramatic trilogy which was once performed in Cornwall called the Ordinalia. This book makes an important contribution to scholarship in the genre of mysticism in art and to our understanding of popular devotional practices on the eve of the Reformation.
This encyclopedia is the perfect guide to the weird, magical, superstitious, and supernatural beliefs of people from all over the world. This book is devoted to those human beliefs that fall in the "gray zone" between science, religion, and everyday life-call them superstitious, supernatural, magical, or just wrong. In an often incomprehensible world where lightning or plague could end life quickly or drought could condemn a poor family to agonizing death, superstitious beliefs gave people a feeling of understanding or even control. They have continued to shape societies and cultures ever since. This book covers a range of superstitious, supernatural, and otherwise unusual beliefs from the ancient world to the early 19th century. More than 100 entries explain beliefs, discuss historical evidence, and explain how each belief differs across cultures. This book is a perfect gateway for anyone curious about superstitious and magical beliefs, with topics ranging from the everyday, such as dogs and iron, to legendary figures, such as Hermes Trismegistus and the Yellow Emperor.
A ground-breaking study that unveils, for the first time, the entirety of a founding Jesuit's theology. Revered as a founder of the Jesuit order, an accomplished preacher, a papal theologian at all three sessions of the Council of Trent, and the provincial of Naples, Alfonso Salmerón was a significant figure in the intellectual life and ecclesiastical affairs of the sixteenth century. His Commentaries represent one of the most ambitious theological-exegetical endeavours of the post-Tridentine period. Fr. Sam Zeno Conedera, SJ, brings long-overdue recognition to a foundational figure and key theologian of the order. Here, presented for the first time, is a detailed overview of Salmerón's writings and theology. It explores the author's creative use of history, his endeavour to integrate Scripture and tradition, and his exposition of the mysteries of the Christian faith. As Conedera shows, Salmerón's approach to controversial Reformation issues, such as the veneration of Mary, justification, the sacraments, and the nature of the Church, combined respect for tradition with innovation. Furthermore, his moral teachings offer profound insights into significant societal issues of the period, including public worship and the relations between the sexes. Salmerón's brief yet carefully crafted discussion of the Society of Jesus provides invaluable insight into the self-perception of the first generation of Jesuits. This book highlights the ways in which this exceptional figure enriches our understanding of early modern Catholicism and Jesuit history.
The prescience of medieval English authors has long been a source of fascination to readers. Retrospective Prophecy and Medieval English Authorship draws attention to the ways that misinterpreted, proleptically added, or dubiously attributed prognostications influenced the reputations of famed Middle English authors. It illuminates the creative ways in which William Langland, John Gower, and Geoffrey Chaucer engaged with prophecy to cultivate their own identities and to speak to the problems of their age. Retrospective Prophecy and Medieval English Authorship examines the prophetic reputations of these well-known medieval authors whose fame made them especially subject to nationalist appropriation. Kimberly Fonzo explains that retrospectively co-opting the prophetic voices of canonical authors aids those looking to excuse or endorse key events of national history by implying that they were destined to happen. She challenges the reputations of Langland, Gower, and Chaucer as prophets of the Protestant Reformation, Richard II’s deposition, and secular Humanism, respectively. This intellectual and critical assessment of medieval authors and their works successfully makes the case that prophecy emerged and recurred as an important theme in medieval authorial self-representations.
This is the extended and annotated edition including * an extensive annotation of almost 10.000 words about the oracles in religion * an interactive table-of-contents * perfect formatting for electronic reading devices THE Sibyls occupy a conspicuous place in the traditions and history of ancient Greece and Rome. Their fame was spread abroad long before the beginning of the Christian era. Heraclitus of Ephesus, five centuries before Christ, compared himself to the Sibyl "who, speaking with inspired mouth, without a smile, without ornament, and without perfume, penetrates through centuries by the power of the gods." The ancient traditions vary in reporting the number and the names of these weird prophetesses, and much of what has been handed down to us is legendary. But whatever opinion one may hold respecting the various legends, there can be little doubt that a collection of Sibylline Oracles was at one time preserved at Rome. There are, moreover, various oracles, purporting to have been written by ancient Sibyls, found in the writings of Pausanias, Plutarch, Livy, and in other Greek and Latin authors. Whether any of these citations formed a portion of the Sibylline books once kept in Rome we cannot now determine; but the Roman capitol was destroyed by fire in the time of Sulla (B. C. 84), and again in the time of Vespasian (A. D. 69), and whatever books were at those dates kept therein doubtless perished in the flames. It is said by some of the ancients that a subsequent collection of oracles was made, but, if so, there is now no certainty that any fragments of them remain.
This book restores the rich tradition of the Sibyls to the position of prominence they once held in the culture and society of the English Renaissance. The sibyls — figures from classical antiquity — played important roles in literature, scholarship and art of the period, exerting a powerful authority due to their centuries-old connection to prophetic declamations of the coming of Christ and the Apocalypse. The identity of the sibyls, however, was not limited to this particular aspect of their fame, but contained a fluid multi-layering of meanings given their prominence in ancient Greek and Roman cultures, as well as the widespread dissemination of prophecies attributed the sibyls that circulated through the oral tradition. Sibylline prophecy of the Middle Ages served as another conduit through which sibylline authority, fame, and familiarity was transmitted and enhanced. Writers as disparate as John Foxe, John Dee, Thomas Churchyard, John Fletcher, Thomas Heywood, Jane Seager, John Lyly, An Collins, William Shakespeare, and many draw upon this shared sibylline tradition to produce particular and specific meanings in their writing. This book explores the many identities, the many faces, of the prophetic sibyls as they appear in the works of English Renaissance writers.
Vince has provided a useful and, for the most part, usable reference work. His introduction should be required reading for anyone approaching medieval theater. Choice Scholars increasingly see medieval theatre as a complex and vital performance medium related more closely to political, religious, and social life than to literature as we know it. Reflecting the current interest in performance, A Companion to the Medieval Theatre presents 250 alphabetically arranged entries offering a panoramic view of European and British theatrical productions between the years 900 and 1550. The volume features 30 essays contributed by an international group of specialists and includes many shorter entries as well as systematic cross-referencing, a chronology, a bibliography, and a full complement of indexes. Major entries focus on the theatres of the principal linguistic areas (the British Isles, France, Germany, Iberia, Italy, Scandinavia, the Low Countries, and Eastern Europe), and on dramatic forms and genres such as liturgical drama, Passion and saint plays, morality plays, folk drama, and Humanist drama. Other articles examine costume, acting, pageantry, and music, and explore the theatrical dimension of courtly entertainment, the dance, and the tournament. Short entries supply information on over one hundred playwrights, directors, actors and antiquarians whose contributions to the theatre have been documented. This informative guide brings new depth to our appreciation of the richness and color of medieval public entertainments and the symbolism and pageantry that were a part of daily life in the Middle Ages. Designed to appeal to general reader, this volume is also an attractive choice for libraries serving students and scholars of theatre history, English and European literatures, medieval history, cultural history, drama, and performance.