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Series:

Garrett P.J. Epp

Abstract

While the Wycliffite Tretise of Miraclis Pleyinge famously condemns religious theatre as sinful idleness and ‘signs without deed,’ biblical drama has the potential to be highly productive, as a form of performative theology. Much like the meditative mode of affective piety, likewise common in the later Middle Ages, when undertaken seriously by or for those who believe in what it represents, the performance of biblical drama can create rather than merely represent theological meaning. This paper examines a variety of texts and performances, medieval and modern, in order to demonstrate how religious belief and theatrical make-believe can intertwine.


Series:

Georgios Kardaras

ethnic composition of the Avar-age population, the religious beliefs and many other issues related to the Avar khaganate. Two other books were published in the 1970s on the Avars, one by the Slovak historian Alexander Avenarius 19 and the other by the Yugoslav archaeologist Jovan Kovačević. 20 This

Staging Scripture

Biblical Drama, 1350-1600

Series:

Edited by Peter Happé and Wim Hüsken

Against a background which included revolutionary changes in religious belief, extensive enlargement of dramatic styles and the technological innovation of printing, this collection of essays about biblical drama offers innovative approaches to text and performance, while reviewing some well-established critical issues. The Bible in the fifteenth and sixteenth centuries appears in a complex of roles in relation to the drama: as an authority and centre of belief, a place of controversy, an emotional experience and, at times, a weapon. This collection brings into focus the new biblical learning, including the re-editing of biblical texts, as well as classical influences, and it gives a unique view of the relationship between the Bible and the drama at a critical time for both.

Contributors are: Stephanie Allen, David Bevington, Philip Butterworth, Sarah Carpenter, Philip Crispin, Clifford Davidson, Elisabeth Dutton, Garrett P. J. Epp, Bob Godfrey, Peter Happé, James McBain, Roberta Mullini, Katie Normington, Margaret Rogerson, Charlotte Steenbrugge, Greg Walker, and Diana Wyatt.

Series:

Ante Milošević

, as at that time, Christian iconography was not widely present in northern Europe, where Christianity was negotiated with local beliefs for a long time. 2 Nevertheless, such a detail is certainly not challenging the idea that they were produced in northern Europe, as it is well-known that western

Series:

Goran Bilogrivić

2001: 24–26, 29. Early medieval graves show a much more complex image, connected with various identities, beliefs and constructions of memory. The display of power and social status is only a part of the whole picture. Cf. Schülke 1999: 94–98; Williams 2005: 195–217; Brather 2010; Bilogrivić 2016: 11

Series:

Georgios Kardaras

Bulgars, Avars and other peoples, but they have apparently maintained their Christian beliefs and memories of their homeland, so much so wanted to return to the land of their ancestors. 7 The captives had been taken from many areas of the Byzantine Empire, but were settled by the Avars in the area of

Series:

Christine Göttler

before being shown the more prestigious and also more ‘public’ spaces of the Munich residence. Hainhofer was well aware that in his case, given his Lutheran beliefs, access to the ‘grotta’, which remained ‘always locked’, was a very special favour granted him by Duke Wilhelm. 40 According to Hainhofer

Series:

Edited by Vasiliki Tsamakda

This volume offers an overview of Byzantine manuscript illustration, a central branch of Byzantine art and culture. Just like written texts, illustrations bear witness to Byzantine material culture, imperial ideology and religious beliefs, as well as to the development and spread of Byzantine art. In this sense illustrated books reflect the society that produced and used them. Being portable, they could serve as diplomatic gifts or could be acquired by foreigners. In such cases they became “emissaries” of Byzantine art and culture in Western Europe and the Arabic world.
The volume provides for the first time a comprehensive overview of the material, divided by text categories, including both secular and religious manuscripts, and analyses which texts were illustrated in Byzantium, and how.
Contributors are Justine M. Andrews, Leslie Brubaker, Annemarie W. Carr, Elina Dobrynina, Maria Evangelatou, Maria Laura Tomea Gavazzoli, Markos Giannoulis, Cecily Hennessy, Ioli Kalavrezou, Maja Kominko, Sofia Kotzabassi, Stavros Lazaris, Kallirroe Linardou, Vasileios Marinis, Kathleen Maxwell, Georgi R. Parpulov, Nancy P. Ševčenko, Jean-Michel Spieser, Mika Takiguchi, Courtney Tomaselli, Marina Toumpouri, Nicolette S. Trahoulia, Vasiliki Tsamakda, and Elisabeth Yota.

Series:

Peter Happé

Abstract

This essay is a comparison between ways of dramatizing the Resurrection in England and France. It establishes a core of items which are incorporated in many versions, short and long, as well as non-biblical elements which are frequently attached to the scriptural details. The experience of possible audiences who must have drawn upon existing recollected items is considered as well as the inclusion of musical and visual referents. The dramatic structure and development of the chosen plays are reviewed in order to illustrate the variety of the theatrical elements. Attention is paid to the reasons for including the Resurrection, which for some plays was a matter of defining, rehearsing or sustaining belief. Such material is relevant to the central item in Resurrection sequences, the moment when Christ rises from the tomb, and the way this is presented in the dramatic texts. The reticence with which this is treated is found to be one of the essential aspects of the dramatizations, which are largely influenced by versions in the Scriptures but are not entirely determined by them. This aspect of the plays is shown to be performed in ways which sustain the mystery inherent in it, and this is seen against a background of belief in what was familiar though it had a sustained spiritual reference.