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Biblical poetry, written between the fourth and eleventh centuries, is an eclectic body of literature that disseminated popular knowledge of the Bible across Europe. Composed mainly in Latin and subsequently in Old English, biblical versification has much to tell us about the interpretations, genre preferences, reading habits, and pedagogical aims of medieval Christian readers. Biblical Epics in Late Antiquity and Anglo-Saxon England provides an accessible introduction to biblical epic poetry. Patrick McBrine’s erudite analysis of the writings of Juvencus, Cyprianus, Arator, Bede, Alcuin, and more reveals the development of a hybridized genre of writing that informed and delighted its Christian audiences to such an extent it was copied and promoted for the better part of a millennium. The volume contains many first-time readings and discussions of poems and passages which have long lain dormant and offers new evidence for the reception of the Bible in late Antiquity and the Middle Ages.
Research into the emotions is beginning to gain momentum in Anglo-Saxon studies. In order to integrate early medieval Britain into the wider scholarly research into the history of emotions (a major theme in other fields and a key field in interdisciplinary studies), this volume brings together established scholars, who have already made significant contributions to the study of Anglo-Saxon mental and emotional life, with younger scholars. The volume presents a tight focus - on emotion (rather than psychological life more generally), on Anglo-Saxon England and on language and literature - with contrasting approaches that will open up debate. The volume considers a range of methodologies and theoretical perspectives, examines the interplay of emotion and textuality, explores how emotion is conveyed through gesture, interrogates emotions in religious devotional literature, and considers the place of emotion in heroic culture. Each chapter asks questions about what is culturally distinctive about emotion in Anglo-Saxon England and what interpretative moves have to be made to read emotion in Old English texts, as well as considering how ideas about and representations of emotion might relate to lived experience. Taken together the essays in this collection indicate the current state of the field and preview important work to come. By exploring methodologies and materials for the study of Anglo-Saxon emotions, particularly focusing on Old English language and literature, it will both stimulate further study within the discipline and make a distinctive contribution to the wider interdisciplinary conversation about emotions.
Preliminary material -- PROLEGOMENA -- TEXT AND CONTEXT -- TRADITION AND DESIGN -- EPIC AND EVANGEL -- STRUCTURE AND MEANING -- SOUND AND SENSE -- POPULARITY AND INFLUENCE -- BIBLIOGRAPHY -- INDEX OF PASSAGES -- GENERAL INDEX.
Reading Old English Biblical Poetry considers the Junius 11 manuscript, the only surviving illustrated book of Old English poetry, in terms of its earliest readers and their multiple strategies of reading and making meaning. Junius 11 begins with the Creation story and ends with the final vanquishing of Satan by Jesus. The study is framed by particular attention to the materiality of the manuscript and how that might have informed its early reception, and it broadens considerations of reading beyond those of the manuscript’s compiler and possible patron. As a book, Junius 11 reflects a rich and varied culture of reading that existed in and beyond houses of God in England in the tenth and eleventh centuries, and it points to readers who had enough experience to select and find wisdom, narrative pleasure, and a diversity of other things within this orany book’s contents.
The biblical book of Genesis stands nearly without parallel in the shared history of Judaism, Christianity, and Islam. Because of its abiding importance to late antique theology and practical life across religious boundaries, it gave rise to a wide range of literary responses. The essays in this book study an array of Jewish and Christian responses to Genesis as they took shape in specific literary forms—the unique genres of late antique poetry. While late antique and early medieval Jews and Christians did not always agree in their interpretations of Genesis, they participated broadly in a shared culture of poetic production. Some of these poetic genres paralleled one another simply as distinct examples of metered speech, while others emerged in conversation and through mutual influence. Though late antique poems developed in a variety of languages and across religious boundaries, scholarly study of late antique poetry has tended to isolate the phenomenon according to language. As a corrective to this linguistic isolation, this book initiates a comparative conversation around the Jewish and Christian poetry that emerged in late antique Aramaic, Greek, Hebrew, Latin, and Syriac. Tending equally to exegetical content and literary form, the essays in this book sit at the intersection of a variety of scholarly conversations—around the history of biblical exegesis, the formation of late antique and early medieval literature and literary culture, and the comparative study of Judaism and Christianity.
The epic fragments of Waldere yield some of the earliest lore concerning migration-period heroes such as Attila the Hun, Theodoric the Ostrogoth, Walter son of Ælfhere, and Gunther and Hagen of the Nibelungs, while at the same time expressing political concerns that the Viking-age poet shared with his audience. Imagery and themes such as armaments and the worthiness of warriors to bear them point to the climax of Walter’s victory over Guðhere in single combat, a duel presenting an ethical dilemma for Hagen as indicated in both of the extant leaves. This critical edition resolves some long-standing textual cruces while also providing background on Old English heroism, weapons, and versification.
Genesis Myth in Beowulf and Old English Biblical Poetry explores the adaptation of antediluvian Genesis and related myth in the Old Testament poems Genesis A and Genesis B, as well as in Beowulf, a secular heroic narrative. The book explores how the Genesis poems resort to the Christian exegetical tradition and draw on secular social norms to deliver their biblically derived and related narratives in a manner relevant to their Christian Anglo-Saxon audiences. In this book it is suggested that these elements work in unison, and that the two Genesis poems function coherently in the context of the Junius 11 manuscript. Moreover, the book explores recourse to Genesis-derived myth in Beowulf, and points to important similarities between this text and the Genesis poems. It is therefore shown that while Beowulf differs from the Genesis poems in several respects, it belongs in a corpus where religious verse enjoys prominence.
The Bible was, by any measure, the most important book in early modern England. It preoccupied the scholarship of the era, and suffused the idioms of literature and speech. Political ideas rode on its interpretation and deployed its terms. It was intricately related to the project of natural philosophy. And it was central to daily life at all levels of society from parliamentarian to preacher, from the 'boy that driveth the plough', famously invoked by Tyndale, to women across the social scale. It circulated in texts ranging from elaborate folios to cheap catechisms; it was mediated in numerous forms, as pictures, songs, and embroideries, and as proverbs, commonplaces, and quotations. Bringing together leading scholars from a range of fields, The Oxford Handbook of the Bible in Early Modern England, 1530-1700 explores how the scriptures served as a generative motor for ideas, and a resource for creative and political thought, as well as for domestic and devotional life. Sections tackle the knotty issues of translation, the rich range of early modern biblical scholarship, Bible dissemination and circulation, the changing political uses of the Bible, literary appropriations and responses, and the reception of the text across a range of contexts and media. Where existing scholarship focuses, typically, on Tyndale and the King James Bible of 1611, The Oxford Handbook of the Bible in England, 1530-1700 goes further, tracing the vibrant and shifting landscape of biblical culture in the two centuries following the Reformation.
This compendium (4 vols.) studies the continuity, flexibility, and variation of structural elements in epic narratives. It provides an overview of the structural patterns of epic poetry by means of a standardized, stringent terminology. Both diachronic developments and changes within individual epics are scrutinized in order to provide a comprehensive structural approach and a key to intra- and intertextual characteristics of ancient epic poetry.
After centuries of near silence, Latin poetry underwent a renaissance in the late fourth and fifth centuries CE evidenced in the works of key figures such as Ausonius, Claudian, Prudentius, and Paulinus of Nola. This period of resurgence marked a milestone in the reception of the classics of late Republican and early imperial poetry. In Classicism and Christianity in Late Antique Latin Poetry, Philip Hardie explores the ways in which poets writing on non-Christian and Christian subjects used the classical traditions of Latin poetry to construct their relationship with Rome’s imperial past and present, and with the by now not-so-new belief system of the state religion, Christianity. The book pays particular attention to the themes of concord and discord, the "cosmic sense" of late antiquity, novelty and renouatio, paradox and miracle, and allegory. It is also a contribution to the ongoing discussion of whether there is an identifiably late antique poetics and a late antique practice of intertextuality. Not since Michael Robert's classic The Jeweled Style has a single book had so much to teach about the enduring power of Latin poetry in late antiquity.