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The Displacement of the Body in Ælfric's Virgin Martyr Lives addresses 10th-century Old English hagiographical translations, from Latin source material, by the abbot and grammarian Ælfric. The vitae of Agnes, Agatha, Lucy, and Eugenia, and the married saints Daria, Basilissa, and Cecilia, included in Ælfric's s Old English Lives of Saints, recount the lives, persecution, and martyrdom of young women who renounce sex and, in the first four stories, marriage, to devote their lives to Christian service. They purport to be about the primacy of virginity and the role of the body in attaining sanctity. However, a comparison of the Latin sources with Ælfric's versions suggests that his translation style, characterized by simplifying the most important meanings of the text, omits certain words or entire episodes that foreground suppressed female sexuality as key to sainthood. The Old English Lives de-emphasize the physical nature of faith and highlight the importance of spiritual purity. In this volume, Alison Gulley explores how the context of the Benedictine Reform in late Anglo-Saxon England and Ælfric's commitment to writing for a lay audience resulted in a set of stories depicting a spirituality distinct from physical intactness.
In The Third Gender, McDaniel addresses the idea of the "third gender" in early hagiography and Latin treatises on virginity and then examines Aelfric's treatment of gender in his translations of Latin monastic Lives for his non-monastic audiences. She first investigates patristic ideas about a "third gender" by describing this concept within the theoretical frameworks of monasticism and then turns to creating a historical and theological cultural context within which to locate an interpretation of Aelfric's portrayals of male and female saints.
From the eighth century to the turn of the millennium, East Anglia had a variety of identities thrust upon it by authors of the period who envisioned a unified England. Although they were not regional writers in the modern sense, Bede, Felix, the annalists of the Anglo-Saxon Chronicle, King Alfred of Wessex, Abbo of Fleury, and Ælfric of Eynsham took a keen interest in East Anglia, especially in its potential to undo English cultural cohesiveness as they imagined it. Angles on a Kingdom argues that those authors treated East Anglia as both a hindrance and a stimulus to the development of early English "national" consciousness. Combining close textual reading with consideration of early medieval barrow burials, coinage, border delineation, and rivalries between monastic houses, Joseph Grossi examines various forms of cultural affirmation and manipulation. Angles on a Kingdom shows that, over the course of roughly two and a half centuries, the literary metamorphoses of East Anglia hint at the region’s recurring tensions with its neighbours – tensions which suggest that writers who sought to depict a coherent England downplayed what they deemed to be dangerous impulses emanating from the island’s easternmost corner.
Essays on the modern reception of the Middle Ages, built round the central theme of the ethics of medievalism.
Saints are currently undergoing a resurrection in middle grade and young adult fiction, as recent prominent novels by Socorro Acioli, Julie Berry, Adam Gidwitz, Rachel Hartman, Merrie Haskell, Gene Luen Yang, and others demonstrate. Cyborg Saints: Religion and Posthumanism in Middle Grade and Young Adult Fiction makes the radical claim that these holy medieval figures are actually the new cyborgs in that they dethrone the autonomous subject of humanist modernity. While young people navigate political and personal forces, as well as technologies, that threaten to fragment and thingify them, saints show that agency is still possible outside of the humanist construct of subjectivity. The saints of these neomedievalist novels, through living a life vulnerable to the other, attain a distributed agency that accomplishes miracles through bodies and places and things (relics, icons, pilgrimage sites, and ultimately the hagiographic text and its reader) spread across time. Cyborg Saints analyzes MG and YA fiction through the triple lens of posthumanism, neomedievalism, and postsecularism. Cyborg Saints charts new ground in joining religion and posthumanism to represent the creativity and diversity of young people’s fiction.
The cult of saints was one of the most important aspects of life in the Middle Ages, and it often formed the nucleus of developing group identities in a town, a province or a country. The literature of Anglo-Saxon England is unique among contemporary European literatures in that it features a vast amount of saints' Lives in the vernacular. Of these Lives, Ælfric is the most important author, and his saints' Lives have never previously been explored in their contemporary setting. In this study, Gretsch analyses Ælfric's Lives of five important saints in the light of their cults in Anglo-Saxon England. This gives the reader fascinating glimpses of 'Ælfric at work': he adapts the cults and rewrites the received Latin hagiography of the five saints, with the result that each of their English Lives conveys a distinct message to the contemporary political elite and to a lay audience at large.
In this book, Beatrice E. Kitzinger explores the power of representation in the Carolingian period, demonstrating how images were used to assert the value and efficacy of art works. She focuses on the cross, Christianity's central sign, which simultaneously commemorates sacred history, functions in the present, and prepares for the end of time. It is well recognized that the visual attributes of the cross were designed to communicate its theology relative to history and eschatology; Kitzinger argues that early medieval artists also developed a formal language to articulate its efficacious powers in the present day. Defined through form and text as the sign of the present, the image of the cross articulated the instrumentality of religious objects and built spaces. Whereas medieval and modern scholars have pondered the theological problems posed by representation, Kitzinger here proposes a visual argument that affirms the self-reflexive value of art works in the early medieval West. Introducing little-known sources, she re-evaluates both the image of the cross and the project of book-making in an expanded field of Carolingian painting.