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For centuries, the Feast of Fools has been condemned and occasionally celebrated as a disorderly, even transgressive Christian festival, in which reveling clergy elected a burlesque Lord of Misrule, presided over the divine office wearing animal masks or women's clothes, sang obscene songs, swung censers that gave off foul-smelling smoke, played dice at the altar, and otherwise parodied the liturgy of the church. Afterward, they would take to the streets, howling, issuing mock indulgences, hurling manure at bystanders, and staging scurrilous plays. The problem with this popular account—intriguing as it may be— is that it is wrong.In Sacred Folly, Max Harris rewrites the history of the Feast of Fools, showing that it developed in the late twelfth and early thirteenth centuries as an elaborate and orderly liturgy for the day of the Circumcision (1 January)—serving as a dignified alternative to rowdy secular New Year festivities. The intent of the feast was not mockery but thanksgiving for the incarnation of Christ. Prescribed role reversals, in which the lower clergy presided over divine office, recalled Mary's joyous affirmation that God "has put down the mighty from their seat and exalted the humble." The "fools" represented those chosen by God for their lowly status.The feast, never widespread, was largely confined to cathedrals and collegiate churches in northern France. In the fifteenth century, high-ranking clergy who relied on rumor rather than firsthand knowledge attacked and eventually suppressed the feast. Eighteenth- and nineteenth-century historians repeatedly misread records of the feast; their erroneous accounts formed a shaky foundation for subsequent understanding of the medieval ritual. By returning to the primary documents, Harris reconstructs a Feast of Fools that is all the more remarkable for being sanctified rather than sacrilegious.
In England in the late thirteenth century, a young chorister at the Cathedral of Saint Aelred, an outcast due to his crippled foot, sympathizes with the city's other outcasts, the Jews, and sets out to prove their leader innocent of murder.
These three anthologies are all relatively unknown, particularly in the English-speaking world, outside of professional medieval Latinist circles. Though excerpts from the Regensburg and Ripoll poems have been published in English translation, only the Ripoll poems have been translated completely, and only into Spanish and French. Making these anthologies available in a bilingual edition with commentary will make the insight they provide into several aspects of medieval life accessible to medieval historians as well as the more general public. The Regensburg poems take the form of epistolary exchanges in Leonine hexameters, mainly between a male teacher and his female students, who appear to have been nuns. Some of the sixty-eight short poems imply an erotic relationship between teacher and student. The poems afford us rare glimpses into the education of women at this time. The Ripoll poems are a collection of twenty love poems, probably written in Lorraine around 1150 and copied in Ripoll. All twenty poems were written by a single unknown poet, except for one, a misogynistic poem also found in other manuscripts. The Chartres poems comprise seven performed at the post-Christmas festivities in Chartres around 1180, when the world was turned upside down in a carnivalesque suspension of the normal social order. This collection offers unique insight into the kind of poems performed during these "feasts of fools." The last four poems are by two of the most famous medieval Latin poets, Walter of Chytillon and Peter of Blois, the canonist.
This classic work by the Russian philosopher and literary theorist Mikhail Bakhtin (1895-1975) examines popular humor and folk culture in the Middle Ages and the Renaissance. One of the essential texts of a theorist who is rapidly becoming a major reference in contemporary thought, Rabelais and His World is essential reading for anyone interested in problems of language and text and in cultural interpretation.
Dr Arden analyses the sottie, a short comical play, which flourished in France from about 1440 to 1560.
"This book is a clarion call for African American preachers to think more deeply about the aims and ends of their preachingnamely to stop putting so much emphasis on celebratory endings to our sermons and focus more on the substantive content in our sermons. Our so-called celebratory preaching, designed to excite the congregation into action through a highly emotional closing of the sermon, has had the opposite effect. Rather than inducing action, it has lulled generations of black congregants to sleep. While we are jumping up and down, shouting, and waving our hands in the air every Sunday during the worship hour, we seem not to notice the growing number of churched and unchurched alike who are becoming powerfully alienated from any form of institutional religion." from the introduction "Celebration" is a term that has long been used to describe African American preaching, characterized by content that affirms the goodness and powerful intervention of God as well as style that builds from quiet beginnings to an emotionally rich crescendo in conclusion. Cleophus J. LaRue argues that while celebration is one of African American preaching's greatest gifts to the larger church, too many black preachers have become content with the form of celebrationvolume, vocabulary, pitch, speed, rhythm, and the liketo the neglect of its essencethe proclamation of the mighty acts of God in the lives of their congregations and communities. This kind of preaching, LaRue contends, fails to address the ongoing problems of the African American community and is powerless to prevent the growing disaffection of black America with the black church. In words both prophetic and practical, LaRue suggests ways to improve black preaching that honor both the form and the power of the African American homiletical practice of celebration. Preachers will learn how to use celebration more selectively and as part of a fully formed preaching practice rather than as a means of distracting the congregation from pressing social and theological questions. The book includes six illustrative sermons from LaRue as well as Paschal Sampson Wilkinson Sr., Brian K. Blount, and Claudette Anderson Copeland.