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This book examines the mediaeval English mystery play, the importance of ritual and archetypes, and how masonic traditions may have been influenced by these mediaeval dramas. Similarly to mystery plays, elements of masonic ceremonial use symbolic characters, archetypes, stories, and rituals to convey moral and spiritual teachings to its members. The rituals are steeped in symbolism and draw on a wide range of historical and cultural sources. Masonic rituals and mediaeval plays both emphasise community and fellowship. This book attempts to highlight the enduring power of symbolic performance, archetypes and the importance of belonging and fellowship in the pursuit of moral and spiritual improvement. The connection between ritual and mediaeval mystery plays is a tantalising subject of much debate, as Freemasonry is a fraternity claimed to have its roots in the mediaeval stonemasons’ guilds, whose members certainly participated in the mystery plays, especially those that depicted biblical stories relating to the building of King Solomon’s temple.
The collection of articles gathered in this volume grew naturally and spontaneously out of the Second International Conference on Medieval and Renaissance Thought hosted by Sam Houston State University in April 2016. This anthology reflects the diverse fields of study represented at the conference. The purpose of the conference, and consequently of this book of essays, is partially to establish a place for medieval and renaissance scholarship to thrive in our current intellectual landscape. This volume is not designed solely for scholars, but also for generalists who wish to augment their knowledge and appreciation of an array of disciplines; it is an intellectual smorgasbord of philosophy, poetry, drama, popular culture, linguistics, art, religion, and history.
First published in 1983, A Guide to Twentieth Century Literature in English is a detailed and comprehensive guide containing over 500 entries on individual writers from countries including Africa, Australia, Canada, the Caribbean, India, Ireland, New Zealand, Pakistan, Sri Lanka, and the UK. The book contains substantial articles relating to major novelists, poets, and dramatists of the age, as well as a wealth of information on the work of lesser-known writers and the part they have played in cultural history. It focuses in detail on the character and quality of the literature itself, highlighting what is distinctive in the work of the writers being discussed and providing key biographical and contextual details. A Guide to Twentieth Century Literature in English is ideal for those with an interest in the twentieth century literary scene and the history of literature more broadly.
This Book Examines The Theory And Practice Of `Myth And Ritual Criticism`. The Subjects Discussed Are The Ideology Of Myth And Myth Criticism And The Relation Of Drama To Scapegoat Rituals, Rites Of Passage And Carnival And Other Festivities.
"This text has now been revised again to incorporate the latest developments, for instance the current success of children's and crossover literature, such as that of J. K. Rowling and Philip Pullman. However, the Companion also remains faithful to Sir Paul Harvey's original vision of an authoritative work placing English literature in its widest context. No other volume offers such extensive exploration of the classical roots of English literature and the European authors and works that influenced its development." "The appendices have also been updated: the winners of the major literary awards, and the chronology - spanning a thousand years of English literature from Beowulf to Small Island. Informed by the latest scholarly thinking, and comprehensively cross-referenced to guide the reader to topics of related interest, the revised 6th edition reaffirms the pre-eminence of the Companion as the best available single-volume guide to English literature."--BOOK JACKET.
Contesting the argument that Restoration-period drama referred almost exclusively to domestic social and political issues, this text interrogates the extent to which seventeenth century heroic plays justify and perpetuate stereotypical representations of the Ottoman Turks in Western discourse. It provides a comprehensive account of representation of “the Other” based on difference. Joining historical discussions ranging from the Ottoman Empire’s rise as a world power to the development of British imperial ideology, the book asserts that dramatic texts and production provide a rich and unexamined archive in which the issues of representation, difference, and cultural stereotyping are attendant on the emergence of imperial figure largely. This account not only deciphers representation of the Ottoman Turks based on simplification and stereotyping in dramatic representations, but also throws light on the most pressing political issues of seventeenth century England, including revolution, regicide, and restoration, dramatized in the guise of the Ottoman Turks and Ottoman history. The book’s attention to the Ottoman-related themes of a number of plays decisively redraws the map of Restoration drama.
This book explores the symbolic relationship between the self and the object. Specifically, in terms of “my objectified being”, in which the original physical nature of the “thing” includes its being alive, but loses this phenomenological quality in a sense as one’s “own” personal meaning comes to imbue it. Here, the “thing” is a living, breathing human being that becomes an intimate manifestation of one’s own imagined experience of the “doll”. Integral to the morphing or shaping of this essentially private experience may be certain cognitively universal substrates such as archetypal patterns, as well as idealistic tendencies of that which is desired. Both of these may contribute to the shaping of one’s subjective experience of the “doll”. This book will be of interest to scholars and researchers concerned with how cognition (including psychology and the brain, psychology and literature, psychology and art, and philosophy of mind) might relate specifically to understanding the subjective experience of the “doll”.