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The mythic world of Juno, Jupiter's consort, is one of flesh and begetting, of suffering and death, and of poetry itself. Exploring the relationship between that realm of the classical gods and the sphere of medieval mythographers, Jane Chance illuminates the efforts of medieval writers to understand human existence and the forces of nature in relation to Christian truth.
The mythic world of Juno, Jupiter's consort, is one of flesh and begetting, of suffering and death, and of poetry itself. Exploring the relationship between that realm of the classical gods and the sphere of medieval mythographers, Jane Chance illuminates the efforts of medieval writers to understand human existence and the forces of nature in relation to Christian truth.
Wide-ranging study of the myth of Medea, concentrating on but not exclusively confined to its medieval incarnation.
Early Music History is devoted to the study of music from the early Middle Ages to the end of the seventeenth century. Articles in Volume 18 include: Music notation in Arcivio San Pietro C 105 and in the Farfa Breviary, Chigi C.VI 117; Rinuccini the craftsman: A view of his L'Arianna Ferdinand of Aragon's entry into Valladolid in 1513: The triumph of a Christian king; Citation and allusion in the late Ars nova: The case of Esperance and the En attendant songs.
The secular clergy - priests and other clerics outside of monastic orders - were among the most influential and powerful groups in European society during the central Middle Ages. The secular clergy got their title from the Latin word for world, saeculum, and secular clerics kept the Church running in the world beyond the cloister wall, with responsibility for the bulk of pastoral care and ecclesiastical administration. This gave them enormous religious influence, although they were considered too worldly by many contemporary moralists - trying, for instance, to oppose the elimination of clerical marriage and concubinage. Although their worldliness created many tensions, it also gave the secular clergy much worldly influence. Contemporaries treated elite secular clerics as equivalent to knights, and some were as wealthy as minor barons. Secular clerics had a huge role in the rise of royal bureaucracy, one of the key historical developments of the period. They were instrumental to the intellectual and cultural flowering of the twelfth century, the rise of the schools, the creation of the book trade, and the invention of universities. They performed music, produced literature in a variety of genres and languages, and patronized art and architecture. Indeed, this volume argues that they contributed more than any other group to the Twelfth-Century Renaissance. Yet the secular clergy as a group have received almost no attention from scholars, unlike monks, nuns, or secular nobles. In The Secular Clergy in England, 1066-1216, Hugh Thomas aims to correct this deficiency through a major study of the secular clergy below the level of bishop in England from 1066 to 1216.
This study investigates the reception of Ovid's heroines in Metamorphoses commentaries written between 1100 and 1618. The Ovidian heroine offers a telling window onto medieval and early modern clerical constructions of gender and selfhood. In the context of classical representations of the feminine, the book examines Ovid's engagement of the heroine to explore problems of intentionality. The second part of the study presents commentaries by such clerics as William of Orléans, the "Vulgate" commentator, Thomas Walsingham, and Raphael Regius, illustrating the reception of the Ovidian heroine in medieval France and England as well as in Renaissance Italy and Germany. The works analyzed here show that clerical readings of the feminine in Ovid reflect greater heterogeneity than is commonly alleged. Both moralizing summaries and Latin editions used as schooltexts are discussed.
In this book, Curtis Gruenler proposes that the concept of the enigmatic, latent in a wide range of medieval thinking about literature, can help us better understand in medieval terms much of the era’s most enduring literature, from the riddles of the Anglo-Saxon bishop Aldhelm to the great vernacular works of Dante, Chaucer, Julian of Norwich, and, above all, Langland’s Piers Plowman. Riddles, rhetoric, and theology—the three fields of meaning of aenigma in medieval Latin—map a way of thinking about reading and writing obscure literature that was widely shared across the Middle Ages. The poetics of enigma links inquiry about language by theologians with theologically ambitious literature. Each sense of enigma brings out an aspect of this poetics. The playfulness of riddling, both oral and literate, was joined to a Christian vision of literature by Aldhelm and the Old English riddles of the Exeter Book. Defined in rhetoric as an obscure allegory, enigma was condemned by classical authorities but resurrected under the influence of Augustine as an aid to contemplation. Its theological significance follows from a favorite biblical verse among medieval theologians, “We see now through a mirror in an enigma, then face to face” (1 Cor. 13:12). Along with other examples of the poetics of enigma, Piers Plowman can be seen as a culmination of centuries of reflection on the importance of obscure language for knowing and participating in endless mysteries of divinity and humanity and a bridge to the importance of the enigmatic in modern literature. This book will be especially useful for scholars and undergraduate students interested in medieval European literature, literary theory, and contemplative theology.
The complete text of John Gower's Confessio Amantis is a three-volume edition, including all Latin components - with translations - of this bilingual poem and extensive glosses, bibliography, and explanatory notes. Volume 2 contains Books 2, 3, and 4, which follow in their structure the outline of Vice and its children found in the early French poem the Mirour de l'Omme.
Receptions of Antiquity, Constructions of Gender in European Art, 1300-1600 presents scholarship in classical reception at its nexus with art history and gender studies. It considers the ways that artists, patrons, collectors, and viewers in late medieval and early modern Europe used ancient Greek and Roman art, texts, myths, and history to interact with and shape notions of gender. The essays examine Giotto's Arena Chapel frescoes, Michelangelo's Medici Chapel personifications, Giulio Romano's decoration of the Palazzo del Te, and other famous and lesser-known sculptures, paintings, engravings, book illustrations, and domestic objects as well as displays of ancient art. Visual responses to antiquity in this era, the volume demonstrates, bore a complex and significant relationship to the construction of, and challenges to, contemporary gender norms.