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What is now currently the 'holy seat of the Vatican' in Italy, was originally the sacerdotal seat of these ancient black Sibyl Queen Mothers. Centuries before for Christ, they were known to heal the sick, restore dignity and strength to the weak, and restore sight to the blind. They were famous for curing lameness, epileptics, deaf mutes and lepers. They were said to 'cast out demons' and even to 'raise-up the dead' Their prophecies are the oldest and most authentic in the world. They were the basis for Greek and Roman tragedies and plays. More astonishing, their prophetic books were later collected by the Roman authorities, who needed a 'western theological' foundation in order to compete with the powerful levitical Jews. These Sibyl prophecies soon became the sole and undisputed precursor to the western, Christian Bible. .
"If the past is indeed a foreign country, then how can we make sense of its richness and difference without approaching it on our terms alone? 'Pre-histories' and 'afterlives', critical methods that have emerged in recent work by Terence Cave, offer new ways of shaping the stories we tell of the past and the analyses we offer. In this volume, distinguished contributors engage in a dialogue with these two new critical methods, exploring their uses in a range of contexts, disciplines, languages and periods, ranging from medieval mysticism, through Montaigne and Diderot, to the present day." --Book Jacket.
The chapters in this volume explore the relationship between music and art in Italy across the long sixteenth century, considering an era when music-making was both a subject of Italian painting and a central metaphor in treatises on the arts. Beginning in the fifteenth century, transformations emerge in the depiction of music within visual arts, the conceptualization of music in ethics and poetics, and in the practice of musical harmony. This book brings together contributors from across musicology and art history to consider the trajectories of these changes and the connections between them, both in theory and in the practices of everyday life. In sixteen chapters, the contributors blend iconographic analysis with a wider range of approaches, investigate the discourse surrounding the arts, and draw on both social art history and the material turn in Renaissance studies. They address not only paintings and sculpture, but also a wide range of visual media and domestic objects, from instruments to tableware, to reveal a rich, varied, and sometimes tumultuous exchange among musical and visual arts and ideas. Enriching our understanding of the subtle intersections between visual, material, and musical arts across the long Renaissance, this book offers new insights for scholars of music, art, and cultural history. Chapter 15 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.
“A wonderfully evocative biography of the . . . 13th century Icelandic writer and chieftain” who wrote the immortal stories of Thor, Odin, Valhalla, and Ragnarök (Guardian, UK). Much like Greek and Roman mythology, Norse myths are still with us. Famous storytellers from JRR Tolkien to Neil Gaiman have drawn their inspiration from the long-haired, mead-drinking, marauding and pillaging Vikings. But few of us know much about the creator of these immortal heroes: a thirteenth-century Icelandic chieftain by the name of Snorri Sturluson. Like Homer, Snorri was a bard, writing down and embellishing the folklore and pagan legends of medieval Scandinavia. Unlike Homer, Snorri was a man of the world—a wily political power player, one of the richest men in Iceland who came close to ruling it, and even closer to betraying it. In Song of the Vikings, award-winning author Nancy Marie Brown brings Snorri Sturluson’s story to life in a richly textured narrative that draws on newly available sources.
The Sibylla Tiburtina is a Latin prophecy attributed to a prophetess from classical antiquity. It concludes with an account of the End of History, involving the coming of the Antichrist and his battle with a Last World Emperor. Approximately 100 manuscripts, written between the mid-11th and the 16th centuries, survive which testify to the Tiburtina's immense popularity in the medieval West; as such the Tiburtina is a key text for understanding medieval apocalypticism and occupies an important place in the intellectual history of the Middle Ages. However, studies of the manuscripts and the history of the text have been largely neglected, in comparison with other similar works, so little is currently known about who copied and read the prophecy. Dr Holdenried's research fills this gap. This study is based on an examination of all surviving manuscripts and includes an analysis of the textual material which accompanies the Tiburtina, a survey of titles and annotations, as well as research on variant texts (including several hitherto unknown). Modern historiography regards the Tiburtina solely as a vehicle for expressing contemporary political concerns triggered by crises thought to herald the End of the World. This book provides a much more varied picture and offers a new approach to the Tiburtina by placing it, for the first time, in the context of medieval traditions which saw Sibylline prophecy as independent, non-Christian evidence of Christ's life and as confirmation of His divinity. As is shown, these traditions had a major impact on the reception of the Tiburtina. The book concludes with a repertory of the manuscripts, together with brief outlines of individual textual traditions as represented in groups of manuscripts, which will constitute a valuable reference source for other scholars.
Through an analysis of Virgil's presence in the work of contemporary women writers from North America, Britain, Ireland and continental Europe, this book identifies a new Virgil: one who speaks in female tones of the anxieties, exclusions pleasures and threats of the contemporary world.