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The presentation, the use, and the possible reception of the book of Genesis to lay audience largely unable to read the original texts. What was meant by the medieval popular Bible - what was presented as biblical narrative to an audience largely unable to read the original biblical texts? Presentations in the vernacular languages of Europe of supposedly biblicalepisodes were more often than not expanded and interpreted, sometimes very considerably. This book looks at the presentation, the use, and the possible lay reception of the book of Genesis, using as wide a range of medieval genresand vernaculars as possible on a comparative basis down to the Reformation. Literatures taken into consideration include Irish, Cornish, English, French, High and Low German, Spanish, Italian and others. Genesis was an importantbook, and the focus is on those narrative high points which lend themselves most particularly (it is never exclusive) to literal expansion, even though allegory can also work backwards into the literal narrative. Starting with thedevil in paradise (who is not biblical), the book examines what Adam and Eve did afterwards, who killed Cain, what happened in the flood or at the tower of Babel, and ends with a consideration of the careers of Jacob and Joseph.The book is based on the Speaker's Lectures, given in 2002 in the University of Oxford. BRIAN MURDOCH is Professor of German at the University of Stirling.
"Book and Verse is guide to the variety and extent of biblical literature in England, exclusive of drama and the Wycliffite Bible, that appeared between the twelfth and the fifteenth centuries. Entries provide detailed information on how much of what parts of the Bible appear in Middle English and where this biblical material can be found."--BOOK JACKET.
An accessible account of the Bible in the Middle Ages that traces the formation of the medieval canon.
For earlier medieval Christians, the Bible was the book of guidance above all others, and the route to religious knowledge, used for all kinds of practical purposes, from divination to models of government in kingdom or household. This book's focus is on how medieval people accessed Scripture by reading, but also by hearing and memorizing sound-bites from the liturgy, chants and hymns, or sermons explicating Scripture in various vernaculars. Time, place and social class determined access to these varied forms of Scripture. Throughout the earlier medieval period, the Psalms attracted most readers and searchers for meanings. This book's contributors probe readers' motivations, intellectual resources and religious concerns. They ask for whom the readers wrote, where they expected their readers to be located and in what institutional, social and political environments they belonged; why writers chose to write about, or draw on, certain parts of the Bible rather than others, and what real-life contexts or conjunctures inspired them; why the Old Testament so often loomed so large, and how its law-books, its histories, its prophetic books and its poetry were made intelligible to readers, hearers and memorizers. This book's contributors, in raising so many questions, do justice to both uniqueness and diversity.
Thirteenth- and fourteenth-century Latin Bibles survive in hundreds of manuscripts, one of the most popular books of the Middle Ages. Their innovative layout and organization established the norm for Bibles for centuries to come. This volume is the first study of these Bibles as a cohesive group. Multi- and inter-disciplinary analyses in art history, liturgy, exegesis, preaching and manuscript studies, reveal the nature and evolution of layout and addenda. They follow these Bibles as they were used by monks and friars, preachers and merchants. By addressing Latin Bibles alongside their French, Italian and English counterparts, this book challenges the Latin-vernacular dichotomy to show links, as well as discrepancies, between lay and clerical audiences and their books. Contributors include Peter Stallybrass, Diane Reilly, Paul Saenger, Richard Gameson, Chiara Ruzzier, Giovanna Murano, Cornelia Linde, Lucie Doležalová, Laura Light, Eyal Poleg, Sabina Magrini, Sabrina Corbellini, Margriet Hoogvliet, Guy Lobrichon, Elizabeth Solopova, and Matti Peikola.
A unique exploration of the beginnings of biblical illustration and decoration.
Medieval exegesis of the Apocalypse from Richard of St. Victor through Nicolas of Lyra In this volume Franciscan scholar David Burr concentrates on the mendicant contribution to the book of Revelation. Clashing interpretive strategies developed, mirroring authority structures in the context of the new institutional framework of the university, the new methodology of scholasticism, and expanding papal authority. By the early fourteenth century a clear victory of one strategy and one structure emerges in the work of Pierre Auriol and Nicholas of Lyra, and, conversely, the defeat of another in the posthumous condemnations of Petrus Iohannis Olivi and, to some extent, Joachim of Fiore. This is the fifth volume of The Bible in Medieval Tradition (BMT), a series designed to reconnect the church with part of its rich history of biblical interpretation.
In this volume, specialists in literature, theology, liturgy, manuscript studies, and history introduce the medieval culture of the Bible in Western Christianity. Emphasizing the living quality of the text and the unique literary traditions that arose from it, they show the many ways in which the Bible was read, performed, recorded, and interpreted by various groups in medieval Europe. An initial orientation introduces the origins, components, and organization of medieval Bibles. Subsequent chapters address the use of the Bible in teaching and preaching, the production and purpose of Biblical manuscripts in religious life, early vernacular versions of the Bible, its influence on medieval historical accounts, the relationship between the Bible and monasticism, and instances of privileged and practical use, as well as the various forms the text took in different parts of Europe. The dedicated merging of disciplines, both within each chapter and overall in the book, enable readers to encounter the Bible in much the same way as it was once experienced: on multiple levels and registers, through different lenses and screens, and always personally and intimately.
This introductory guide, written by a leading expert in medieval theology and church history, offers a thorough overview of medieval biblical interpretation. After an opening chapter sketching the necessary background in patristic exegesis (especially the hermeneutical teaching of Augustine), the book progresses through the Middle Ages from the eighth to the fifteenth centuries, examining all the major movements, developments, and historical figures of the period. Rich in primary text engagement and comprehensive in scope, it is the only current, compact introduction to the whole range of medieval exegesis.
As a 'biography' of the fourteenth-century illustrated Bible of Clement VII, an opposition pope in Avignon from 1378-94, this social history traces the Bible's production in Naples (c. 1330) through its changing ownership and meaning in Avignon (c. 1340-1405) to its presentation as a gift to Alfonso, King of Aragon (c. 1424). The author's novel approach, based on solid art historical and anthropological methodologies, allows her to assess the object's evolving significance and the use of such a Bible to enhance the power and prestige of its princely and papal owners. Through archival sources, the author pinpoints the physical location and privileged treatment of the Clement Bible over a century. The author considers how the Bible's contexts in the collection of a bishop, several popes, and a king demonstrate the value of the Bible as an exchange commodity. The Bible was undoubtedly valued for the aesthetic quality of its 200+ luxurious images. Additionally, the author argues that its iconography, especially Jerusalem and visionary scenes, augments its worth as a reflection of contemporary political and religious issues. Its images offered biblical precedents, its style represented associations with certain artists and regions in Italy, and its past provided links to important collections. Fleck's examination of the art production around the Bible in Naples and Avignon further illuminates the manuscript's role as a reflection of the court cultures in those cities. Adding to recent art historical scholarship focusing on the taste and signature styles in late medieval and Renaissance courts, this study provides new information about workshop practices and techniques. In these two court cities, the author analyzes styles associated with different artists, different patrons, and even with different rooms of the rulers' palaces, offering new findings relevant to current scholarship, not only in art history but also in court and collection studies.