Scripture and Pluralism; Reading the Bible in the Religiously Plural Worlds of the Middle Ages and Renaissance

2007 ◽  
Vol 38 (3) ◽  
pp. 792
Author(s):  
Daniel Timmerman ◽  
Thomas J. Heffernan ◽  
Thomas E. Burman
1970 ◽  
Vol 42 (117) ◽  
pp. 159-174
Author(s):  
Michael Böss

WRITING NATIONAL HISTORY AFTER MODERNISM: THE HISTORY OF PEOPLEHOOD IN LIGHT OF EUROPEAN GRAND NARRATIVES | The purpose of the article is to refute the recent claim that Danish history cannot be written on the assumption of the existence of a Danish people prior to 19th-century nationalism. The article argues that, over the past twenty years, scholars in pre-modern European history have highlighted the limitations of the modernist paradigm in the study of nationalism and the history of nations. For example, modernists have difficulties explaining why a Medieval chronicle such as Saxo Grammaticus’s Gesta Danorum was translated in the mid-1600s, and why it could be used for new purposes in the 1800s, if there had not been a continuity in notions of peoplehood between the Middle Ages and the Modern Age. Of course, the claim of continuity should not be seen as an argument for an identity between the “Danes” of Saxo’s time and the Danes of the 19th-century Danish nation-state. Rather, the modern Danishness should be understood as the product of a historical process, in which a number of European cultural narratives and state building played a significant role. The four most important narratives of the Middle Ages were derived from the Bible, which was a rich treasure of images and stories of ‘people’, ‘tribe’, ‘God’, King, ‘justice’ and ‘kingdom’ (state). While keeping the basic structures, the meanings of these narratives were re-interpreted and placed in new hierarchical positions in the course of time under the impact of the Reformation, 16th-century English Puritanism, Enlightenment patriotism, the French Revolution and 19th-century romantic nationalism. The article concludes that it is still possible to write national histories featuring ‘the people’ as one of the actors. But the historian should keep in mind that ‘the people’ did not always play the main role, nor did they play the same role as in previous periods. And even though there is a need to form syntheses when writing national history, national identities have always developed within a context of competing and hierarchical narratives. In Denmark, the ‘patriotist narrative’ seems to be in ascendancy in the social and cultural elites, but has only partly replaced the ‘ethno-national’ narrative which is widespread in other parts of the population. The ‘compact narrative’ has so far survived due the continued love of the people for their monarch. It may even prove to provide social glue for a sense of peoplehood uniting ‘old’ and ‘new’ Danes.


2021 ◽  
pp. 200-221
Author(s):  
Luisa Nardini

Prosulas are a form of exegesis. Those for the feast of the Temporal (connected to episodes of the life and mission of Jesus) interpret the originally Old Testamentary texts of the parent chant into a Christological perspective, with those for graduals and tracts often displaying special rhythmic patterns in their texts and melodies. This typological interpretation of the Bible—here reflected in chant composition—is in line with the exegetical procedures there were taught in ecclesiastical schools in the Middle Ages. The chapter also ponders the possibility of anti-Semitic sentiments in Temporal prosulas and suggests that the high number of Temporal prosulas in manuscripts used in nunneries might be tied to the devotion to Jesus as “spiritual spouse” ’ that was typical of female monasteries and that inspired many works of vernacular theology.


Traditio ◽  
1977 ◽  
Vol 33 ◽  
pp. 65-100 ◽  
Author(s):  
Walter Goffart

The treatiseDe re militariby Flavius Vegetius Renatus was the bible of warfare throughout the Middle Ages — the soldier's equivalent of the Rule of St. Benedict. The surviving manuscripts exceed 140; there were five separate translations into French within the century following 1284, many more into other languages, and nine incunabula. In contrast to Byzantium, where a succession of authors since Urbicius (ca.500) strove to keep military literature up to date, the Latin civilization of the West was content with a single book. Vegetius, who explicitly omitted cavalry from his exposition, became the philosopher-schoolmaster of Western chivalry. Hrabanus Maurus, John of Salisbury, and Egidius Colonna copied large extracts into works of their own, and so did Machiavelli. Vegetius is among the authors whose popularity in the Renaissance more than equalled their medieval fame. The testimonials continued to mount up through the sixteenth and seventeenth centuries, an epoch that was perhaps the highest point of Vegetius‘ influence, and reached even to the Napoleonic age, when Marshall de Ligne (best remembered for a witticism about the Congress of Vienna) pronounced a memorable encomium: ‘A god, says Vegetius, inspired the legion, and I say that a god inspired Vegetius. It is he who by his seven orders of battle made us understand the warfare of the Ancients and taught the greatest generals of our time to imitate them.’ What other book without literary distinction was as prized in the Age of Enlightenment as it had been by Bede?


1942 ◽  
Vol 22 (4) ◽  
pp. 438-440
Author(s):  
John T. McNeill

1953 ◽  
Vol 33 (1) ◽  
pp. 84-85
Author(s):  
Robert M. Grant

1984 ◽  
Vol 7 ◽  
pp. 18-27
Author(s):  
Keith Falconer

It is generally accepted nowadays that the earliest tropes originated sometime during the 9th century. The documentary evidence, meagre though it is, seems fairly definite on this point. And although few, if any, of the earliest surviving manuscripts were copied much before the beginning of the 10th century, it is reasonable to suppose that at least some of the dozens of pieces found in them were composed somewhat earlier. A number of models have been suggested for the earliest tropes. Certain of their characteristics have parallels in the Byzantine and other rites, above all in the addition of newly composed introductory material to chants already in existence. Many tropes also have texts derived from the various Latin translations of the Bible or from hymns and antiphons. Yet whatever their origins even the earliest pieces exhibit ingenious and imaginative structural features. A slow and gradual evolution from simpler to more complex forms might just succeed in accounting for the origin of the trope; but this later variety and subtlety would be unexplained. These matters are easily disregarded. The creation of chant is too often reduced to a mechanical process serving the requirements of liturgy. But tropes are interesting in themselves, and there is ample evidence to suggest that they were regarded as such during the Middle Ages.


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