During the Counter-Reformation, Wilhelm Stapfer wrote his Heiligkreuzspiel in order to propagate the Catholic faith and to defend the cult of relics and the worship of the Holy Cross. Its epic fore...
{"title":"Baum, Holz, Kreuz: Dingliche Akteure im Heiligkreuzspiel des Wilhelm Stapfer (1598)","authors":"Elke Ukena-Best","doi":"10.1484/j.emd.5.119437","DOIUrl":"https://doi.org/10.1484/j.emd.5.119437","url":null,"abstract":"During the Counter-Reformation, Wilhelm Stapfer wrote his Heiligkreuzspiel in order to propagate the Catholic faith and to defend the cult of relics and the worship of the Holy Cross. Its epic fore...","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"22 1","pages":"89-109"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678998","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article focuses on the Miracle de Clovis, which belongs to the group of texts known as Les Miracles de Nostre Dame par personnages. This collection contains forty plays, each featuring a mirac...
本文着重于《克洛维的奇迹》，它属于被称为《Les Miracles de Nostre Dame par personages》的文本组。这本合集包括40部戏剧，每一部都有一个奇迹。
{"title":"Clovis beyond Clovis: Individuality, Filiation, and Miraculous Intervention in the Miracle de Clovis","authors":"Sarah Olivier","doi":"10.1484/j.emd.5.119439","DOIUrl":"https://doi.org/10.1484/j.emd.5.119439","url":null,"abstract":"This article focuses on the Miracle de Clovis, which belongs to the group of texts known as Les Miracles de Nostre Dame par personnages. This collection contains forty plays, each featuring a mirac...","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"22 1","pages":"127-148"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66679054","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article examines the alleged duality of the piety of ‘the people’ on the one hand and the official religiousness of clerical elites on the other during the time of the Counter-Reformation in th...
本文考察了在19世纪的反宗教改革时期，所谓的“人民”的虔诚和神职精英的官方宗教的二元性。
{"title":"Lokale Religiosität im Theater. Die Verehrung des Heiligen Niklaus von Flüe im Sarner Bruderklausenspiel","authors":"E. Huwiler","doi":"10.1484/j.emd.5.119438","DOIUrl":"https://doi.org/10.1484/j.emd.5.119438","url":null,"abstract":"The article examines the alleged duality of the piety of ‘the people’ on the one hand and the official religiousness of clerical elites on the other during the time of the Counter-Reformation in th...","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"22 1","pages":"111-126"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66679040","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article was written with the generous support of the Swiss National Science Foundation, who funded an eighteen-month research sabbatical at the University of Edinburgh. It offers a different s...
{"title":"Modulating Tone in the Early English Slaughter of the Innocents Plays: Between Grief, Vengeance, and Humour","authors":"S. Brazil","doi":"10.1484/j.emd.5.119434","DOIUrl":"https://doi.org/10.1484/j.emd.5.119434","url":null,"abstract":"This article was written with the generous support of the Swiss National Science Foundation, who funded an eighteen-month research sabbatical at the University of Edinburgh. It offers a different s...","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"22 1","pages":"11-35"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678912","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Max Harris, Christ on a Donkey: Palm Sunday, Triumphal Entries, and Blasphemous Pageants, Early Social Performance","authors":"Cora Dietl","doi":"10.1484/j.emd.5.119443","DOIUrl":"https://doi.org/10.1484/j.emd.5.119443","url":null,"abstract":"","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"22 1","pages":"213-215"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678637","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Prague Ludus de cena domini, the only independent German play of the Last Supper, parallels the scene in Bethany with the Last Supper. Perhaps it was performed at Wroclaw’s city church St Mary Magdalene. In its first part, the plot clearly follows the hymn Laus tibi Christe, which is a troparium of Mary Magdalene. The hymn also explains the connection between the two scenes: Mary’s healing signals Christ’s triumph over death and sin, and the transubstantiation of bread and wine embodies the triumph. Simon and Judas represent heresy and lack of faith. They cannot be saved by the blood and body of Christ, and the Christian convivium is prepared to fight comparable heretics.
布拉格Ludus de cena domini是唯一一部独立的德国戏剧《最后的晚餐》，将伯大尼的场景与《最后的晚餐》相提并论。也许它是在弗罗茨瓦夫的圣玛丽抹大拉教堂演出的。在它的第一部分，情节明显遵循赞美诗Laus tibi christ，这是抹大拉的马利亚的颂歌。赞美诗还解释了这两个场景之间的联系:玛丽的治愈标志着基督战胜了死亡和罪恶，面包和酒的变形体现了胜利。西门和犹大代表异端和缺乏信心。他们不能被基督的血和身体所拯救，而基督教的集会准备与类似的异端作斗争。
{"title":"‘Let Me Have the First Drink’. Two Meals and One Table in the Prague Ludus de cena domini","authors":"Cora Dietl","doi":"10.1484/j.emd.5.116044","DOIUrl":"https://doi.org/10.1484/j.emd.5.116044","url":null,"abstract":"The Prague Ludus de cena domini, the only independent German play of the Last Supper, parallels the scene in Bethany with the Last Supper. Perhaps it was performed at Wroclaw’s city church St Mary Magdalene. In its first part, the plot clearly follows the hymn Laus tibi Christe, which is a troparium of Mary Magdalene. The hymn also explains the connection between the two scenes: Mary’s healing signals Christ’s triumph over death and sin, and the transubstantiation of bread and wine embodies the triumph. Simon and Judas represent heresy and lack of faith. They cannot be saved by the blood and body of Christ, and the Christian convivium is prepared to fight comparable heretics.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"21 1","pages":"1-19"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678660","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Hans Sachs, Die Irrfart Ulissi mit den Werbern und seiner Gemahel Penelope (1555)","authors":"Cora Dietl","doi":"10.1484/J.EMD.5.116052","DOIUrl":"https://doi.org/10.1484/J.EMD.5.116052","url":null,"abstract":"","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"21 1","pages":"159-160"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678860","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article begins with Adrian Armstrong’s discussion of the coterie poetry composed by Charles d’Orleans and his associates at Blois to explore the ‘epistemic value and qualities’ not of communal poetry but rather of communal theatre within a quite different social group: a convent of Carmelite nuns in late-fifteenth-century Burgundy. In it I suggest that some of the ways in which Armstrong conceptualises the processes by which lyric poetry was explored and produced at Blois may be fruitfully brought to bear on thinking about the epistemological implications and consequences of ‘making’ theatre (in the sense of composing and performing it) within this medieval women’s religious house.
{"title":"Performance-based research in the medieval convent","authors":"O. Robinson","doi":"10.1484/J.EMD.5.116045","DOIUrl":"https://doi.org/10.1484/J.EMD.5.116045","url":null,"abstract":"This article begins with Adrian Armstrong’s discussion of the coterie poetry composed by Charles d’Orleans and his associates at Blois to explore the ‘epistemic value and qualities’ not of communal poetry but rather of communal theatre within a quite different social group: a convent of Carmelite nuns in late-fifteenth-century Burgundy. In it I suggest that some of the ways in which Armstrong conceptualises the processes by which lyric poetry was explored and produced at Blois may be fruitfully brought to bear on thinking about the epistemological implications and consequences of ‘making’ theatre (in the sense of composing and performing it) within this medieval women’s religious house.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"21 1","pages":"21-41"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1484/J.EMD.5.116045","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678684","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The seven responsories that are included in the vernacular dialogue of the Jeu d’Adam have been traditionally interpreted as being the source of the play. The French sections would be an example of the technique of farcitura, in other words they would be translations of a Latin model. In this article, I argue that this interpretation is incorrect. Close textual analysis of the Jeu d’Adam shows that these liturgical chants are not the starting point of the play but were subsequently added to it. The resemblance between the responsories and the French text can be accounted for by the author’s habit of paraphrasing the biblical text.
{"title":"Are the Latin Responsories of the Jeu d’Adam the Source of the Play?","authors":"Christophe Chaguinian","doi":"10.1484/j.emd.5.116050","DOIUrl":"https://doi.org/10.1484/j.emd.5.116050","url":null,"abstract":"The seven responsories that are included in the vernacular dialogue of the Jeu d’Adam have been traditionally interpreted as being the source of the play. The French sections would be an example of the technique of farcitura, in other words they would be translations of a Latin model. In this article, I argue that this interpretation is incorrect. Close textual analysis of the Jeu d’Adam shows that these liturgical chants are not the starting point of the play but were subsequently added to it. The resemblance between the responsories and the French text can be accounted for by the author’s habit of paraphrasing the biblical text.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"62 2 1","pages":"123-139"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678838","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The topic of ‘Otherness’ has made possible an investigation into the distance between audience and performance. The actors themselves are essentially strangers to the onlookers and during a performance this separation is exploited as part of experience of theatre, as a contribution to entertainment as well as meaning. By considering the theatrical characteristics of four sixteenth-century interludes we find that the separation can be effective, but it is also apparent that these plays have ways of working across the gap to make use of the intimacy which can be established. Besides consideration of some of the typical features of interludes, there is attention to theatrical conventions, including the role known as the Vice, to the ways of using the performance space, and to comic routines and wordplay. It becomes apparent that the audience can never be allowed to forget that they are watching a play and not real life, and that the distance between actors and audience is a valuable theatrical asset for experiencing these plays.
{"title":"Otherness and the Interludes: actors and audiences","authors":"P. Happé","doi":"10.1484/j.emd.5.116048","DOIUrl":"https://doi.org/10.1484/j.emd.5.116048","url":null,"abstract":"The topic of ‘Otherness’ has made possible an investigation into the distance between audience and performance. The actors themselves are essentially strangers to the onlookers and during a performance this separation is exploited as part of experience of theatre, as a contribution to entertainment as well as meaning. By considering the theatrical characteristics of four sixteenth-century interludes we find that the separation can be effective, but it is also apparent that these plays have ways of working across the gap to make use of the intimacy which can be established. Besides consideration of some of the typical features of interludes, there is attention to theatrical conventions, including the role known as the Vice, to the ways of using the performance space, and to comic routines and wordplay. It becomes apparent that the audience can never be allowed to forget that they are watching a play and not real life, and that the distance between actors and audience is a valuable theatrical asset for experiencing these plays.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"21 1","pages":"85-100"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678736","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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