{"title":"[Rezension zu] Juana I. Marín-Arrese, Marta Carretero, Jorge Arús Hita and Johan van der Auwera (eds.), English modality: core, periphery and evidentiality","authors":"C. Elsweiler","doi":"10.1515/ang-2016-0007","DOIUrl":"https://doi.org/10.1515/ang-2016-0007","url":null,"abstract":"","PeriodicalId":43572,"journal":{"name":"ANGLIA-ZEITSCHRIFT FUR ENGLISCHE PHILOLOGIE","volume":"37 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2016-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74043713","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In Early Modern England, conscience presents a point where discourses of subjectivity, religion, law and the theatre converge. Conscience was not only a concept most popular in religious writings, but it was the term most prominent for the analysis of interior experience. Conscience prohibits and produces theatricality, and creates dramatic situations in which external credibility authorizes internal truthfulness. Apart from being anatomized in religious works, conscience, both as a character on stage and as a theme, was an integral part of dramatic literature, above all in Shakespeare. In this paper I investigate into the performativity involved into the notion of conscience itself, in relation to the subject and in recourse to conscience on the stage. I will consider how the performance of conscience relates to contemporary ideas about conscience, and in looking at the structure and dramaturgy of conscience in Shakespeare’s Richard III, I want to suggest that conscience is not so much a moral or thematic concern of the play that reflects on the ethical status of man, but rather a performative mode which relies on the notion of unity and uniformity through difference.
{"title":"Performing Conscience in Richard III","authors":"Claudia Olk","doi":"10.1515/ang-2012-0002","DOIUrl":"https://doi.org/10.1515/ang-2012-0002","url":null,"abstract":"In Early Modern England, conscience presents a point where discourses of subjectivity, religion, law and the theatre converge. Conscience was not only a concept most popular in religious writings, but it was the term most prominent for the analysis of interior experience. Conscience prohibits and produces theatricality, and creates dramatic situations in which external credibility authorizes internal truthfulness. Apart from being anatomized in religious works, conscience, both as a character on stage and as a theme, was an integral part of dramatic literature, above all in Shakespeare. In this paper I investigate into the performativity involved into the notion of conscience itself, in relation to the subject and in recourse to conscience on the stage. I will consider how the performance of conscience relates to contemporary ideas about conscience, and in looking at the structure and dramaturgy of conscience in Shakespeare’s Richard III, I want to suggest that conscience is not so much a moral or thematic concern of the play that reflects on the ethical status of man, but rather a performative mode which relies on the notion of unity and uniformity through difference.","PeriodicalId":43572,"journal":{"name":"ANGLIA-ZEITSCHRIFT FUR ENGLISCHE PHILOLOGIE","volume":"16 1","pages":"1 - 18"},"PeriodicalIF":0.2,"publicationDate":"2012-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86287111","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Andrew S. Gross’s and Susanne Rohr’s Comedy – Avant-Garde – Scandal: Remembering the Holocaust after the End of History and the conference volume The Holocaust, Art, and Taboo: Transatlantic Exchanges on the Ethics and Aesthetics of Representation, which was edited, together with Sophia Komor, also by Susanne Rohr – are expressions of “the change from studying (or recalling, or representing) the Holocaust [in the fifties and sixties] to ‘Holocaust Studies’, i.e. to the study of these representations, some thirty years later” that Heinz Ickstadt pinpoints in his perceptive and personal conclusion to the conference volume as “a new and different – perhaps: a generational – turn” (The Holocaust 252) in the process of coming to terms with the challenge of representing the Holocaust. “Why I Don’t Like Holocaust Studies Yet See No Escape From It”, the challenging title of Ickstadt’s contribution, perfectly captures the uneasiness and contradictions that circumscribe Holocaust art and Holocaust studies, which tread the fine line between creating a barrier against “the very fear of ‘forgetting’ by remembering again and again” (253) and the “routinization” and “ritualization” of public memory and memorial culture by artistically aestheticizing and scholarly dissecting – and thereby running the risk of minimizing or even trivializing (254) – the horrors of the gas chambers. An unjustifiable and disrespectful aestheticization of a terrible and unique moment in Jewish history: that is the verdict against much of the shocking Holocaust art of “the long 1990s – the period extending from the fall of the Berlin Wall on 11-9-1989 to the attack on the World Trade Center on 9-11-2001” (12). Gross and Rohr refrain from such condemnation and discuss and conceptualize 1990s Holocaust art as expression and symptom of a major shift not only in the artistic rendering of the Holocaust but also in the cultures of the (newly unified) West after 1989 in their impressive study of the phenomenon. The two critics argue that the 1990s saw a radical aesthetic change from efforts of a historical to a commemorative approximation of the Holocaust, which lead to a “new commemorative art” that “forges a connection to the past by transversing the terrain of viewer discomfort, adopting avant-garde (or ... comic) strategies for the purpose of traditional, even sentimental acts of remembrance” (11). The study is grounded in history by linking the spectacular change in artistic Holocaust renderings to the end of the Cold War controversy between the socialist/communist and the capitalist
{"title":"Andrew S. Gross & Susanne Rohr. Comedy – Avant-Garde – Scandal: Remembering the Holocaust after the End of History The Holocaust, Art, and Taboo: Transatlantic Exchanges on the Ethics and Aesthetics of Representation","authors":"K. Freitag","doi":"10.1515/ang-2012-0007","DOIUrl":"https://doi.org/10.1515/ang-2012-0007","url":null,"abstract":"Andrew S. Gross’s and Susanne Rohr’s Comedy – Avant-Garde – Scandal: Remembering the Holocaust after the End of History and the conference volume The Holocaust, Art, and Taboo: Transatlantic Exchanges on the Ethics and Aesthetics of Representation, which was edited, together with Sophia Komor, also by Susanne Rohr – are expressions of “the change from studying (or recalling, or representing) the Holocaust [in the fifties and sixties] to ‘Holocaust Studies’, i.e. to the study of these representations, some thirty years later” that Heinz Ickstadt pinpoints in his perceptive and personal conclusion to the conference volume as “a new and different – perhaps: a generational – turn” (The Holocaust 252) in the process of coming to terms with the challenge of representing the Holocaust. “Why I Don’t Like Holocaust Studies Yet See No Escape From It”, the challenging title of Ickstadt’s contribution, perfectly captures the uneasiness and contradictions that circumscribe Holocaust art and Holocaust studies, which tread the fine line between creating a barrier against “the very fear of ‘forgetting’ by remembering again and again” (253) and the “routinization” and “ritualization” of public memory and memorial culture by artistically aestheticizing and scholarly dissecting – and thereby running the risk of minimizing or even trivializing (254) – the horrors of the gas chambers. An unjustifiable and disrespectful aestheticization of a terrible and unique moment in Jewish history: that is the verdict against much of the shocking Holocaust art of “the long 1990s – the period extending from the fall of the Berlin Wall on 11-9-1989 to the attack on the World Trade Center on 9-11-2001” (12). Gross and Rohr refrain from such condemnation and discuss and conceptualize 1990s Holocaust art as expression and symptom of a major shift not only in the artistic rendering of the Holocaust but also in the cultures of the (newly unified) West after 1989 in their impressive study of the phenomenon. The two critics argue that the 1990s saw a radical aesthetic change from efforts of a historical to a commemorative approximation of the Holocaust, which lead to a “new commemorative art” that “forges a connection to the past by transversing the terrain of viewer discomfort, adopting avant-garde (or ... comic) strategies for the purpose of traditional, even sentimental acts of remembrance” (11). The study is grounded in history by linking the spectacular change in artistic Holocaust renderings to the end of the Cold War controversy between the socialist/communist and the capitalist","PeriodicalId":43572,"journal":{"name":"ANGLIA-ZEITSCHRIFT FUR ENGLISCHE PHILOLOGIE","volume":"85 1","pages":"120 - 126"},"PeriodicalIF":0.2,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73439891","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article, I compare the Biblical citations in the Prologue to Laws of King Alfred with those in Asser’s De rebus gestis Ælfredi to see if the author(s) of these documents quoted from a similar text of the Scriptures, and what this data might reveal about the authorship of the aforementioned Prologue. My analysis shows that the author of both documents knew and relied on an Insular Celtic version of the New Testament. While acknowledging that the data available for analysis is too scant to draw firm conclusions, I suggest that my evidence supports the possibility that Asser played a formative role in drafting the Prologue to Alfred’s law code and speaks against the active participation of Alfred’s Continental guests.
在这篇文章中，我比较了《阿尔弗雷德国王的法律》序言中的圣经引用和Asser的《De rebus gestis Ælfredi》中的圣经引用，看看这些文件的作者是否引用了类似的圣经文本，以及这些数据可能揭示了上述序言的作者身份。我的分析表明，这两份文献的作者都知道并依赖于《新约》的岛屿凯尔特版本。虽然我承认可用于分析的数据太少，无法得出确切的结论，但我认为我的证据支持这样一种可能性，即Asser在起草阿尔弗雷德法典的序言中发挥了形成性作用，并反对阿尔弗雷德大陆客人的积极参与。
{"title":"Asser’s Bible and the Prologue to the Laws of Alfred","authors":"B. Carella","doi":"10.1515/ang-2012-0041","DOIUrl":"https://doi.org/10.1515/ang-2012-0041","url":null,"abstract":"In this article, I compare the Biblical citations in the Prologue to Laws of King Alfred with those in Asser’s De rebus gestis Ælfredi to see if the author(s) of these documents quoted from a similar text of the Scriptures, and what this data might reveal about the authorship of the aforementioned Prologue. My analysis shows that the author of both documents knew and relied on an Insular Celtic version of the New Testament. While acknowledging that the data available for analysis is too scant to draw firm conclusions, I suggest that my evidence supports the possibility that Asser played a formative role in drafting the Prologue to Alfred’s law code and speaks against the active participation of Alfred’s Continental guests.","PeriodicalId":43572,"journal":{"name":"ANGLIA-ZEITSCHRIFT FUR ENGLISCHE PHILOLOGIE","volume":"48 1","pages":"195 - 206"},"PeriodicalIF":0.2,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83826130","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Martin Klepper, The Discovery of Point of View: Observation and Narration in the American Novel 1790–1910","authors":"C. Decker","doi":"10.1515/ang-2012-0034","DOIUrl":"https://doi.org/10.1515/ang-2012-0034","url":null,"abstract":"","PeriodicalId":43572,"journal":{"name":"ANGLIA-ZEITSCHRIFT FUR ENGLISCHE PHILOLOGIE","volume":"39 1","pages":"316 - 319"},"PeriodicalIF":0.2,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73853510","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Found in 2009, the Baconsthorpe runic inscription confronts us with a new sign that was described and discussed by John Hines in Anglia 129 (2011), 281–296. As it occurs in a runic inscription, the new sign was initially automatically labelled as a rune, i.e. a grapheme representing a phoneme. With the exception of its runic environment, there are, however, no clear indications for categorizing this new sign as a rune. In this article I will make an attempt to show the difficulties involved in the process of proving that the new sign is in fact a rune. To this purpose, the different types of runes (e.g., single rune, transparent bindrune, obscured bind-rune) are analyzed and compared to the new sign (section 2.1). Although my transliteration (section 2.3) differs only slightly from the one by Hines (section 2.2), I parse the inscription differently (section 2.5). Theoretically, the new sign may be an ornament instead of a rune (section 2.4). I therefore initially ignored the new sign in my parsings and interpretations. The results were grammatically possible but improbable from a pragmatic point of view, suggesting that the new sign is not an ornament. If the new sign is, then, a rune, it should be possible to determine its sound value (section 4). Judging from its environment, the new rune must (a) be a monophthong and (b) a vowel that is not covered by the runes of the Old English rune-row. Such a vowel may have been brought about by Second Fronting: the new sign may represent /ɛ / and – since the Baconsthorpe inscription was probably written between 750–800 – may thus document the stage of development before the Vespasian Psalter Gloss (dated to the (mid-)9th century). – My analysis of the inscription is based on two autopsies in November 2010 and September 2011.
{"title":"The New Sign ᛠ in the Baconsthorpe Inscription: A Rune and its Sound Value","authors":"Gaby Waxenberger","doi":"10.1515/ang-2012-0999","DOIUrl":"https://doi.org/10.1515/ang-2012-0999","url":null,"abstract":"Found in 2009, the Baconsthorpe runic inscription confronts us with a new sign that was described and discussed by John Hines in Anglia 129 (2011), 281–296. As it occurs in a runic inscription, the new sign was initially automatically labelled as a rune, i.e. a grapheme representing a phoneme. With the exception of its runic environment, there are, however, no clear indications for categorizing this new sign as a rune. In this article I will make an attempt to show the difficulties involved in the process of proving that the new sign is in fact a rune. To this purpose, the different types of runes (e.g., single rune, transparent bindrune, obscured bind-rune) are analyzed and compared to the new sign (section 2.1). Although my transliteration (section 2.3) differs only slightly from the one by Hines (section 2.2), I parse the inscription differently (section 2.5). Theoretically, the new sign may be an ornament instead of a rune (section 2.4). I therefore initially ignored the new sign in my parsings and interpretations. The results were grammatically possible but improbable from a pragmatic point of view, suggesting that the new sign is not an ornament. If the new sign is, then, a rune, it should be possible to determine its sound value (section 4). Judging from its environment, the new rune must (a) be a monophthong and (b) a vowel that is not covered by the runes of the Old English rune-row. Such a vowel may have been brought about by Second Fronting: the new sign may represent /ɛ / and – since the Baconsthorpe inscription was probably written between 750–800 – may thus document the stage of development before the Vespasian Psalter Gloss (dated to the (mid-)9th century). – My analysis of the inscription is based on two autopsies in November 2010 and September 2011.","PeriodicalId":43572,"journal":{"name":"ANGLIA-ZEITSCHRIFT FUR ENGLISCHE PHILOLOGIE","volume":"13 1","pages":"177 - 194"},"PeriodicalIF":0.2,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83027689","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The present volume is a sequel to the collection of essays Sites of Memory in American Literatures and Cultures (2003) by the same editor. Its significance for American studies arises from its aim to apply the new transnational perspective to the current field of memory studies. All nineteen articles written by contributors from the United States and Europe bear witness to the productivity unleashed by the paradigmatic shift from a strictly national to a transnational view of ‘cultural memory’-phenomena. As Udo Hebel puts it in his introduction to Transnational American Memories: “The recognition of the boundless and creative transnational flow of commemorative energy in and out of the cultures grounded in or associated with the space of what today is the United States of America makes for the wide geographical, historical, cultural, and political scope of the individual essays” (2f.). In view of this broad spectrum, Hebel’s succinct summaries of the individual articles allow the reader to see the multiple facets and, above all, the complexity of bringing together the two concepts “transnational” and “memory” (3–6). Indeed, they provide a valuable starting point for looking into various issues of the “transnational memory” topic such as the question of how transnational memory is created, recovered or lost. Alfred Hornung (Art. 8), for instance, observes that the contemporary US American novelists Jonathan Safran Foer and Don DeLillo enrich their respective 9/11 narratives Extremely Loud & Incredibly Close (2005) and Falling Man (2007) with transnational memories when they refer to other man-made catastrophes such as the destruction of Dresden or the Tower of Babel to describe the 9/11 disaster. Orm Øverland (Art. 4) regards the letters of Norwegian immigrants to the US as a store of transnational memories which help to recover the immigrants’ attitudes towards Native Americans. Kirk Savage (Art. 15) draws attention to the ways a site of transnational memory can lose its transnational signification. Originally intended as a transnational project that was meant to tie the Ukrainian nationalist hero Shevchenko to the US Cold War ideology, the Shevchenko memorial in Washington, D.C., lost its transnational significance when it “lapsed into the realm of ethnic heritage” (347). These are only a few of the articles that deal with the creation, recovery, and loss of transnational memory. The study is, however, of additional interest as it documents a variety of methods and media in the discovery of transnational memory facets. Several authors look at literary texts, others link literature with autobiography, then there are a number of studies that focus on non-literary texts, studies of monuments and other sites of transnational memory, and, last but not least, studies on cinematic narratives. Juan Bruce-Novoa (Art. 1) has selected a literary text for his transnational memory investigations. He argues that the Mexican-American-German poet Rita María Mag
本卷是由同一编辑于2003年出版的文集《美国文学和文化中的记忆地点》的续集。它对美国研究的意义在于其目的是将新的跨国视角应用于当前的记忆研究领域。来自美国和欧洲的作者所写的所有19篇文章都见证了“文化记忆”现象从严格的国家视角到跨国视角的范式转变所释放的生产力。正如Udo Hebel在他的《跨国美国记忆》的引言中所说的那样:“认识到纪念能量的无限和创造性的跨国流动进出于植根于当今美利坚合众国的空间或与之相关的文化，这使得个别文章具有广泛的地理、历史、文化和政治范围”(2f.)。鉴于这一广泛的范围，Hebel对个别文章的简洁总结让读者看到了多个方面，最重要的是，将“跨国”和“记忆”这两个概念结合在一起的复杂性。事实上，它们为研究“跨国记忆”主题的各种问题提供了一个有价值的起点，比如跨国记忆是如何产生、恢复或丢失的问题。例如，阿尔弗雷德·霍农(Art. 8)观察到，当代美国小说家乔纳森·萨夫兰·福尔和唐·德里罗在他们各自的9/11叙事中丰富了他们各自的跨国记忆，他们提到了其他人为灾难，如德累斯顿的毁灭或巴别塔的毁灭来描述9/11灾难。Orm Øverland (Art. 4)认为挪威移民到美国的信件是一种跨国记忆的储存，有助于恢复移民对美洲原住民的态度。柯克·萨维奇(第15条)将人们的注意力吸引到跨国记忆的地点如何失去其跨国意义。位于华盛顿特区的舍甫琴科纪念碑原本是一个跨国项目，旨在将乌克兰民族主义英雄舍甫琴科与美国冷战意识形态联系起来，但当它“陷入民族遗产的领域”时，失去了它的跨国意义(347)。这些只是涉及跨国记忆的创造、恢复和丧失的一些文章。然而，这项研究是额外的兴趣，因为它记录了各种方法和媒体在发现跨国记忆方面。一些作者关注文学文本，另一些将文学与自传联系起来，还有一些研究关注非文学文本，对纪念碑和其他跨国记忆地点的研究，最后但并非最不重要的是对电影叙事的研究。Juan Bruce-Novoa (Art 1)为他的跨国记忆研究选择了一个文学文本。他认为墨西哥-美国-德国诗人Rita María Magdaleno的作品集《Marlene Dietrich, Rita Hayworth， & My Mother》(2003)为奇卡诺文学的语料增加了一个国际维度，它主要关注“明显的民族混合”(12)，并追溯了墨西哥、美国和德国主题的“跨国”混合(例如，第二节和第三节中的大屠杀)。马格达莱诺的德国母亲跟随一名大兵来到美国，后来嫁给了一名犹太集中营幸存者)。一直以来，Bruce-Novoa都将墨西哥的Malinche神话与Magdaleno的诗歌进行比较(例如，“受虐待的德国妇女反映了Malinche被她的家人虐待”，26)，以证实他的说法
{"title":"Transnational American Memories","authors":"Erik Redling","doi":"10.1515/ang-2012-0016","DOIUrl":"https://doi.org/10.1515/ang-2012-0016","url":null,"abstract":"The present volume is a sequel to the collection of essays Sites of Memory in American Literatures and Cultures (2003) by the same editor. Its significance for American studies arises from its aim to apply the new transnational perspective to the current field of memory studies. All nineteen articles written by contributors from the United States and Europe bear witness to the productivity unleashed by the paradigmatic shift from a strictly national to a transnational view of ‘cultural memory’-phenomena. As Udo Hebel puts it in his introduction to Transnational American Memories: “The recognition of the boundless and creative transnational flow of commemorative energy in and out of the cultures grounded in or associated with the space of what today is the United States of America makes for the wide geographical, historical, cultural, and political scope of the individual essays” (2f.). In view of this broad spectrum, Hebel’s succinct summaries of the individual articles allow the reader to see the multiple facets and, above all, the complexity of bringing together the two concepts “transnational” and “memory” (3–6). Indeed, they provide a valuable starting point for looking into various issues of the “transnational memory” topic such as the question of how transnational memory is created, recovered or lost. Alfred Hornung (Art. 8), for instance, observes that the contemporary US American novelists Jonathan Safran Foer and Don DeLillo enrich their respective 9/11 narratives Extremely Loud & Incredibly Close (2005) and Falling Man (2007) with transnational memories when they refer to other man-made catastrophes such as the destruction of Dresden or the Tower of Babel to describe the 9/11 disaster. Orm Øverland (Art. 4) regards the letters of Norwegian immigrants to the US as a store of transnational memories which help to recover the immigrants’ attitudes towards Native Americans. Kirk Savage (Art. 15) draws attention to the ways a site of transnational memory can lose its transnational signification. Originally intended as a transnational project that was meant to tie the Ukrainian nationalist hero Shevchenko to the US Cold War ideology, the Shevchenko memorial in Washington, D.C., lost its transnational significance when it “lapsed into the realm of ethnic heritage” (347). These are only a few of the articles that deal with the creation, recovery, and loss of transnational memory. The study is, however, of additional interest as it documents a variety of methods and media in the discovery of transnational memory facets. Several authors look at literary texts, others link literature with autobiography, then there are a number of studies that focus on non-literary texts, studies of monuments and other sites of transnational memory, and, last but not least, studies on cinematic narratives. Juan Bruce-Novoa (Art. 1) has selected a literary text for his transnational memory investigations. He argues that the Mexican-American-German poet Rita María Mag","PeriodicalId":43572,"journal":{"name":"ANGLIA-ZEITSCHRIFT FUR ENGLISCHE PHILOLOGIE","volume":"29 1","pages":"136 - 139"},"PeriodicalIF":0.2,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88030314","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The London Thornton manuscript (British Library Additional MS 31042) is uniformly described as a ‘religious’ compilation, and is a companion miscellany to the Lincoln Thornton manuscript (Lincoln Cathedral Library MS 91), both ascribed to Robert Thornton as compiler and scribe. Modern bibliographers have suggested that both compilations exhibit signs of significant design, specifically because of their grouping of works in genre sections. The Lincoln Thornton’s placing of its collection of romances has, for example, been shown to be far from random. This study suggests that the bibliographical/codicological descriptions of the five distinct genre sections of the London Thornton manuscript, while accurate as a record of the physical nature of the compilation, is limited in its perception of the overall literary/intellectual design. The first section, based on the Cursor Mundi and the Northern Passion, is the conceptual reference point for the subsequent genre groupings. In effect, the other genre sections are literary expressions of the operation of the Christian faith, in particular the Passion, in various aspects of life: the national, historical life; the individual spiritual life; social morality in vita activa. As Murray Evans pointed out in 1995, the composite shape and contexts of the manuscript within which a work is contained can shape the reader’s perception of it, as well as identify the compiler’s view of its kind. The main body of my study comments on the relationship of its four crusading romances to the keynote first section, the central event of Christian history and individual faith, and analyses the individual qualities of each both in relation to the crusading theme and as independent literary artefacts. It also relates them as a group to another significant context, the historical events of the late 14th and early 15th centuries. 1. THE LONDON THORNTON MANUSCRIPT IN ITS WIDER CONTEXT Apart from a few early works, such as Robert of Sicily and The King of Tars, produced in monastic scriptoria, most extant Middle English romances are preserved either in the products of secular bookshops, such as the Auchinleck manuscript, or more commonly in miscellanies of material recorded for private libraries and households, either by members of the family or by frequently indifferent scribes to the order of an employer, e.g. the Findern manuscript (Cambridge University Library Ff. 2.38) or Gonville and Caius College Cambridge MS 175. Of the 99 or so manuscripts preserving romances, only 10 contain more than one romance or work categorized by early bibliographers as such. The best known manuDOI 10.1515/ang-2012-0059 1 For the most comprehensive and thought-provoking survey of romances in their manuscripts, see Gisela Guddat-Figge, A Catalogue of Manuscripts Containing Middle English Romances (München: Fink, 1976), Introduction; and the seminal scripts, containing the largest number and greatest variety of romances, are: Edinburgh, National Lib
{"title":"The Contexts of the Crusading Romances in the London Thornton Manuscript","authors":"J. Finlayson","doi":"10.1515/ang-2012-0059","DOIUrl":"https://doi.org/10.1515/ang-2012-0059","url":null,"abstract":"The London Thornton manuscript (British Library Additional MS 31042) is uniformly described as a ‘religious’ compilation, and is a companion miscellany to the Lincoln Thornton manuscript (Lincoln Cathedral Library MS 91), both ascribed to Robert Thornton as compiler and scribe. Modern bibliographers have suggested that both compilations exhibit signs of significant design, specifically because of their grouping of works in genre sections. The Lincoln Thornton’s placing of its collection of romances has, for example, been shown to be far from random. This study suggests that the bibliographical/codicological descriptions of the five distinct genre sections of the London Thornton manuscript, while accurate as a record of the physical nature of the compilation, is limited in its perception of the overall literary/intellectual design. The first section, based on the Cursor Mundi and the Northern Passion, is the conceptual reference point for the subsequent genre groupings. In effect, the other genre sections are literary expressions of the operation of the Christian faith, in particular the Passion, in various aspects of life: the national, historical life; the individual spiritual life; social morality in vita activa. As Murray Evans pointed out in 1995, the composite shape and contexts of the manuscript within which a work is contained can shape the reader’s perception of it, as well as identify the compiler’s view of its kind. The main body of my study comments on the relationship of its four crusading romances to the keynote first section, the central event of Christian history and individual faith, and analyses the individual qualities of each both in relation to the crusading theme and as independent literary artefacts. It also relates them as a group to another significant context, the historical events of the late 14th and early 15th centuries. 1. THE LONDON THORNTON MANUSCRIPT IN ITS WIDER CONTEXT Apart from a few early works, such as Robert of Sicily and The King of Tars, produced in monastic scriptoria, most extant Middle English romances are preserved either in the products of secular bookshops, such as the Auchinleck manuscript, or more commonly in miscellanies of material recorded for private libraries and households, either by members of the family or by frequently indifferent scribes to the order of an employer, e.g. the Findern manuscript (Cambridge University Library Ff. 2.38) or Gonville and Caius College Cambridge MS 175. Of the 99 or so manuscripts preserving romances, only 10 contain more than one romance or work categorized by early bibliographers as such. The best known manuDOI 10.1515/ang-2012-0059 1 For the most comprehensive and thought-provoking survey of romances in their manuscripts, see Gisela Guddat-Figge, A Catalogue of Manuscripts Containing Middle English Romances (München: Fink, 1976), Introduction; and the seminal scripts, containing the largest number and greatest variety of romances, are: Edinburgh, National Lib","PeriodicalId":43572,"journal":{"name":"ANGLIA-ZEITSCHRIFT FUR ENGLISCHE PHILOLOGIE","volume":"172 1","pages":"240 - 263"},"PeriodicalIF":0.2,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76915036","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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