This full-length study investigates how sermons and vernacular religious drama worked as media for public learning, how they combined this didactic aim with literary exigencies, and how plays acquired and reflected authority. The interrelation between sermons and vernacular drama, formerly assumed to be a close one, is addressed from historical connections, performative aspects, and the portrayal of penance. The work demonstrates the subtly different purposes and contents and outlines the unique ways in which they operate within late medieval England.
Characters representing various sins and vices became the stars of their respective theatrical traditions in the course of the late medieval and early modern period in both the Low Countries and England. This study assesses the importance of such characters, and especially the English Vice and Dutch sinnekens, for our understanding of medieval and sixteenth-century Dutch and English drama by charting diachronic developments and through synchronic comparisons. The analysis of the functions as well as theatrical and meta-theatrical aspects of these characters reveals how these plays were conditioned by their literary and social setting. It sheds invaluable light on the subtly divergent appreciation of the concept of drama in these two regions and on their different use of drama as a didactic tool. In a wider perspective this study also investigates how the moral plays and their negative characters reflect the changes in the intellectual and religious climate of the fifteenth and sixteenth centuries.
This full-length study investigates how sermons and vernacular religious drama worked as media for public learning, how they combined this didactic aim with literary exigencies, and how plays acquired and reflected authority. The interrelation between sermons and vernacular drama, formerly assumed to be a close one, is addressed from historical connections, performative aspects, and the portrayal of penance. The work demonstrates the subtly different purposes and contents and outlines the unique ways in which they operate within late medieval England.
Characters representing various sins and vices became the stars of their respective theatrical traditions in the course of the late medieval and early modern period in both the Low Countries and England. This study assesses the importance of such characters, and especially the English Vice and Dutch sinnekens, for our understanding of medieval and sixteenth-century Dutch and English drama by charting diachronic developments and through synchronic comparisons. The analysis of the functions as well as theatrical and meta-theatrical aspects of these characters reveals how these plays were conditioned by their literary and social setting. It sheds invaluable light on the subtly divergent appreciation of the concept of drama in these two regions and on their different use of drama as a didactic tool. In a wider perspective this study also investigates how the moral plays and their negative characters reflect the changes in the intellectual and religious climate of the fifteenth and sixteenth centuries.
Text is one of the most valuable and plentiful sources of information available to scholars interested in medieval emotion. The medieval world may have vanished centuries ago, and its human subjects with it, but a wealth of textual traces remains: sermons, romances, poems, plays, treatises, songs, inscriptions, graffiti, and much more. But how is emotion communicated and shaped by these different textual forms? That is the question at the heart of this collection of essays, which aims to open up our sense of what texts can contribute to the history of emotions by considering the variety of ways that texts can function as vehicles - media - for emotion. The essays in this volume examine how literary and dramatic texts, chant, manuscript annotations, and material inscriptions mediate emotion - how they bring it about, communicate it, process it, and shape it via forms that act on various senses. Ranging between the eighth and fifteenth centuries and comprising contributions from scholars of musicology, Old English and Old Norse studies, material culture, Middle English literature, drama, and manuscript studies, the essays contained in this volume serve as a window onto the complex relationship between emotions and different textual forms." - Publisher's website.
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