Introduction

2013 ◽  
pp. 1-10
Author(s):  
Michael Fishbane ◽  
Joanna Weinberg
Keyword(s):  
Early Modern ◽  
Literary Genre ◽  
Cultural Performance ◽  
The Third ◽  
Cultural Pedagogy ◽  
And Diffusion ◽  
Historical Periods

This chapter summarizes the four fundamental historical periods of development. The first period roughly covers the first to fifth centuries where certain foundational elements of literary genre, translation, displacement, and diffusion are considered. The next period takes up the fifth to eleventh centuries and focuses on the deepening and thickening of the midrashic enterprise as it expands into liturgy, theological polemics, narrative elaborations, and cultural performance. The third period includes the development of intense lexical annotation of midrashic texts and traditions, their acute scholastic examination, assorted uses of midrashic teachings for cultural pedagogy, and creative uses of Midrash to deepen the sense of history and time. The last period considers some of the early modern and modern traditions of Midrash and its transformations.

They Lived Under That Rule as Do Those Who Have Succeeded Them: Simultaneity and Conflict in the Foundation Narratives of a French Women’s Convent (10th–18th Centuries)

2021 ◽  
Vol 139 (1) ◽  
pp. 82-97
Author(s):  
Steven Vanderputten
Keyword(s):  
Early Modern ◽  
Women Religious ◽  
Religious Communities ◽  
Literary Genre ◽  
Eastern Region ◽  
Religious Institutions ◽  
Memory Culture

While foundation accounts of medieval religious institutions have been the focus of intense scholarly interest for decades, so far there has been comparatively little interest in how successive versions related to each other in the perception of medieval and early modern observers. This essay considers that question via a case study of three such narratives about the 930s creation of Bouxières Abbey, a convent of women religious in France’s eastern region of Lorraine. At the heart of its argument stands the hypothesis that these conflicting narratives of origins were allowed to coexist in the memory culture of this small convent because they related to different arguments in its identity narrative. As such, it hopes to contribute to an ill-understood aspect of foundation narratives as a literary genre and a memorial practice in religious communities, with particular attention to long-term developments.

scholarly journals Nandhi Kalambagam’s Agam Songs and its Rhetoric

2021 ◽  
Vol 3 (1) ◽  
pp. 247-254
Author(s):  
Suja S
Keyword(s):  
Ninth Century ◽  
Number System ◽  
Literary Genre ◽  
Literary Works ◽  
Literary Style ◽  
College Curriculum ◽  
The Third ◽  
Literary Composition ◽  
System Operating

As a result of the proliferation of Short literary composition genres (Prabandas), various catalog texts (Paattiyal) arose as a continuation of the tradition of finding literature and giving grammar explanations therefor. Panniru Paatiyal, Venpaa Paatiyal, Chidambara Paatiyal, Navaneetha Paatiyal, Prabandha Deepika, Ilakkana vilakkam, Thonnuul vilakkam etc. and even some grammar books that deal with five grammar forms (Ainthilakkanam) are involved in this grammatical endeavor and have given grammar to different numbers of Short Literary Compositions. These numerical differences record the development of the literature as a result of the passage of time. This number extends from 54 to 360. This genre of 96 Short Literary Works can be attributed to the fact that the number system operating in the set tradition is also applied to Short Literary Works and to be a permanent one. The name of the literary genre, Kalambakam, is given in various ways by dividing its name. There are various reasons for the mix of 18 types of elements (15-21), the proliferation of many types of compositions, and the mixing of Agappaadalkal (Agam songs). This can be explained by the fact that the name is derived from a variety of hybrids rather than one character. Nandikkalambakam, the first and foremost of the Kalambaka literatures, was sung with the third Nandi Varman of the Pallava dynasty as the Leader of the song. 25 years Nandi ruled from (847-872) with Kanchi as his capital, the Pallava dynasty and the wars fought to expand the territory of many Nandikalambaka songs.  Although there are some differences in the view of Nandivarman's reign, it is accepted by scholars that he belonged to the ninth century and that Nandi Kalambakam, who led him to the song, and the ninth century. Even though this literature is in our school and college curriculum, its literary style beauty and glossary competency are unknown to the so called scholars too. So this article tries to explain the above said features of the Nandhi Kalambakam.

Moscow: The Third Rome

2021 ◽  
Author(s):  
Nick Mayhew
Keyword(s):  
Early Modern ◽  
19Th Century ◽  
Early Modern Period ◽  
16Th Century ◽  
Human Soul ◽  
The Third ◽  
Modern Period ◽  
Imperial Ideology ◽  
The City ◽  
Modern Russian

In the mid-19th century, three 16th-century Russian sources were published that alluded to Moscow as the “third Rome.” When 19th-century Russian historians discovered these texts, many interpreted them as evidence of an ancient imperial ideology of endless expansion, an ideology that would go on to define Russian foreign policy from the 16th century to the modern day. But what did these 16th-century depictions of Moscow as the third Rome actually have in mind? Did their meaning remain stable or did it change over the course of the early modern period? And how significant were they to early modern Russian imperial ideology more broadly? Scholars have pointed out that one cannot assume that depictions of Moscow as the third Rome were necessarily meant to be imperial celebrations per se. After all, the Muscovites considered that the first Rome fell for various heretical beliefs, in particular that Christ did not possess a human soul, and the second Rome, Constantinople, fell to the Turks in 1453 precisely because it had accepted some of these heretical “Latin” doctrines. As such, the image of Moscow as the third Rome might have marked a celebration of the city as a new imperial center, but it could also allude to Moscow’s duty to protect the “true” Orthodox faith after the fall—actual and theological—of Rome and Constantinople. As time progressed, however, the nuances of religious polemic once captured by the trope were lost. During the 17th and early 18th centuries, the image of Moscow as the third Rome took on a more unequivocally imperialist tone. Nonetheless, it would be easy to overstate the significance of allusions to Moscow as the third Rome to early modern Russian imperial ideology more broadly. Not only was the trope rare and by no means the only imperial comparison to be found in Muscovite literature, it was also ignored by secular authorities and banned by clerics.

Introduction

2017 ◽  
Author(s):  
Tomas Macsotay ◽  
Cornelis van der Haven ◽  
Karel Vanhaesebrouck
Keyword(s):  
Early Modern ◽  
Public Space ◽  
Visual Arts ◽  
Interdisciplinary Research ◽  
Research Agenda ◽  
Institutional Context ◽  
Catholic Priest ◽  
The Third ◽  
Modes Of Representation ◽  
Starting Point

Taking the infamous Theatrum Crudelitatum Haereticorum nostri temporis by the Catholic priest Richard Verstegan as its starting point, this chapter introduces the reader to the over-arching agenda of the book, clearly formulating its interdisciplinary research agenda. The Hurt(ful) Body focuses on both literal and metaphorical violence, performed and depicted in early modern performing and visual arts. Indeed, Theatrum Crudelitatum is a very outspoken example of the issues at stake in this book: the violence inflicted on bodies and the representation of this very same violence, in theatres, in pictures and paintings but also in non-artistic modes of representation. In the introduction, the editors describe the threefold structure of the book. The first part will focus mainly on performing bodies (on stage), whereas the second part will discuss the pain of someone who watches the suffering of others, both in regard to theatre audiences and beholders of art, as well as to the onlooker in art: the theatre character or individual on canvas who is watching a(nother) hurt body. The third and final part will analyse how this circulation of gazes and affects functions within a specific institutional context, paying particular interest to the performative context of public space.

Introduction

2020 ◽  
pp. 1-20
Author(s):  
Lilo Moessner
Keyword(s):  
Early Modern ◽  
Middle English ◽  
Old English ◽  
Research Method ◽  
Computational Analysis ◽  
Close Reading ◽  
Grammatical Category ◽  
Present Book ◽  
History Of ◽  
Historical Periods

This chapter sets the present book off against previous studies about the English subjunctive in the historical periods Old English (OE), Middle English (ME), and Early Modern English (EModE). The aim of the book is described as the first comprehensive and consistent description of the history of the present English subjunctive. The key term subjunctive is defined as a realisation of the grammatical category mood and an expression of the semantic/pragmatic category root modality. The corpus used in the book is part of The Helsinki Corpus of English Texts, comprising nearly half a million words in 91 files. The research method adopted is a combination of close reading and computational analysis.

Simulations and difficult problems

2019 ◽  
Author(s):  
David L Hoover
Keyword(s):  
Early Modern ◽  
Authorship Attribution ◽  
The Third ◽  
Adequate Number ◽  
Uncertain Evidence ◽  
N Gram ◽  
Problematic Situations ◽  
Initial Uncertainty ◽  
Number Of Authors

Abstract An authorship attribution investigation ideally begins with a well-defined set of possible authors and an adequate number of firmly attributed roughly contemporaneous long texts in the same genre by those authors. Many significant or intriguing problems, however, suffer from deficiencies or limitations that reduce the effectiveness or validity of some kinds of analysis and make others impossible. These problematic situations can be approached by creating simulations that are designed to overcome or mitigate the difficulties of the problems. The results of the simulations can be used to suggest at least tentative solutions. Here, simulations are used to investigate four difficult problems. One involves fewer and shorter texts than would be ideal–texts that are also chronologically earlier than the known texts by the target author. The second involves too small a number of well attributed texts by the authors in question, and initial uncertainty about the genres of the texts, the number of authors involved, and their genders. The third is a tricky case of co-authorship with only relatively vague and uncertain evidence about the nature and extent of each author’s contribution; here simulations with sections of well-attributed texts by the two authors are used to test Rolling Classify. The fourth addresses the sparsity of well-attributed and confidently-dated Early Modern plays, using simulations to evaluate Brian Vickers’ rare n-gram approach to the attribution of such plays.

scholarly journals Jesuit Cardinals: An Introduction

2020 ◽  
Vol 7 (4) ◽  
pp. 521-525
Author(s):  
Robert A. Maryks
Keyword(s):  
Early Modern ◽  
Religious Life ◽  
Early Modern Period ◽  
Society Of Jesus ◽  
Modern Period ◽  
Early Twenty ◽  
Ignatius Of Loyola ◽  
Definition Of ◽  
Historical Periods

The strong resistance of Ignatius of Loyola (c.1491–1556), first superior general of the Society of Jesus (1541–56), to the promotion of his confrères to ecclesiastical offices of (arch)bishops and cardinals because such posts were contrary to the spirit of religious life, requires a brief explanation. Ignatius’s opposition was codified in the Jesuit Constitutions with a requirement that each professed Jesuit promise not to accept such dignities. Nonetheless, Loyola and his successors were occasionally pressured to acquiesce to possible papal appointments of different Jesuits to such offices. This issue of the Journal of Jesuit Studies focuses on six of approximately forty-nine cardinals (the definition of Jesuit cardinal can be sometimes tricky for the early modern period). These six represent different historical periods from the late sixteenth until the early twenty-first centuries and different geographical areas, both of origin and of operation (they did not always coincide): Péter Pázmány (1570–1637), Johann Nidhard (1607–81), Giovanni Battista Tolomei (1653–1726), Johann Baptist Franzelin (1816–86), Pietro Boetto (1871–1946), and Adam Kozłowiecki (1911–2007).

The Golden Mirror in the Imperial Court of the Qianlong Emperor, 1739-1742

2003 ◽  
Vol 8 (2) ◽  
pp. 111-147 ◽  
Author(s):  
Marta Hanson
Keyword(s):  
Sixteenth Century ◽  
Early Modern ◽  
Medical Knowledge ◽  
Modern China ◽  
The Third ◽  
Southern Chinese ◽  
Regional Trends ◽  
Imperial Court ◽  
Chinese Scholars ◽  
Qianlong Emperor

AbstractIn the last month of 1739, the third of the Manchu rulers, the Qianlong emperor (r. 1736-1795), ordered the compilation of a treatise on medicine "to rectify medical knowledge" throughout the empire. By the end of 1742, eighty participants chosen from several offices within the palace bureaucracy based in Beijing completed the Golden Mirror of the Orthodox Lineage of Medicine, the only imperially commissioned medical text the Qing government's Imperial Printing Office published. The Golden Mirror represents both the limitations in the power of the Qianlong emperor and the dominance in the Manchu court of Chinese scholarship from the Jiangnan region during the first decade of his reign. Chinese scholars participating in the compilation of the Golden Mirror fashioned a medical orthodoxy for the empire in the mid-eighteenth century from regional trends in scholarship on history and the classics centered in the Jiangnan region since the sixteenth century. The Golden Mirror is an illuminating example of how medical scholars participated in the formation of evidential scholarship in early-modern China and why Manchu patronage, southern Chinese scholarship, and medical orthodoxy coalesced in the imperial court of the Qianlong emperor.

Sign in / Sign up

Export Citation Format

Share Document