Conclusion

2018 ◽  
pp. 221-231
Author(s):  
Susannah Crowder
Keyword(s):  
Fifteenth Century ◽  
Urban Centers ◽  
Joan Of Arc ◽  
Female Performance ◽  
Bodily Practice ◽  
The Church ◽  
Over Time

Although the Catherines and Claude slowly passed from memory, their performances and those of the women around them continued to represent their interests. The book concludes with an integrated portrait of women’s performance in fifteenth-century Metz that emphasises four significant themes: the production of history, collaboration, material and bodily practice, and continuity. The discussion traces interactions among the actions of the Catherines and Claude and explores the echoes of their practices over time. From a Pucelle character in the fifteenth-century Mystère de Saint Clément de Metz to a modern depiction of Joan of Arc at the church of St-Martin, female performance remained relevant to local constructions of identity and history. The section closes by suggesting that Performing women, having transformed female performance from “rare” to representative within Metz, offers a model for discovering the hidden histories of other urban centers and regions.

Performing women

2018 ◽  
Author(s):  
Susannah Crowder
Keyword(s):  
Fifteenth Century ◽  
Young Woman ◽  
Public Culture ◽  
Urban Life ◽  
New Paradigm ◽  
Full Spectrum ◽  
Joan Of Arc ◽  
The Core ◽  
Female Performance ◽  
History Of

Performing women takes on a key problem in the history of drama: the “exceptional” staging of the life of Catherine of Siena by a female actor and a female patron in 1468 Metz. These two creators have remained anonymous, despite the perceived rarity of this familiar episode; this study of their lives and performances brings the elusive figure of the female performer to center stage, however. Beginning with the Catherine of Siena play and broadening outward, Performing women integrates new approaches to drama, gender, and patronage with a performance methodology to trace connections among the activities of the actor, the patron, their female family members, and peers. It shows that the women of fifteenth-century Metz enacted varied kinds of performance that included and extended beyond the theater: decades before the 1468 play, for example, Joan of Arc returned from the grave in the form of a young woman named Claude, who was acknowledged formally in a series of civic ceremonies. This in-depth investigation of the full spectrum of evidence for female performance – drama, liturgy, impersonation, devotional practice, and documentary culture – both creates a unique portrait of the lives of individual women and reveals a framework of ubiquitous female performance. Performing women offers a new paradigm: women forming the core of public culture. Networks of gendered performance offered roles of expansive range and depth to the women of Metz, and positioned them as vital and integral contributors to the fabric of urban life.

The medieval church of Montrose: a place ‘of much antiquity and abundantly populous’

2014 ◽  
Vol 65 (1) ◽  
pp. 13-32 ◽  
Author(s):  
Catriona Anna Gray
Keyword(s):  
Fifteenth Century ◽  
Middle Ages ◽  
Early Date ◽  
Plausible Candidate ◽  
External Evidence ◽  
Medieval Church ◽  
Local Tradition ◽  
The Church

Montrose was one of Scotland's earliest royal burghs, but historians have largely overlooked its parish kirk. A number of fourteenth and fifteenth-century sources indicate that the church of Montrose was an important ecclesiastical centre from an early date. Dedicated to Saints Peter and Paul, by the later middle ages it was a place of pilgrimage linked in local tradition with the cult of Saint Boniface of Rosemarkie. This connection with Boniface appears to have been of long standing, and it is argued that the church of Montrose is a plausible candidate for the lost Egglespether, the ‘church of Peter’, associated with the priory of Restenneth. External evidence from England and Iceland appears to identify Montrose as the seat of a bishop, raising the possibility that it may also have been an ultimately unsuccessful rival for Brechin as the episcopal centre for Angus and the Mearns.

Seven Sacraments Compositions in English Medieval Art

1929 ◽  
Vol 9 (2) ◽  
pp. 83-100 ◽  
Author(s):  
G. McN. Rushforth
Keyword(s):  
Fifteenth Century ◽  
Old Testament ◽  
Religious Art ◽  
Medieval Art ◽  
Christian Art ◽  
The Subject ◽  
Great Tradition ◽  
Speculum Humanae Salvationis ◽  
Church Art ◽  
The Church

Émile Mâle says that medieval Christian art in its last period had lost touch with the great tradition of symbolism which had been so important in the twelfth and thirteenth centuries, and still largely dominated the art of the fourteenth. But there was one great symbolical idea which survived, and that was the harmony of the Old and New Testaments; and so we find among the most popular subjects of fifteenth-century Church art the concordance of the Apostles and Prophets in the Creed, and the series of parallels between the life of Jesus and episodes of Old Testament history, which were summed up and digested in the Biblia Pauperum and the Speculum Humanae Salvationis. The reason for the popularity of these subjects was, no doubt, their didactic value, and though Mâle does not develop this side of the subject, we may say that one, though not the only, characteristic of the religious art of the fifteenth century was that, instead of being symbolical, it became didactic. We find in this period a whole series of subjects which reduced the articles of Christian faith and practice to pictorial form, and seem to have been intended to illustrate the medieval catechism by which the teaching of the Church was imparted.

The Temple Holiday Prokopy Day in Bolshelug Village of the Komi Republic Over Time (Based on Records of the Beginning of the 21st Century)

2021 ◽  
pp. 134-144
Author(s):  
Алексей Николаевич Рассыхаев
Keyword(s):  
21St Century ◽  
Komi Republic ◽  
Reliable Information ◽  
The Village ◽  
The Temple ◽  
The Church ◽  
Over Time ◽  
Ritual Practices ◽  
Oral Stories

В работе на основе полевых материалов начала XXI в. дана характеристика особенностей восприятия храмового праздника - Прокопьева дня (21 июля) в с. Большелуг Республики Коми. В устных рассказах информантов 1920-1960-х гг. наблюдается вариативность в его праздновании. Разнообразятся высказывания относительно количества дней празднования храмового праздника (от двух до четырех), даты начала и конца (от 19 до 24 июля), а также очередности гостевания в селе и ближайших деревнях. В условиях отсутствия достоверной информации о практике празднования Прокопьева дня, сложившейся в селе до 1930-х гг., происходит попытка «приватизировать» престольный праздник и начинают функционировать фольклорные рассказы о некогда обычной практике. Став главным общесельским праздником, Прокопьев день начинает притягивать различные ритуальные практики и обычаи (приметы, запреты и предписания). Данная ситуация развивается на фоне того, что в Большелуге церковь освящена во имя Свт. Николая, чудотворца и архиепископа Мир Ликийских, однако Николин день фольклорной традицией остается практически незамеченным. This paper is based on field materials from the beginning of the 21st century and describes the peculiarities of perception of the temple holiday (khramovoi or prestol’nyi prazdnik) - Prokopy Day (July 21) in the village of Bolshelug in the Komi Republic. Compared to oral stories of the 1920s and 1960s, there are variations in its later celebration. Various statements are made regarding the number of days the holiday is celebrated (from July 19 to 24), as well as the order of visiting in the village and in nearby villages. In the absence of reliable information about the practice of celebrating Prokopy Day which had been established in the village by the 1930s, attempts were made to “privatize” the feast day and to put into practice folkloric descriptions of the once common ritual. Having become the main village holiday, Prokopy Day also began to incorporate various new ritual practices and customs (omens, prohibitions and prescriptions). This process developed against the background of the fact that in Bolshelug the church was consecrated to St. Nicholas the Wonderworker and Archbishop of Myra, although St. Nicholas Day folklore has remained mostly overlooked.

XIV.—On the Roof of the Church of St. Andrew, Mildenhall, Suffolk

Archaeologia ◽  
1895 ◽  
Vol 54 (2) ◽  
pp. 255-266
Author(s):  
J. G. Waller
Keyword(s):  
Fifteenth Century ◽  
The Many ◽  
Early English ◽  
The Church ◽  
Grey Colour

The interior of the beautiful church of Mildenhall in Suffolk is remarkable for its spacious and noble proportions. Its roof of oak must take a chief place amongst the many fine examples in the eastern counties. The chancel is of Early English architecture, but the nave and aisles belong to the fifteenth century. It is to the roof of the latter to which I shall direct your attention. It has never been painted, as was so commonly the practice in the county, and therefore has that grey colour which ensues when no extraneous matter has been applied. The roof of the nave is divided by seven principal beams, supported by spandrels with tracery, with additions sustaining the rafters.

scholarly journals The Politics of Credentials: A Commentary and Critique of the Presbyterian Church in Southern Africa

2018 ◽  
Vol 20 (3) ◽  
pp. 305-327
Author(s):  
Graham A Duncan
Keyword(s):  
Southern Africa ◽  
Research Question ◽  
Primary Sources ◽  
Presbyterian Church ◽  
History Of ◽  
The Church ◽  
Over Time ◽  
Church Tradition

The use of credentials in an ecclesiastical context is a means of assuring that a minister is who he or she claims to be and is therefore trained and qualified to exercise ministry within a particular church tradition as determined by individual denominations. The concept and use of credentials has developed over time. Using primary sources in the main, this article examines the use of credentials as a tool for ‘inclusion’ or a means of ‘exclusion’, or both, in the history of the largest Presbyterian church in Southern Africa and its predecessors. The research question under study is to what degree, if any, were credentials used to control ministers and to cleanse and purify the church of radical – such as anti-apartheid – elements?

Traveling Sets and Ritual Performance

2016 ◽  
Author(s):  
Sherry D. Fowler
Keyword(s):  
Fifteenth Century ◽  
Fourteenth Century ◽  
Thirteenth Century ◽  
Ritual Performance ◽  
Over Time

Two wooden sculpture sets of Six Kannon, the thirteenth-century set from Daihōonji in Kyoto attributed to the artist Higō Jōkei and the fourteenth-century set from Tōmyōji in the Minami Yamashiro district of Kyoto, are well-documented sets that show the history, modifications, and movement of the cult. Copious inscriptions inside images in the respective sets reveal diverse sponsorship, from an elite female patron in the former to a huge group of patrons from a variety of backgrounds in the latter. Extant thirteenth- to fifteenth-century written records on ritual procedures, such as Roku Kannon gōgyōki, which focused on Six Kannon, contribute to the knowledge of how the rituals related to Six Kannon were performed as well as how the Six Kannon functioned in response to different needs, such as assisting with the six paths, protecting the dharma, or bolstering sectarian heritage, throughout their changing circumstances and movement over time.

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