Legenda aurea latina, elementos apócrifos y tradición catalana

A study on Iacobus de Voragine’s warnings and observations about the apocryphal nature of some narrative elements within his Golden Legend. According to G. P. Maggioni's theory, most of these observations were inserted by Voragine in his second redaction of the work (LA2), and here we analyse to what extent and in what ways they are cited in the Legenda Aurea’s Catalan tradition, taking as the study’s basis the most recent edition of the Latin text (Maggion 2007) and four of the most important manuscripts of the Catalan tradition. We aim to provide new data about the textual history of the Catalan Golden Legend and its Latin model; and also, to find out to what extent the Catalan tradition was concerned with pinpointing its apocryphal material for the audience’s benefit.

Illuminated Caxtons and the Trade in Printed Books

This article suggests that the illuminated initials and borderwork added to ten early printed books in England are attributable to a single illuminator, the ‘Incunables Limner’, an individual for whom there is circumstantial evidence that he specialized in the illumination of printed books. Five of these books are copies of William Caxton’s Golden Legend (Westminster, 1483–84), while the other five are Continental imprints (two from Strasbourg, and one from each of Basel, Verona, and Parma) printed between 1476 and 1484. In addition, a second illuminator can be identified in a sixth copy of Caxton’s Golden Legend, working to the same design as that employed within the five copies decorated by the Incunables Limner. The possibility is considered that books illuminated by the Incunables Limner were products of Caxton’s overseas trade, and that it was through acting in this capacity that the artist’s specialization was viable. The Continental books are explored for what they might imply about Caxton’s wider book-selling strategies, and three with evidence for early English ownership are selected for particular attention.

CONCEPT OF NATIONALISM EMPLOYED IN THE GOLDEN LEGEND BY NADEEM ASLAM

Purpose of the study: The main purpose of this study is to analyze the novel The Golden Legend by Nadeem Aslam in the light of the concept of Nationalism given by Benedict Anderson in Imagined communities. Methodology: The entire data is evaluated by the entire text related to nationalism. This research is based on qualitative research skills. The basic resource of this research is the novel of Nadeem Aslam, named The Golden Legend. Further, the other resources used in this research are the journals or the articles regarding or reflecting the explanation of this novel (The Golden Legend). Main Findings: The findings depict a wonderful series of characters who have humanity in their hearts; they have love and respect for others, either the other person is from their religion or a different one. It is a story of sorrow and the game of religions in the world which is being played under the acts of the political authorities. Applications of this study: This study can be applied to the nationalism literature. Novelty/Originality of this study: The study is one of its kind because, after a careful analysis of the literature available, it is safe to say that no study is done up till now on analyzing the concept of nationalism in the Golden Legend.

1877‒1889

The period from 1877 to 1889 was dominated for Sullivan by his collaboration with W.S. Gilbert, with whom he wrote ten highly successful comic operas on an almost annual basis. He found the partnership increasingly frustrating, if highly lucrative. Away from the theatre, he wrote a dramatic cantata about an early Christian martyr, The Martyr of Antioch (1880), and a sacred cantata, The Golden Legend (1886), based on the poem by Henry Longfellow, which was performed more than any other choral work apart from The Messiah in the closing decade of the nineteenth century. In 1880, Sullivan took up the conductorship of the prestigious Leeds Festival which gave him a chance to conduct significant sacred works, including the first ever complete performance in Britain of Bach’s B Minor Mass over which he took considerable pains. An address on music which he gave in Birmingham in 1888 touches on his own faith and reveals his Biblical knowledge and deep attachment to church music. His own contributions to the Savoy operas on which he collaborated with Gilbert also reveal much about his spirituality.