Fees are subject to change. This book is printed on acid-free paper. This is an open access title... more Fees are subject to change. This book is printed on acid-free paper. This is an open access title distributed under the terms of the CC-BY-NC License, which permits any non-commercial use, distribution, and reproduction in any medium, provided the original author(s) and source are credited. An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. More information about the initiative can be found at www.knowledgeunlatched.org.
Bilingual Europe presents to the reader a Europe that for a long time was ‘multilingual’: besides... more Bilingual Europe presents to the reader a Europe that for a long time was ‘multilingual’: besides the vernacular languages Latin played an important role. Even ‘nationalistic’ treatises could be written in Latin. Until deep into the 18th century scientific works were written in it. It is still an official language of the Roman Catholic Church. But why did authors choose for Latin or for their native tongue? In the case of bilingual authors, what made them choose either language, and what implications did that have? What interactions existed between the two? Contributors include Jan Bloemendal, Wiep van Bunge, H. Floris Cohen, Arjan C. van Dixhoorn, Guillaume van Gemert, Joep T. Leerssen, Ingrid Rowland, Arie Schippers, Eva Del Soldato, Demmy Verbeke, Françoise Waquet, and Ari H. Wesseling
De middeleeuwse monnik Nicolaas Clopper mag wel blij zijn met zoveel aandacht voor zijn Wereldkro... more De middeleeuwse monnik Nicolaas Clopper mag wel blij zijn met zoveel aandacht voor zijn Wereldkroniek. En wij zijn dat ook met deze in vele opzichten prachtuitgave. Willem Erven heeft een voortreffelijke prestatie geleverd met zijn editie én met zijn vertaling van gedeelten van de Wereldkroniek, en uiteenlopende wetenschappers hebben aan de inleiding bijgedragen, naast de redacteuren: Ingrid van Neer-Bruggink, Jan Burgers,
Perhaps the most influential of all those included here is the "Challenge Sermon" (ed. Torrance K... more Perhaps the most influential of all those included here is the "Challenge Sermon" (ed. Torrance Kirby) that John Jewel preached in 1560: a denunciation of the "great and evident abuses" that he said overshadowed in the medieval church the meaning of the death of Christ and "the holy mysteries of our salvation" (257). Jewel vowed to yield his opinions only if he could be shown examples in scripture or the primitive church that disproved him. His challenge unleashed a torrent of controversy that lasted for decades. As Morrissey noted in Politics and the Paul's Cross Sermons, by widening divisions in society, Jewel's "Challenge Sermon" absorbed theologians in debate at the same time that it won the laity for Elizabeth's church. Other sermons in this volume are less well known and were preached by men who are now obscure. They include Richard Rex's edition of a Good Friday sermon by Simon Matthew (tentatively dated to 1537) from the only known copy in the State Papers collection of the National Archives in London, and John Copcot's 1584 sermon (ed. P. G. Stanwood) from a manuscript preserved at Lambeth Palace Library. Kirby studied for a second time a 1535 Lenten sermon by Robert Singleton, chaplain to Anne Boleyn, which survives in a unique printed copy in Lincoln Cathedral's Wren Library. It gives a rare glimpse of the evangelical message that the queen endorsed during her brief ascendency. The editors provide each sermon in this volume with its own introduction, apparatus, and notes. Mark Rankin presents two sermons that were preached during the reign of Mary I, both of which deserve the meticulous attention he devotes to them. In one, James Brooks argued in 1553 that the church in England had died, but now, just as Christ raised the daughter of Jarius, so with God's help the church in Queen Mary's day "shal revive" (181). It is difficult to know if the handful of sermons presented here are representative of the many thousands that were delivered at Paul's Cross in the twelve decades that the volume covers. As a miscellany, the editors of the individual sermons have often followed their own conventions, particularly for the notes. The results can be uneven. Nevertheless, Sermons at Paul's Cross provides welcome attention to the political exercise of preaching in Reformation England.
Jan Bloemendal and Nigel Smith, editors. Politics and Aesthetics in European Baroque and Classici... more Jan Bloemendal and Nigel Smith, editors. Politics and Aesthetics in European Baroque and Classicist Tragedy. BRiLL, 2016. 442 pp.TRAGEDY IS ONE OF THE MOST DISTINCTIVE ancient genres, a well-known object of high literary prestige. However, the consensus that surrounds its relevance starts to wane when attempting to come to a definition of the genre itself. Criticism has frequently focused on dissociating the tragic and tragedy as genre (or mode). If somebody, like the two editors of this well-grounded volume, adds furthermore the permeable qualifications Baroque and Classicist to the term tragedy, the challenge is considerable. Nonetheless, the authors in this collection of essays delve forcefully into the intricacies of Baroque and Classicist tragedy with the wish to contribute to the scholarly debate on the use of these terms within the history of drama and theater, and of political theology. The focus lies on the conjoined character of politics and aesthetics, since "tragedy was an 'aesthetic' way of thinking about many things, and it was particularly suited to rumination upon public affairs" (5). This drama, mainly concerned with the well-known theme of exposing the evils of political tyranny, articulated over time more elaborate and sophisticated themes reflecting on sovereignty, religion, authority, righteousness of rebellion, ethical issues, etc. Tragedy, as undeniable part of the public sphere, exposed, supported, or challenged current perspectives and revealed par excellence the power of literature, and particularly of theater.The book's fourteen chapters are organized into four sections, following an impressive introduction by the two editors, Jan Bloemendal and Nigel Smith, that serves to successfully frame the sections against the historical backdrop of tragedy and to clarify the rationale of the volume. It also offers a wealth of relevant bibliography to date. The four parts that constitute the spine of the volume are sovereignty, religion, ethics, and mobility. With this last part, maybe not obvious at a first glance, the book contributes also to the knowledge of cultural migration of literature throughout Europe and engages with the most recent research lines on the transnational transmission of theater. Notwithstanding this formal structure into four thematic blocks, the limits are obviously porous and many of these topics come to the fore in the other parts as well. In this way, we see, for instance, that the contribution on Cicognini (essay 9) is categorized under 'ethics' but also deals with sovereignty and intense cultural exchange, or that religion is strongly present in the essay on French tragedy also placed under ethics (essay 10) or how in essay 11 (theme mobility) the focus lies on plays that concentrate on the overarching trend that increasingly separates political sovereignty from morality.The valuable aspects of this book are manifold. One of the main assets is the focus on the intimate links between tragedy and history and the special attention paid to a field that has received less attention than the treatment of history in contemporary vernacular drama: the rich magnitude of historical themes in Neo-Latin theater. Neo-Latin authors do not merely relate to ancient paradigms, in a form of continuation of the tragic drama, but rather reveal the relevant role of Neo-Latin drama in the development of European drama, showing how the humanist tradition from the Low Countries, for instance, exercised unparalleled influence on other contexts like the German lands. Another relevant aspect is the attention paid to Counter Reformation tragedy, a corpus that has been frequently dismissed in the past, whereas the theatrical repertoire of the Baroque tragedy of Jesuits can be considered as a global phenomenon. Far from offering a monolithic 'success model,' their repertoire displayed an incredible variety of form and contents since they were always open to local traditions and resources (essay 6). …
Fees are subject to change. This book is printed on acid-free paper. This is an open access title... more Fees are subject to change. This book is printed on acid-free paper. This is an open access title distributed under the terms of the CC-BY-NC License, which permits any non-commercial use, distribution, and reproduction in any medium, provided the original author(s) and source are credited. An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. More information about the initiative can be found at www.knowledgeunlatched.org.
Bilingual Europe presents to the reader a Europe that for a long time was ‘multilingual’: besides... more Bilingual Europe presents to the reader a Europe that for a long time was ‘multilingual’: besides the vernacular languages Latin played an important role. Even ‘nationalistic’ treatises could be written in Latin. Until deep into the 18th century scientific works were written in it. It is still an official language of the Roman Catholic Church. But why did authors choose for Latin or for their native tongue? In the case of bilingual authors, what made them choose either language, and what implications did that have? What interactions existed between the two? Contributors include Jan Bloemendal, Wiep van Bunge, H. Floris Cohen, Arjan C. van Dixhoorn, Guillaume van Gemert, Joep T. Leerssen, Ingrid Rowland, Arie Schippers, Eva Del Soldato, Demmy Verbeke, Françoise Waquet, and Ari H. Wesseling
De middeleeuwse monnik Nicolaas Clopper mag wel blij zijn met zoveel aandacht voor zijn Wereldkro... more De middeleeuwse monnik Nicolaas Clopper mag wel blij zijn met zoveel aandacht voor zijn Wereldkroniek. En wij zijn dat ook met deze in vele opzichten prachtuitgave. Willem Erven heeft een voortreffelijke prestatie geleverd met zijn editie én met zijn vertaling van gedeelten van de Wereldkroniek, en uiteenlopende wetenschappers hebben aan de inleiding bijgedragen, naast de redacteuren: Ingrid van Neer-Bruggink, Jan Burgers,
Perhaps the most influential of all those included here is the "Challenge Sermon" (ed. Torrance K... more Perhaps the most influential of all those included here is the "Challenge Sermon" (ed. Torrance Kirby) that John Jewel preached in 1560: a denunciation of the "great and evident abuses" that he said overshadowed in the medieval church the meaning of the death of Christ and "the holy mysteries of our salvation" (257). Jewel vowed to yield his opinions only if he could be shown examples in scripture or the primitive church that disproved him. His challenge unleashed a torrent of controversy that lasted for decades. As Morrissey noted in Politics and the Paul's Cross Sermons, by widening divisions in society, Jewel's "Challenge Sermon" absorbed theologians in debate at the same time that it won the laity for Elizabeth's church. Other sermons in this volume are less well known and were preached by men who are now obscure. They include Richard Rex's edition of a Good Friday sermon by Simon Matthew (tentatively dated to 1537) from the only known copy in the State Papers collection of the National Archives in London, and John Copcot's 1584 sermon (ed. P. G. Stanwood) from a manuscript preserved at Lambeth Palace Library. Kirby studied for a second time a 1535 Lenten sermon by Robert Singleton, chaplain to Anne Boleyn, which survives in a unique printed copy in Lincoln Cathedral's Wren Library. It gives a rare glimpse of the evangelical message that the queen endorsed during her brief ascendency. The editors provide each sermon in this volume with its own introduction, apparatus, and notes. Mark Rankin presents two sermons that were preached during the reign of Mary I, both of which deserve the meticulous attention he devotes to them. In one, James Brooks argued in 1553 that the church in England had died, but now, just as Christ raised the daughter of Jarius, so with God's help the church in Queen Mary's day "shal revive" (181). It is difficult to know if the handful of sermons presented here are representative of the many thousands that were delivered at Paul's Cross in the twelve decades that the volume covers. As a miscellany, the editors of the individual sermons have often followed their own conventions, particularly for the notes. The results can be uneven. Nevertheless, Sermons at Paul's Cross provides welcome attention to the political exercise of preaching in Reformation England.
Jan Bloemendal and Nigel Smith, editors. Politics and Aesthetics in European Baroque and Classici... more Jan Bloemendal and Nigel Smith, editors. Politics and Aesthetics in European Baroque and Classicist Tragedy. BRiLL, 2016. 442 pp.TRAGEDY IS ONE OF THE MOST DISTINCTIVE ancient genres, a well-known object of high literary prestige. However, the consensus that surrounds its relevance starts to wane when attempting to come to a definition of the genre itself. Criticism has frequently focused on dissociating the tragic and tragedy as genre (or mode). If somebody, like the two editors of this well-grounded volume, adds furthermore the permeable qualifications Baroque and Classicist to the term tragedy, the challenge is considerable. Nonetheless, the authors in this collection of essays delve forcefully into the intricacies of Baroque and Classicist tragedy with the wish to contribute to the scholarly debate on the use of these terms within the history of drama and theater, and of political theology. The focus lies on the conjoined character of politics and aesthetics, since "tragedy was an 'aesthetic' way of thinking about many things, and it was particularly suited to rumination upon public affairs" (5). This drama, mainly concerned with the well-known theme of exposing the evils of political tyranny, articulated over time more elaborate and sophisticated themes reflecting on sovereignty, religion, authority, righteousness of rebellion, ethical issues, etc. Tragedy, as undeniable part of the public sphere, exposed, supported, or challenged current perspectives and revealed par excellence the power of literature, and particularly of theater.The book's fourteen chapters are organized into four sections, following an impressive introduction by the two editors, Jan Bloemendal and Nigel Smith, that serves to successfully frame the sections against the historical backdrop of tragedy and to clarify the rationale of the volume. It also offers a wealth of relevant bibliography to date. The four parts that constitute the spine of the volume are sovereignty, religion, ethics, and mobility. With this last part, maybe not obvious at a first glance, the book contributes also to the knowledge of cultural migration of literature throughout Europe and engages with the most recent research lines on the transnational transmission of theater. Notwithstanding this formal structure into four thematic blocks, the limits are obviously porous and many of these topics come to the fore in the other parts as well. In this way, we see, for instance, that the contribution on Cicognini (essay 9) is categorized under 'ethics' but also deals with sovereignty and intense cultural exchange, or that religion is strongly present in the essay on French tragedy also placed under ethics (essay 10) or how in essay 11 (theme mobility) the focus lies on plays that concentrate on the overarching trend that increasingly separates political sovereignty from morality.The valuable aspects of this book are manifold. One of the main assets is the focus on the intimate links between tragedy and history and the special attention paid to a field that has received less attention than the treatment of history in contemporary vernacular drama: the rich magnitude of historical themes in Neo-Latin theater. Neo-Latin authors do not merely relate to ancient paradigms, in a form of continuation of the tragic drama, but rather reveal the relevant role of Neo-Latin drama in the development of European drama, showing how the humanist tradition from the Low Countries, for instance, exercised unparalleled influence on other contexts like the German lands. Another relevant aspect is the attention paid to Counter Reformation tragedy, a corpus that has been frequently dismissed in the past, whereas the theatrical repertoire of the Baroque tragedy of Jesuits can be considered as a global phenomenon. Far from offering a monolithic 'success model,' their repertoire displayed an incredible variety of form and contents since they were always open to local traditions and resources (essay 6). …
Uploads
Papers by Jan Bloemendal