15 results
Materializing Lost Time and Space: Implications for a Transformed Scholarly Agenda
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- By John N. Wall
- Edited by Jim Pearce, North Carolina Central University, Ward J. Risvold, Georgia College & State University
- Edited in association with William Given, University of California, San Diego
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- Book:
- Renaissance Papers 2022
- Published by:
- Boydell & Brewer
- Published online:
- 22 February 2024
- Print publication:
- 28 November 2023, pp 111-131
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Summary
The Virtual St Paul's Cathedral Project (VSPCP) (https://vpcathedral.chass.ncsu.edu/) is a collaborative Digital Humanities Project, supported by the National Endowment for the Humanities, that enables us to explore the lived religion of London in the post-Reformation period. By combining visual and acoustic digital modelling technology with recreations of early modern worship using contemporary musical settings of liturgical texts provided by The Book of Common Prayer, the Cathedral Project gives us access to the experience of specific occasions of worship and preaching in St Paul's Cathedral in early modern London.
The visual models achieve accuracy in their depictions of the buildings and spaces inside Paul's Churchyard by combining data from archaeological excavations of the original foundations left by the Great Fire of London (1666) with seventeenth-century measurements of these buildings’ interior dimensions and surviving visual depictions of the cathedral and its surrounding structures. Unlike many digital recreations of lost spaces which show the structures in pristine condition, our renderings of these models incorporate data about the relative ages of different structures as well as the effects of weather, time- and season-governed angles of light, and effects of acidic coal burned for cooking and heating. Acoustic models combine basic dimensions of the visual models with the acoustic properties of the materials used in their construction. Within these models, the Project brings together literary, religious, musical, and cultural histories of that period to recreate festive and ferial worship services using the liturgies of The Book of Common Prayer and music composed by musicians working at St Paul’s, with actors using scripts in original early modern pronunciation and musicians from Jesus College, Cambridge University standing in for their seventeenth-century predecessors.
An Odd Work of Grace
The Cathedral Project also enables us to take a fresh look at worship and preaching in the early modern period because it gives us the experience of worship and preaching scripted by The Book of Common Prayer as they unfold in real time, moment-by-moment, in models of the places in which it originally occurred. We are reminded, therefore, that the most important official documents of the English Reformation are pragmatic rather than doctrinal, concerned with enabling the organization and scripting of public worship rather than the making of dogmatic statements of belief.
“Love at First Sight”: The Narrator's Perspective in Marlowe's Hero and Leander
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- By John N. Wall
- Southeastern Renaissance Conference
- Edited by Ward J. Risvold, Jim Pearce
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- Book:
- Renaissance Papers 2020
- Published by:
- Boydell & Brewer
- Published online:
- 26 May 2022
- Print publication:
- 20 November 2021, pp 75-94
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Summary
THE narrative voice of Marlowe's Hero and Leander likes to express opinions about the events he recounts in this poem; in so doing, he employs the metaphor of sight for the act of knowing or believing. That is, he delights in telling us how we see things, or how we should see things, or how we are, inevitably, going to see things. The most famous of these opinions is, of course, the opinion he voices in line 176, when he asks “Whoever lov’d that lov’d not at first sight?” Marlowe's particular description of this widely shared experience of finding one's emotional and cognitive worlds suddenly reconfigured when one meets another person for the first time has, of course, become a commonplace. From Shakespeare’s borrowing of Marlowe's line to give Phebe words to articulate her newly discovered feelings for Rosalind in act 3 of As You Like It to Romeo and Juliet's ill-fated embrace of each other to Hippolyta's response to her first sight of a transfigured Bottom, to the lyrics of thousands of pop songs and to the doggerel verse in a million of last February's Valentine's Day cards, the idea that love, true love, love that is real, happens instantly, upon meeting one’s beloved for the first time.
In spite of the narrator's success in convincing many generations of readers that he is correct in his assertion about the beginnings of true love, however, the context in which this line appears in Hero and Leander suggests Marlowe wants us to take a more careful, even cautious, view of the narrator's claims. Line 176 comes, appropriately enough in Marlowe's poem, right after the narrator has described for us Hero's and Leander's first sight of each other, at an annual feast in Sestos, a feast dedicated to Venus's beloved Adonis, and in Venus's temple, where on this feast-day Hero is at work on her day job “sacrificing turtles’ blood” to the Goddess of Love (line 158); there “unhappily, / As after chanc’d, they did each other spy” (lines 133–34). As a result, we are told,
Thence flew Love's arrow with the golden head;
And thus Leander was enamourèd.
“What they are yet I know not”: Speech, Silence, and Meaning in King Lear
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- By John N. Wall
- Edited by Jim Pearce, Ward J. Risvold
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- Book:
- Renaissance Papers 2018
- Published by:
- Boydell & Brewer
- Published online:
- 21 March 2020
- Print publication:
- 15 November 2019, pp 13-30
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Summary
SHAKESPEARE'S King Lear ends oddly. It's not so much what happens that is odd, but what is said. Or, better, what isn't said. The play's action begins in division and winds its way to its inevitable consequences: lots of people die, and Edgar, Kent, and Albany are left to cope with the aftermath. We are used to lots of dead bodies on the stage at the end of Shakespeare's tragedies. And we are also accustomed to there being someone left behind to take over, to restore order, to say the last speech of the play. In Lear, Albany offers this part to Kent and Edgar, but Kent turns it down. Edgar does not reject the role, so we assume he accepts it, and so we reach at least a degree of return to stability at the end of King Lear. So far, so good. But what to me is odd is what happens next. Rather than state clearly his acceptance of authority, Edgar gives us his interpretation of the play's events. Describing the moment as a “sad time,” Edgar calls for us to “Speak what we feel, not what we ought to say” (Lear, 5.3.325).
That's a bit odd for a closing remark, and then things get even stranger because, though Edgar says this is a time to “Speak what we feel, not what we ought to say,” he does not actually use the language of feeling at all. What we get instead at the end of Lear is the language of description, of interpretation, of expectation: Edgar says, “The oldest hath borne most; we that are young / Shall never see so much, nor live so long” (Lear, 5.3.327). And then, still without a word of feeling, Edgar and the rest of the cast, or at least those whose parts in the play have not been killed off, march off the stage to “a dead march,” the slow beat of a drum. We in the audience are left with the bodies, and with the sound of the drum, and with the problem of what to make of what we have witnessed.
The Contested Pliability of Sacred Space in St. Paul's Cathedral and Paul's Churchyard in Early Modern London
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- By John N. Wall, North Carolina State University
- Edited by Jim Pearce, Ward J. Risvold
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- Book:
- Renaissance Papers 2017
- Published by:
- Boydell & Brewer
- Published online:
- 04 April 2019
- Print publication:
- 01 November 2018, pp 1-16
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Summary
As Malcolm Gaskill has recently pointed out, “Teleological narratives suck drama from history, obscuring difficult choices behind final decisions and actions.” Nowhere is this truer than in the recent historiography of the English Reformation. Revisionist historians of the late twentieth century rightly criticized earlier historians for whom the English Reformation developed by design through an ordered process of reform along a “middle way” between Roman Catholicism and Protestantism. Yet revisionists have introduced their own teleological narrative, one in which the Church of England—after an early Lutheran phase—rapidly became Calvinist, for all intents and purposes, and would have shed the inconvenience of its Book of Common Prayer if the book's editor, Thomas Cranmer, had only lived to spearhead a third revision. In this narrative, only Elizabeth I's liturgical conservativism saved any sense of continuity with, or reverence for, England's religious past, or any distinctive features of the emerging religious tradition we now call Anglicanism.
One would think it inevitable that, given the situation of the post-Reformation English Church as a national church, regular attendance to whose services was required by law and baptism into which every child born in England was required by law, there would be a variety of beliefs and styles of practice within it, as well as a variety of interpretations of its beliefs and practices. Milton is surely right that the sixteenth century in English religious life was a period of “conflict and change … of multiple reformations, multiple settlements, and multiple trajectories of religious change.” As a result of this, any concept of a single orthodox identity or teleology of development in the early days of Anglicanism is surely an ex post facto construction by one church party or another seeking authentication for its status in our world as the truly orthodox embodiment of Anglican identity.
A better approach to the question of the origins of Anglican identity might well be to attend to conflict and change, to explore key developments and their interaction over time, rather than seeking a moment of stasis or clarity, and especially to explore the experiences of change in England's religious life, not just their specific textual formulations.
Weed Control, Yield, and Net Returns Using Imazethapyr in Peanuts (Arachis hypogaea L.)
- John W. Wilcut, F. Robert Walls, Jr., David N. Horton
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- Journal:
- Weed Science / Volume 39 / Issue 2 / June 1991
- Published online by Cambridge University Press:
- 12 June 2017, pp. 238-242
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Field experiments were conducted in 1988 and 1989 to evaluate imazethapyr for weed control in peanuts. Imazethapyr was applied PRE or POST at 3, 5, or 7 weeks after crop emergence (WAE) at 0.071 kg ai ha–1. Imazethapyr applied PRE controlled common lambsquarters 85%, prickly sida 92%, and a mixture of entireleaf, ivyleaf, pitted, and tall morningglory species 77%. Morningglory control was at least 91% with imazethapyr plus metolachlor PRE followed by imazethapyr plus 2,4–DB or imazethapyr plus acifluorfen at 3, 5, or 7 WAE. Yields from systems that included metolachlor plus imazethapyr PRE followed by imazethapyr plus acifluorfen, imazethapyr plus 2,4–DB, or acifluorfen plus 2,4–DB at 3 WAE were greater than yields from the handweeded check. All systems with imazethapyr plus metolachlor PRE followed by any POST treatment except imazethapyr plus acifluorfen 7 WAE provided net returns equivalent to the herbicide standard of metolachlor PRE and acifluorfen and bentazon plus 2,4–DB 3 WAE. All systems except imazethapyr PRE provided greater net returns than the handweeded weed–free check.
“You would pluck out the heart of my mystery”: The Audience in Hamlet
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- By John N. Wall
- Edited by Jim Pearce, Ward J. Risvold
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- Book:
- Renaissance Papers 2015
- Published by:
- Boydell & Brewer
- Published online:
- 17 June 2021
- Print publication:
- 01 November 2016, pp 13-24
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Summary
When we think about Shakespeare's plays, we tend to think of them as closed worlds, each one a system of actions and interactions among characters involved in plots that begin, develop, and work their way to their conclusions. So our discussions about what happens in these plays are framed in terms that place the issues of the play and the sources of information needed to resolve those issues within the play itself, or in its originating culture—as phenomena “over there” in the world of the play, very much apart from us, who are “over here,” in our own worlds. This style of consideration is of course exacerbated in conversations among literary scholars because for us Shakespeare's plays are texts that appear to us as black marks on the white pages of scholarly editions.
Recent trends in theatrical performance, however, raise questions about whether this separation between the play—“over there” in its own world—and us—the play's readers or observers, in the case of actual performances—might be an artificial one. I’m thinking of the increasing interest among theater professionals in recovering original styles of performance practices for productions of early modern plays. At London's Globe Theater reconstruction, for example, or at the American Shakespeare Center in Staunton, Virginia, the “house style” of performance deliberately seeks to recreate— and to incorporate into their productions—the conditions of performance in early modern theatres. For productions at the Blackfriars Theatre in Staunton, for example, they “Do It With the Lights On,” while at the Wanamaker Theatre in London performances take place not just in uniform illumination but in a space litonly by candlelight. Less frequent, but in the same spirit of incorporating original theatrical and cultural practices, is the occasional practice of performing early modern drama in “Original Pronunciation,” using the hypothetical reconstruction of early modern London pronunciation devised by the linguist David Crystal.
One characteristic of productions done in the spirit of adopting “original practices” in contemporary performance has been to incorporate into stage productions an aggressive effort to efface the fourth wall that separates the world of the play in performance and the audience assembled to watch it.
Contributors
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- By Mitchell Aboulafia, Frederick Adams, Marilyn McCord Adams, Robert M. Adams, Laird Addis, James W. Allard, David Allison, William P. Alston, Karl Ameriks, C. Anthony Anderson, David Leech Anderson, Lanier Anderson, Roger Ariew, David Armstrong, Denis G. Arnold, E. J. Ashworth, Margaret Atherton, Robin Attfield, Bruce Aune, Edward Wilson Averill, Jody Azzouni, Kent Bach, Andrew Bailey, Lynne Rudder Baker, Thomas R. Baldwin, Jon Barwise, George Bealer, William Bechtel, Lawrence C. Becker, Mark A. Bedau, Ernst Behler, José A. Benardete, Ermanno Bencivenga, Jan Berg, Michael Bergmann, Robert L. Bernasconi, Sven Bernecker, Bernard Berofsky, Rod Bertolet, Charles J. Beyer, Christian Beyer, Joseph Bien, Joseph Bien, Peg Birmingham, Ivan Boh, James Bohman, Daniel Bonevac, Laurence BonJour, William J. Bouwsma, Raymond D. Bradley, Myles Brand, Richard B. Brandt, Michael E. Bratman, Stephen E. Braude, Daniel Breazeale, Angela Breitenbach, Jason Bridges, David O. Brink, Gordon G. Brittan, Justin Broackes, Dan W. Brock, Aaron Bronfman, Jeffrey E. Brower, Bartosz Brozek, Anthony Brueckner, Jeffrey Bub, Lara Buchak, Otavio Bueno, Ann E. Bumpus, Robert W. Burch, John Burgess, Arthur W. Burks, Panayot Butchvarov, Robert E. Butts, Marina Bykova, Patrick Byrne, David Carr, Noël Carroll, Edward S. Casey, Victor Caston, Victor Caston, Albert Casullo, Robert L. Causey, Alan K. L. Chan, Ruth Chang, Deen K. Chatterjee, Andrew Chignell, Roderick M. Chisholm, Kelly J. Clark, E. J. Coffman, Robin Collins, Brian P. Copenhaver, John Corcoran, John Cottingham, Roger Crisp, Frederick J. Crosson, Antonio S. Cua, Phillip D. Cummins, Martin Curd, Adam Cureton, Andrew Cutrofello, Stephen Darwall, Paul Sheldon Davies, Wayne A. Davis, Timothy Joseph Day, Claudio de Almeida, Mario De Caro, Mario De Caro, John Deigh, C. F. Delaney, Daniel C. Dennett, Michael R. DePaul, Michael Detlefsen, Daniel Trent Devereux, Philip E. Devine, John M. Dillon, Martin C. Dillon, Robert DiSalle, Mary Domski, Alan Donagan, Paul Draper, Fred Dretske, Mircea Dumitru, Wilhelm Dupré, Gerald Dworkin, John Earman, Ellery Eells, Catherine Z. Elgin, Berent Enç, Ronald P. Endicott, Edward Erwin, John Etchemendy, C. Stephen Evans, Susan L. Feagin, Solomon Feferman, Richard Feldman, Arthur Fine, Maurice A. Finocchiaro, William FitzPatrick, Richard E. Flathman, Gvozden Flego, Richard Foley, Graeme Forbes, Rainer Forst, Malcolm R. Forster, Daniel Fouke, Patrick Francken, Samuel Freeman, Elizabeth Fricker, Miranda Fricker, Michael Friedman, Michael Fuerstein, Richard A. Fumerton, Alan Gabbey, Pieranna Garavaso, Daniel Garber, Jorge L. A. Garcia, Robert K. Garcia, Don Garrett, Philip Gasper, Gerald Gaus, Berys Gaut, Bernard Gert, Roger F. Gibson, Cody Gilmore, Carl Ginet, Alan H. Goldman, Alvin I. Goldman, Alfonso Gömez-Lobo, Lenn E. Goodman, Robert M. Gordon, Stefan Gosepath, Jorge J. E. Gracia, Daniel W. Graham, George A. Graham, Peter J. Graham, Richard E. Grandy, I. Grattan-Guinness, John Greco, Philip T. Grier, Nicholas Griffin, Nicholas Griffin, David A. Griffiths, Paul J. Griffiths, Stephen R. Grimm, Charles L. Griswold, Charles B. Guignon, Pete A. Y. Gunter, Dimitri Gutas, Gary Gutting, Paul Guyer, Kwame Gyekye, Oscar A. Haac, Raul Hakli, Raul Hakli, Michael Hallett, Edward C. Halper, Jean Hampton, R. James Hankinson, K. R. Hanley, Russell Hardin, Robert M. Harnish, William Harper, David Harrah, Kevin Hart, Ali Hasan, William Hasker, John Haugeland, Roger Hausheer, William Heald, Peter Heath, Richard Heck, John F. Heil, Vincent F. Hendricks, Stephen Hetherington, Francis Heylighen, Kathleen Marie Higgins, Risto Hilpinen, Harold T. Hodes, Joshua Hoffman, Alan Holland, Robert L. Holmes, Richard Holton, Brad W. Hooker, Terence E. Horgan, Tamara Horowitz, Paul Horwich, Vittorio Hösle, Paul Hoβfeld, Daniel Howard-Snyder, Frances Howard-Snyder, Anne Hudson, Deal W. Hudson, Carl A. Huffman, David L. Hull, Patricia Huntington, Thomas Hurka, Paul Hurley, Rosalind Hursthouse, Guillermo Hurtado, Ronald E. Hustwit, Sarah Hutton, Jonathan Jenkins Ichikawa, Harry A. Ide, David Ingram, Philip J. Ivanhoe, Alfred L. Ivry, Frank Jackson, Dale Jacquette, Joseph Jedwab, Richard Jeffrey, David Alan Johnson, Edward Johnson, Mark D. Jordan, Richard Joyce, Hwa Yol Jung, Robert Hillary Kane, Tomis Kapitan, Jacquelyn Ann K. Kegley, James A. Keller, Ralph Kennedy, Sergei Khoruzhii, Jaegwon Kim, Yersu Kim, Nathan L. King, Patricia Kitcher, Peter D. Klein, E. D. Klemke, Virginia Klenk, George L. Kline, Christian Klotz, Simo Knuuttila, Joseph J. Kockelmans, Konstantin Kolenda, Sebastian Tomasz Kołodziejczyk, Isaac Kramnick, Richard Kraut, Fred Kroon, Manfred Kuehn, Steven T. Kuhn, Henry E. Kyburg, John Lachs, Jennifer Lackey, Stephen E. Lahey, Andrea Lavazza, Thomas H. Leahey, Joo Heung Lee, Keith Lehrer, Dorothy Leland, Noah M. Lemos, Ernest LePore, Sarah-Jane Leslie, Isaac Levi, Andrew Levine, Alan E. Lewis, Daniel E. Little, Shu-hsien Liu, Shu-hsien Liu, Alan K. L. Chan, Brian Loar, Lawrence B. Lombard, John Longeway, Dominic McIver Lopes, Michael J. Loux, E. J. Lowe, Steven Luper, Eugene C. Luschei, William G. Lycan, David Lyons, David Macarthur, Danielle Macbeth, Scott MacDonald, Jacob L. Mackey, Louis H. Mackey, Penelope Mackie, Edward H. Madden, Penelope Maddy, G. B. Madison, Bernd Magnus, Pekka Mäkelä, Rudolf A. Makkreel, David Manley, William E. Mann (W.E.M.), Vladimir Marchenkov, Peter Markie, Jean-Pierre Marquis, Ausonio Marras, Mike W. Martin, A. P. Martinich, William L. McBride, David McCabe, Storrs McCall, Hugh J. McCann, Robert N. McCauley, John J. McDermott, Sarah McGrath, Ralph McInerny, Daniel J. McKaughan, Thomas McKay, Michael McKinsey, Brian P. McLaughlin, Ernan McMullin, Anthonie Meijers, Jack W. Meiland, William Jason Melanson, Alfred R. Mele, Joseph R. Mendola, Christopher Menzel, Michael J. Meyer, Christian B. Miller, David W. Miller, Peter Millican, Robert N. Minor, Phillip Mitsis, James A. Montmarquet, Michael S. Moore, Tim Moore, Benjamin Morison, Donald R. Morrison, Stephen J. Morse, Paul K. Moser, Alexander P. D. Mourelatos, Ian Mueller, James Bernard Murphy, Mark C. Murphy, Steven Nadler, Jan Narveson, Alan Nelson, Jerome Neu, Samuel Newlands, Kai Nielsen, Ilkka Niiniluoto, Carlos G. Noreña, Calvin G. Normore, David Fate Norton, Nikolaj Nottelmann, Donald Nute, David S. Oderberg, Steve Odin, Michael O’Rourke, Willard G. Oxtoby, Heinz Paetzold, George S. Pappas, Anthony J. Parel, Lydia Patton, R. P. Peerenboom, Francis Jeffry Pelletier, Adriaan T. Peperzak, Derk Pereboom, Jaroslav Peregrin, Glen Pettigrove, Philip Pettit, Edmund L. Pincoffs, Andrew Pinsent, Robert B. Pippin, Alvin Plantinga, Louis P. Pojman, Richard H. Popkin, John F. Post, Carl J. Posy, William J. Prior, Richard Purtill, Michael Quante, Philip L. Quinn, Philip L. Quinn, Elizabeth S. Radcliffe, Diana Raffman, Gerard Raulet, Stephen L. Read, Andrews Reath, Andrew Reisner, Nicholas Rescher, Henry S. Richardson, Robert C. Richardson, Thomas Ricketts, Wayne D. Riggs, Mark Roberts, Robert C. Roberts, Luke Robinson, Alexander Rosenberg, Gary Rosenkranz, Bernice Glatzer Rosenthal, Adina L. Roskies, William L. Rowe, T. M. Rudavsky, Michael Ruse, Bruce Russell, Lilly-Marlene Russow, Dan Ryder, R. M. Sainsbury, Joseph Salerno, Nathan Salmon, Wesley C. Salmon, Constantine Sandis, David H. Sanford, Marco Santambrogio, David Sapire, Ruth A. Saunders, Geoffrey Sayre-McCord, Charles Sayward, James P. Scanlan, Richard Schacht, Tamar Schapiro, Frederick F. Schmitt, Jerome B. Schneewind, Calvin O. Schrag, Alan D. Schrift, George F. Schumm, Jean-Loup Seban, David N. Sedley, Kenneth Seeskin, Krister Segerberg, Charlene Haddock Seigfried, Dennis M. Senchuk, James F. Sennett, William Lad Sessions, Stewart Shapiro, Tommie Shelby, Donald W. Sherburne, Christopher Shields, Roger A. Shiner, Sydney Shoemaker, Robert K. Shope, Kwong-loi Shun, Wilfried Sieg, A. John Simmons, Robert L. Simon, Marcus G. Singer, Georgette Sinkler, Walter Sinnott-Armstrong, Matti T. Sintonen, Lawrence Sklar, Brian Skyrms, Robert C. Sleigh, Michael Anthony Slote, Hans Sluga, Barry Smith, Michael Smith, Robin Smith, Robert Sokolowski, Robert C. Solomon, Marta Soniewicka, Philip Soper, Ernest Sosa, Nicholas Southwood, Paul Vincent Spade, T. L. S. Sprigge, Eric O. Springsted, George J. Stack, Rebecca Stangl, Jason Stanley, Florian Steinberger, Sören Stenlund, Christopher Stephens, James P. Sterba, Josef Stern, Matthias Steup, M. A. Stewart, Leopold Stubenberg, Edith Dudley Sulla, Frederick Suppe, Jere Paul Surber, David George Sussman, Sigrún Svavarsdóttir, Zeno G. Swijtink, Richard Swinburne, Charles C. Taliaferro, Robert B. Talisse, John Tasioulas, Paul Teller, Larry S. Temkin, Mark Textor, H. S. Thayer, Peter Thielke, Alan Thomas, Amie L. Thomasson, Katherine Thomson-Jones, Joshua C. Thurow, Vzalerie Tiberius, Terrence N. Tice, Paul Tidman, Mark C. Timmons, William Tolhurst, James E. Tomberlin, Rosemarie Tong, Lawrence Torcello, Kelly Trogdon, J. D. Trout, Robert E. Tully, Raimo Tuomela, John Turri, Martin M. Tweedale, Thomas Uebel, Jennifer Uleman, James Van Cleve, Harry van der Linden, Peter van Inwagen, Bryan W. Van Norden, René van Woudenberg, Donald Phillip Verene, Samantha Vice, Thomas Vinci, Donald Wayne Viney, Barbara Von Eckardt, Peter B. M. Vranas, Steven J. Wagner, William J. Wainwright, Paul E. Walker, Robert E. Wall, Craig Walton, Douglas Walton, Eric Watkins, Richard A. Watson, Michael V. Wedin, Rudolph H. Weingartner, Paul Weirich, Paul J. Weithman, Carl Wellman, Howard Wettstein, Samuel C. Wheeler, Stephen A. White, Jennifer Whiting, Edward R. Wierenga, Michael Williams, Fred Wilson, W. Kent Wilson, Kenneth P. Winkler, John F. Wippel, Jan Woleński, Allan B. Wolter, Nicholas P. Wolterstorff, Rega Wood, W. Jay Wood, Paul Woodruff, Alison Wylie, Gideon Yaffe, Takashi Yagisawa, Yutaka Yamamoto, Keith E. Yandell, Xiaomei Yang, Dean Zimmerman, Günter Zoller, Catherine Zuckert, Michael Zuckert, Jack A. Zupko (J.A.Z.)
- Edited by Robert Audi, University of Notre Dame, Indiana
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- Book:
- The Cambridge Dictionary of Philosophy
- Published online:
- 05 August 2015
- Print publication:
- 27 April 2015, pp ix-xxx
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George Herbert’s Incarnational Poetics
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- By John N. Wall
- Edited by Jim Pearce, North Carolina Central University, Joanna Kucinski
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- Book:
- Renaissance Papers 2013
- Published by:
- Boydell & Brewer
- Published online:
- 24 February 2023
- Print publication:
- 01 November 2014, pp 1-16
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Summary
This essay is about some poems by George Herbert, and especially about how the process of reading these poems offers us the opportunity to see the world as opening to us afresh, the closed text opening to new possibilities of meaning both within the text and in the world that surrounds us as we read. These are poems, mostly among those of Herbert’s poems called “shaped verse,” in which the form of the poem is in conversation with the experience of the text as it unfolds in the process of reading. These poems provide a distinctive reading experience, an experience different from the conventional experience of proceeding from letter to word and from word to line, as the poem unfolds from the upper left to the lower right of the poetic form. In these poems, form, visual appearance, and association inform, complicate, and enrich, even transfigure, our meaning-making engagement with the text.
To get to Herbert’s use of language and form in these poems, however, I need to start with bodies, in Latin, with carne, and thus with bodies in Christian doctrine, especially the doctrine of incarnation, or as the Church has put it ever since the Council of Nicaea met in 325 AD, that Jesus Christ, who is “of one substance wyth the Father,” was “incarnate by the Holy Ghoste of the Virgin Mary, And was made man.” This statement describes the figure of Jesus Christ as the embodiment of a bringing together, initiated by God, of two clusters of ideas, of concepts, of conditions, of words, of things. On the one hand there is the divine cluster, associated with the invisible, with spirit, life, breath, creativity, motion, and especially, language, for, in John’s Gospel, it is of course the Word by whom all things were made that “was made flesh, and dwelt among us.” On the other hand there is the human cluster, associated with the visible, with flesh, matter, form, finitude, mortality, and creatureliness. Christ as fully human and fully divine combines these two clusters; as the culmination of a narrative in which God becomes flesh, the invisible now becomes visible, the “unmade” Son becomes incarnate from the Virgin Mary his mother, assumes a human nature, the “unmade” now “made” a man in the person of Jesus, both the biological Son of God and the second person of the Trinity.
The Oxford handbook of the early modern sermon. Edited by Peter McCullough, Hugh Aldington and Emma Rhatigan. Pp. xvi+608 incl. 30 figs. Oxford: Oxford University Press, 2011. £95. 978 0 19 923753 1
- John N. Wall
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- Journal:
- The Journal of Ecclesiastical History / Volume 63 / Issue 3 / July 2012
- Published online by Cambridge University Press:
- 20 June 2012, pp. 617-618
- Print publication:
- July 2012
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Contributors
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- By Rose Teteki Abbey, K. C. Abraham, David Tuesday Adamo, LeRoy H. Aden, Efrain Agosto, Victor Aguilan, Gillian T. W. Ahlgren, Charanjit Kaur AjitSingh, Dorothy B E A Akoto, Giuseppe Alberigo, Daniel E. Albrecht, Ruth Albrecht, Daniel O. Aleshire, Urs Altermatt, Anand Amaladass, Michael Amaladoss, James N. Amanze, Lesley G. Anderson, Thomas C. Anderson, Victor Anderson, Hope S. Antone, María Pilar Aquino, Paula Arai, Victorio Araya Guillén, S. Wesley Ariarajah, Ellen T. Armour, Brett Gregory Armstrong, Atsuhiro Asano, Naim Stifan Ateek, Mahmoud Ayoub, John Alembillah Azumah, Mercedes L. García Bachmann, Irena Backus, J. Wayne Baker, Mieke Bal, Lewis V. Baldwin, William Barbieri, António Barbosa da Silva, David Basinger, Bolaji Olukemi Bateye, Oswald Bayer, Daniel H. Bays, Rosalie Beck, Nancy Elizabeth Bedford, Guy-Thomas Bedouelle, Chorbishop Seely Beggiani, Wolfgang Behringer, Christopher M. Bellitto, Byard Bennett, Harold V. Bennett, Teresa Berger, Miguel A. Bernad, Henley Bernard, Alan E. Bernstein, Jon L. Berquist, Johannes Beutler, Ana María Bidegain, Matthew P. Binkewicz, Jennifer Bird, Joseph Blenkinsopp, Dmytro Bondarenko, Paulo Bonfatti, Riet en Pim Bons-Storm, Jessica A. Boon, Marcus J. Borg, Mark Bosco, Peter C. Bouteneff, François Bovon, William D. Bowman, Paul S. Boyer, David Brakke, Richard E. Brantley, Marcus Braybrooke, Ian Breward, Ênio José da Costa Brito, Jewel Spears Brooker, Johannes Brosseder, Nicholas Canfield Read Brown, Robert F. Brown, Pamela K. Brubaker, Walter Brueggemann, Bishop Colin O. Buchanan, Stanley M. Burgess, Amy Nelson Burnett, J. Patout Burns, David B. Burrell, David Buttrick, James P. Byrd, Lavinia Byrne, Gerado Caetano, Marcos Caldas, Alkiviadis Calivas, William J. Callahan, Salvatore Calomino, Euan K. Cameron, William S. Campbell, Marcelo Ayres Camurça, Daniel F. Caner, Paul E. Capetz, Carlos F. Cardoza-Orlandi, Patrick W. Carey, Barbara Carvill, Hal Cauthron, Subhadra Mitra Channa, Mark D. 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Yee, Viktor Yelensky, Yeo Khiok-Khng, Gustav K. K. Yeung, Angela Yiu, Amos Yong, Yong Ting Jin, You Bin, Youhanna Nessim Youssef, Eliana Yunes, Robert Michael Zaller, Valarie H. Ziegler, Barbara Brown Zikmund, Joyce Ann Zimmerman, Aurora Zlotnik, Zhuo Xinping
- Edited by Daniel Patte, Vanderbilt University, Tennessee
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- The Cambridge Dictionary of Christianity
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- 05 August 2012
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- 20 September 2010, pp xi-xliv
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John Donne and the Practice of Priesthood
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- By John N. Wall
- Edited by Christopher Cobb, North Carolina State University, M. Thomas Hester, North Carolina State University
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- Renaissance Papers 2007
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- Boydell & Brewer
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- 12 September 2012
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- 01 September 2008, pp 1-16
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Summary
DONNE'S sermons—the bulk of his literary production in the final fifteen years of his career—need to be regarded as products of his professional practice as a priest of the Church of England. A sermon is, in part but only in part, an exposition of ideas set within a structure of organization. We expect to find in a sermon by Donne a choice of texts, the employment of interpretive strategies and structures of thought, the organization of ideas into points and sections, the movement from an opening to a conclusion. But preaching also involves performance, which includes scheduling—planning for specific individuals to be present and ready to take their parts in public occasions—and publicity—the informing of the populace that the occasion will occur so that an audience might gather for the performance. It also involves setting, context, timing, and delivery; it involves a mutual contract between a speaker and an audience establishing expectations about what will happen, how people will dress and behave, and what constitutes success.
Any individual sermon is thus one component of an interconnected set of practices and arrangements. To be a professional involves mastery of a body of knowledge; presumably, in the case of a priest, this body of knowledge would include the content of the Bible as well as the Church's theology and history. But it also involves mastery of a set of practices, in Donne's case including the leading of public worship on specific times and occasions and in specific locales constructed for the purpose of such practices.
“That Holy roome”: John Donne and the Conduct of Worship at St. Paul's Cathedral
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- By John N. Wall
- Edited by Christopher Cobb, North Carolina State University, M. Thomas Hester, North Carolina State University
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- Renaissance Papers 2005
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- Boydell & Brewer
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- 12 September 2012
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- 28 April 2006, pp 61-84
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IN his poem “Hymn to God My God in my Sicknesse,” John Donne uses imagery drawn from the realm of the performing arts to articulate the claim that illness can both bring one closer to God and also help one prepare for that encounter. His speaker notes:
SINCE I am comming to that Holy roome,
Where, with thy Quire of Saints for evermore,
I shall be made thy musique; as I come
I tune the Instrument here at the dore,
And what I must doe then, think now before. (1-5)
Donne is of course here drawing on the traditional Christian interpretation of Isaiah 6:3, that in the dwelling place of God angels and archangels continually cry to each other, “Holy, Holy, Holy, is the Lord of hosts”; in other words, that God's kingdom is filled with music, especially singing; and that the song of the angels has a particular and set text. The Church made this text part of the Ordinary, one of the set texts, of the Mass, to become known from its opening word in Latin as the Sanctus. The Church of England preserved this tradition in its reformed Book of Common Prayer by continuing the medieval church's practice of including the angels' song as part of its Eucharistic liturgy.
Making a connection between music and the Final Things of human experience is not an unfamiliar move in Donne's work, especially in his sermons.
Crashaw, Catholicism, and Englishness: Defining Religious Identity
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- By John N. Wall
- Edited by Christopher Cobb, North Carolina State University, M. Thomas Hester, North Carolina State University
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- Renaissance Papers 2004
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- Boydell & Brewer
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- 12 September 2012
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- 01 April 2005, pp 107-126
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The current consensus on the early seventeenth-century English poet Richard Crashaw can best be summarized in the language of the Norton Anthology of English Literature, reading from the first volume of the seventh (and current) edition:
Crashaw differs greatly from Herbert and from every other English religious poet of the period in religious and aesthetic sensibility. He converted to Roman Catholicism and was deeply committed to its rituals and devotions. Also, he is the only major English poet in the tradition of the continental baroque, influenced by the poetics of the Catholic Counter-Reformation.
Central to this characterization are of course two points: one, that Crashaw is unique among writers of this period in his “religious and aesthetic sensibility,” and two, that his uniqueness is related to his conversion to Roman Catholicism, which, through his deep “commitment to its rituals and devotions,” served as the source of inspiration for his “religious and aesthetic sensibility.” In the words of the Norton Anthology, again, “Crashaw's favorite subjects are the baroque artist's favorites [and] Crashaw's attraction to Roman Catholicism was a natural expression of his temperament.”
William Flesch. Generosity and the Limits of Authority: Shakespeare, Herbert, Milton. Ithaca, NY: Cornell University Press, 1992. xiv + 228 pp. $35.95. - Christopher Hodgkins, Authority, Church, and Society in George Herbert: Return to the Middle Way. Columbia, MO: University of Missouri Press, 1993. xiv + 232 pp. $39.95.
- John N. Wall
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- Renaissance Quarterly / Volume 49 / Issue 1 / Spring 1996
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- 20 November 2018, pp. 151-154
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- Spring 1996
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Certain Sermons or Homilies (1547) and A Homily against Disobedience and Wilful Rebellion (1570): A Critical Edition. Ed. Ronald B. Bond. Toronto-Buffalo-London: University of Toronto Press, 1987. xii + 269 pp. $35.
- John N. Wall
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- Renaissance Quarterly / Volume 41 / Issue 4 / Winter 1988
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- 20 November 2018, pp. 740-742
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- Winter 1988
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