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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. Chapman, James H. Charlesworth, Kenneth R. Chase, Chen Zemin, Luciano Chianeque, Philip Chia Phin Yin, Francisca H. Chimhanda, Daniel Chiquete, John T. Chirban, Soobin Choi, Robert Choquette, Mita Choudhury, Gerald Christianson, John Chryssavgis, Sejong Chun, Esther Chung-Kim, Charles M. A. Clark, Elizabeth A. Clark, Sathianathan Clarke, Fred Cloud, John B. Cobb, W. Owen Cole, John A Coleman, John J. Collins, Sylvia Collins-Mayo, Paul K. Conkin, Beth A. Conklin, Sean Connolly, Demetrios J. Constantelos, Michael A. Conway, Paula M. Cooey, Austin Cooper, Michael L. Cooper-White, Pamela Cooper-White, L. William Countryman, Sérgio Coutinho, Pamela Couture, Shannon Craigo-Snell, James L. Crenshaw, David Crowner, Humberto Horacio Cucchetti, Lawrence S. Cunningham, Elizabeth Mason Currier, Emmanuel Cutrone, Mary L. Daniel, David D. Daniels, Robert Darden, Rolf Darge, Isaiah Dau, Jeffry C. Davis, Jane Dawson, Valentin Dedji, John W. de Gruchy, Paul DeHart, Wendy J. Deichmann Edwards, Miguel A. De La Torre, George E. Demacopoulos, Thomas de Mayo, Leah DeVun, Beatriz de Vasconcellos Dias, Dennis C. Dickerson, John M. Dillon, Luis Miguel Donatello, Igor Dorfmann-Lazarev, Susanna Drake, Jonathan A. Draper, N. Dreher Martin, Otto Dreydoppel, Angelyn Dries, A. J. Droge, Francis X. D'Sa, Marilyn Dunn, Nicole Wilkinson Duran, Rifaat Ebied, Mark J. Edwards, William H. Edwards, Leonard H. Ehrlich, Nancy L. Eiesland, Martin Elbel, J. Harold Ellens, Stephen Ellingson, Marvin M. Ellison, Robert Ellsberg, Jean Bethke Elshtain, Eldon Jay Epp, Peter C. Erb, Tassilo Erhardt, Maria Erling, Noel Leo Erskine, Gillian R. Evans, Virginia Fabella, Michael A. Fahey, Edward Farley, Margaret A. Farley, Wendy Farley, Robert Fastiggi, Seena Fazel, Duncan S. Ferguson, Helwar Figueroa, Paul Corby Finney, Kyriaki Karidoyanes FitzGerald, Thomas E. FitzGerald, John R. Fitzmier, Marie Therese Flanagan, Sabina Flanagan, Claude Flipo, Ronald B. Flowers, Carole Fontaine, David Ford, Mary Ford, Stephanie A. Ford, Jim Forest, William Franke, Robert M. Franklin, Ruth Franzén, Edward H. Friedman, Samuel Frouisou, Lorelei F. Fuchs, Jojo M. Fung, Inger Furseth, Richard R. Gaillardetz, Brandon Gallaher, China Galland, Mark Galli, Ismael García, Tharscisse Gatwa, Jean-Marie Gaudeul, Luis María Gavilanes del Castillo, Pavel L. Gavrilyuk, Volney P. Gay, Metropolitan Athanasios Geevargis, Kondothra M. George, Mary Gerhart, Simon Gikandi, Maurice Gilbert, Michael J. Gillgannon, Verónica Giménez Beliveau, Terryl Givens, Beth Glazier-McDonald, Philip Gleason, Menghun Goh, Brian Golding, Bishop Hilario M. Gomez, Michelle A. Gonzalez, Donald K. Gorrell, Roy Gottfried, Tamara Grdzelidze, Joel B. Green, Niels Henrik Gregersen, Cristina Grenholm, Herbert Griffiths, Eric W. Gritsch, Erich S. Gruen, Christoffer H. Grundmann, Paul H. Gundani, Jon P. Gunnemann, Petre Guran, Vidar L. Haanes, Jeremiah M. Hackett, Getatchew Haile, Douglas John Hall, Nicholas Hammond, Daphne Hampson, Jehu J. Hanciles, Barry Hankins, Jennifer Haraguchi, Stanley S. Harakas, Anthony John Harding, Conrad L. Harkins, J. William Harmless, Marjory Harper, Amir Harrak, Joel F. Harrington, Mark W. Harris, Susan Ashbrook Harvey, Van A. Harvey, R. Chris Hassel, Jione Havea, Daniel Hawk, Diana L. Hayes, Leslie Hayes, Priscilla Hayner, S. Mark Heim, Simo Heininen, Richard P. Heitzenrater, Eila Helander, David Hempton, Scott H. Hendrix, Jan-Olav Henriksen, Gina Hens-Piazza, Carter Heyward, Nicholas J. Higham, David Hilliard, Norman A. Hjelm, Peter C. Hodgson, Arthur Holder, M. Jan Holton, Dwight N. Hopkins, Ronnie Po-chia Hsia, Po-Ho Huang, James Hudnut-Beumler, Jennifer S. Hughes, Leonard M. Hummel, Mary E. Hunt, Laennec Hurbon, Mark Hutchinson, Susan E. Hylen, Mary Beth Ingham, H. Larry Ingle, Dale T. Irvin, Jon Isaak, Paul John Isaak, Ada María Isasi-Díaz, Hans Raun Iversen, Margaret C. Jacob, Arthur James, Maria Jansdotter-Samuelsson, David Jasper, Werner G. Jeanrond, Renée Jeffery, David Lyle Jeffrey, Theodore W. Jennings, David H. Jensen, Robin Margaret Jensen, David Jobling, Dale A. Johnson, Elizabeth A. Johnson, Maxwell E. Johnson, Sarah Johnson, Mark D. Johnston, F. Stanley Jones, James William Jones, John R. Jones, Alissa Jones Nelson, Inge Jonsson, Jan Joosten, Elizabeth Judd, Mulambya Peggy Kabonde, Robert Kaggwa, Sylvester Kahakwa, Isaac Kalimi, Ogbu U. Kalu, Eunice Kamaara, Wayne C. Kannaday, Musimbi Kanyoro, Veli-Matti Kärkkäinen, Frank Kaufmann, Léon Nguapitshi Kayongo, Richard Kearney, Alice A. Keefe, Ralph Keen, Catherine Keller, Anthony J. Kelly, Karen Kennelly, Kathi Lynn Kern, Fergus Kerr, Edward Kessler, George Kilcourse, Heup Young Kim, Kim Sung-Hae, Kim Yong-Bock, Kim Yung Suk, Richard King, Thomas M. King, Robert M. Kingdon, Ross Kinsler, Hans G. Kippenberg, Cheryl A. Kirk-Duggan, Clifton Kirkpatrick, Leonid Kishkovsky, Nadieszda Kizenko, Jeffrey Klaiber, Hans-Josef Klauck, Sidney Knight, Samuel Kobia, Robert Kolb, Karla Ann Koll, Heikki Kotila, Donald Kraybill, Philip D. W. Krey, Yves Krumenacker, Jeffrey Kah-Jin Kuan, Simanga R. Kumalo, Peter Kuzmic, Simon Shui-Man Kwan, Kwok Pui-lan, André LaCocque, Stephen E. Lahey, John Tsz Pang Lai, Emiel Lamberts, Armando Lampe, Craig Lampe, Beverly J. Lanzetta, Eve LaPlante, Lizette Larson-Miller, Ariel Bybee Laughton, Leonard Lawlor, Bentley Layton, Robin A. Leaver, Karen Lebacqz, Archie Chi Chung Lee, Marilyn J. Legge, Hervé LeGrand, D. L. LeMahieu, Raymond Lemieux, Bill J. Leonard, Ellen M. Leonard, Outi Leppä, Jean Lesaulnier, Nantawan Boonprasat Lewis, Henrietta Leyser, Alexei Lidov, Bernard Lightman, Paul Chang-Ha Lim, Carter Lindberg, Mark R. Lindsay, James R. Linville, James C. Livingston, Ann Loades, David Loades, Jean-Claude Loba-Mkole, Lo Lung Kwong, Wati Longchar, Eleazar López, David W. Lotz, Andrew Louth, Robin W. Lovin, William Luis, Frank D. Macchia, Diarmaid N. J. MacCulloch, Kirk R. MacGregor, Marjory A. MacLean, Donald MacLeod, Tomas S. Maddela, Inge Mager, Laurenti Magesa, David G. Maillu, Fortunato Mallimaci, Philip Mamalakis, Kä Mana, Ukachukwu Chris Manus, Herbert Robinson Marbury, Reuel Norman Marigza, Jacqueline Mariña, Antti Marjanen, Luiz C. L. Marques, Madipoane Masenya (ngwan'a Mphahlele), Caleb J. D. Maskell, Steve Mason, Thomas Massaro, Fernando Matamoros Ponce, András Máté-Tóth, Odair Pedroso Mateus, Dinis Matsolo, Fumitaka Matsuoka, John D'Arcy May, Yelena Mazour-Matusevich, Theodore Mbazumutima, John S. McClure, Christian McConnell, Lee Martin McDonald, Gary B. McGee, Thomas McGowan, Alister E. McGrath, Richard J. McGregor, John A. McGuckin, Maud Burnett McInerney, Elsie Anne McKee, Mary B. McKinley, James F. McMillan, Ernan McMullin, Kathleen E. McVey, M. 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Nicholson, George W. E. Nickelsburg, Tatyana Nikolskaya, Damayanthi M. A. Niles, Bertil Nilsson, Nyambura Njoroge, Fidelis Nkomazana, Mary Beth Norton, Christian Nottmeier, Sonene Nyawo, Anthère Nzabatsinda, Edward T. Oakes, Gerald O'Collins, Daniel O'Connell, David W. Odell-Scott, Mercy Amba Oduyoye, Kathleen O'Grady, Oyeronke Olajubu, Thomas O'Loughlin, Dennis T. Olson, J. Steven O'Malley, Cephas N. Omenyo, Muriel Orevillo-Montenegro, César Augusto Ornellas Ramos, Agbonkhianmeghe E. Orobator, Kenan B. Osborne, Carolyn Osiek, Javier Otaola Montagne, Douglas F. Ottati, Anna May Say Pa, Irina Paert, Jerry G. Pankhurst, Aristotle Papanikolaou, Samuele F. Pardini, Stefano Parenti, Peter Paris, Sung Bae Park, Cristián G. Parker, Raquel Pastor, Joseph Pathrapankal, Daniel Patte, W. Brown Patterson, Clive Pearson, Keith F. Pecklers, Nancy Cardoso Pereira, David Horace Perkins, Pheme Perkins, Edward N. Peters, Rebecca Todd Peters, Bishop Yeznik Petrossian, Raymond Pfister, Peter C. Phan, Isabel Apawo Phiri, William S. F. Pickering, Derrick G. Pitard, William Elvis Plata, Zlatko Plese, John Plummer, James Newton Poling, Ronald Popivchak, Andrew Porter, Ute Possekel, James M. Powell, Enos Das Pradhan, Devadasan Premnath, Jaime Adrían Prieto Valladares, Anne Primavesi, Randall Prior, María Alicia Puente Lutteroth, Eduardo Guzmão Quadros, Albert Rabil, Laurent William Ramambason, Apolonio M. Ranche, Vololona Randriamanantena Andriamitandrina, Lawrence R. Rast, Paul L. Redditt, Adele Reinhartz, Rolf Rendtorff, Pål Repstad, James N. Rhodes, John K. Riches, Joerg Rieger, Sharon H. Ringe, Sandra Rios, Tyler Roberts, David M. Robinson, James M. Robinson, Joanne Maguire Robinson, Richard A. H. Robinson, Roy R. Robson, Jack B. Rogers, Maria Roginska, Sidney Rooy, Rev. Garnett Roper, Maria José Fontelas Rosado-Nunes, Andrew C. Ross, Stefan Rossbach, François Rossier, John D. Roth, John K. Roth, Phillip Rothwell, Richard E. Rubenstein, Rosemary Radford Ruether, Markku Ruotsila, John E. Rybolt, Risto Saarinen, John Saillant, Juan Sanchez, Wagner Lopes Sanchez, Hugo N. Santos, Gerhard Sauter, Gloria L. Schaab, Sandra M. Schneiders, Quentin J. Schultze, Fernando F. Segovia, Turid Karlsen Seim, Carsten Selch Jensen, Alan P. F. Sell, Frank C. Senn, Kent Davis Sensenig, Damían Setton, Bal Krishna Sharma, Carolyn J. Sharp, Thomas Sheehan, N. Gerald Shenk, Christian Sheppard, Charles Sherlock, Tabona Shoko, Walter B. Shurden, Marguerite Shuster, B. Mark Sietsema, Batara Sihombing, Neil Silberman, Clodomiro Siller, Samuel Silva-Gotay, Heikki Silvet, John K. Simmons, Hagith Sivan, James C. Skedros, Abraham Smith, Ashley A. Smith, Ted A. Smith, Daud Soesilo, Pia Søltoft, Choan-Seng (C. S.) Song, Kathryn Spink, Bryan Spinks, Eric O. Springsted, Nicolas Standaert, Brian Stanley, Glen H. Stassen, Karel Steenbrink, Stephen J. Stein, Andrea Sterk, Gregory E. Sterling, Columba Stewart, Jacques Stewart, Robert B. Stewart, Cynthia Stokes Brown, Ken Stone, Anne Stott, Elizabeth Stuart, Monya Stubbs, Marjorie Hewitt Suchocki, David Kwang-sun Suh, Scott W. Sunquist, Keith Suter, Douglas Sweeney, Charles H. Talbert, Shawqi N. Talia, Elsa Tamez, Joseph B. Tamney, Jonathan Y. Tan, Yak-Hwee Tan, Kathryn Tanner, Feiya Tao, Elizabeth S. Tapia, Aquiline Tarimo, Claire Taylor, Mark Lewis Taylor, Bishop Abba Samuel Wolde Tekestebirhan, Eugene TeSelle, M. Thomas Thangaraj, David R. Thomas, Andrew Thornley, Scott Thumma, Marcelo Timotheo da Costa, George E. “Tink” Tinker, Ola Tjørhom, Karen Jo Torjesen, Iain R. Torrance, Fernando Torres-Londoño, Archbishop Demetrios [Trakatellis], Marit Trelstad, Christine Trevett, Phyllis Trible, Johannes Tromp, Paul Turner, Robert G. Tuttle, Archbishop Desmond Tutu, Peter Tyler, Anders Tyrberg, Justin Ukpong, Javier Ulloa, Camillus Umoh, Kristi Upson-Saia, Martina Urban, Monica Uribe, Elochukwu Eugene Uzukwu, Richard Vaggione, Gabriel Vahanian, Paul Valliere, T. J. Van Bavel, Steven Vanderputten, Peter Van der Veer, Huub Van de Sandt, Louis Van Tongeren, Luke A. Veronis, Noel Villalba, Ramón Vinke, Tim Vivian, David Voas, Elena Volkova, Katharina von Kellenbach, Elina Vuola, Timothy Wadkins, Elaine M. Wainwright, Randi Jones Walker, Dewey D. Wallace, Jerry Walls, Michael J. Walsh, Philip Walters, Janet Walton, Jonathan L. Walton, Wang Xiaochao, Patricia A. Ward, David Harrington Watt, Herold D. Weiss, Laurence L. Welborn, Sharon D. Welch, Timothy Wengert, Traci C. West, Merold Westphal, David Wetherell, Barbara Wheeler, Carolinne White, Jean-Paul Wiest, Frans Wijsen, Terry L. Wilder, Felix Wilfred, Rebecca Wilkin, Daniel H. Williams, D. Newell Williams, Michael A. Williams, Vincent L. Wimbush, Gabriele Winkler, Anders Winroth, Lauri Emílio Wirth, James A. Wiseman, Ebba Witt-Brattström, Teofil Wojciechowski, John Wolffe, Kenman L. Wong, Wong Wai Ching, Linda Woodhead, Wendy M. Wright, Rose Wu, Keith E. Yandell, Gale A. 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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‘I Found Space for My Voice’
- Joseph F. Duggan
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- Journal of Anglican Studies / Volume 7 / Issue 1 / May 2009
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- 01 May 2009, pp. 5-11
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The Postcolonial Paradox: Becoming Less than Whole(s) Producing Parts that Exclude Other Parts
- Joseph F. Duggan
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- Journal of Anglican Studies / Volume 7 / Issue 1 / May 2009
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- 01 May 2009, pp. 67-77
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The purpose of this article is to address coexistent Anglican faith identities that have flourished in contexts after the colonial period. Thus far these identities have been treated as differences in viewpoints. Metaphysically speaking member differences are included as ‘parts’ of the one ‘whole’ Body of Christ. Without a postcolonial metaphysical and theological critique that decolonizes the Body of Christ, as the Church, then parts repeatedly seek, to redefine, restore or reform the ‘whole’ to maintain the whole’s coherence and empowering the former part. Ignoring the metaphysical aspect of ecclesial identity postpones the emergence of a postcolonial Anglican Communion where multiple faith identities can coexist.
Screening for depression in hospitalised elderly medical patients
- Barbara Farragher, Margo Wrigley, Orla Donohoe, Joseph Duggan
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- Irish Journal of Psychological Medicine / Volume 13 / Issue 4 / December 1996
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- 13 June 2014, pp. 144-147
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- December 1996
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Objective: The aim of this study was to screen a group of medically ill elderly hospitalised patients for depression and to facilitate this using a new screening questionnaire called the Evans Liverpool Depression Rating Scale (ELDRS).
Method: The questionnaire was administered by a geriatric registrar to a consecutive series of 37 acutely ill elderly medical inpatients admitted to an acute hospital ward. They were subsequently interviewed by a member of the psychiatry of old age team.
Results: Seven of the 37 acutely ill elderly patients admitted to hospital were found to be suffering from a major depressive illness according to DSMIIIR criteria. Of the patients screened, two were already on antidepressant medication. Five of the depressed patients were identified by using the ELDRS. All of the depressed group were judged to require antidepressant medication and two were referred to a psychiatry of old age day hospital.
Conclusions: Our results suggest that there is a raised prevalence of depressive illness in elderly acutely ill medical patients which remains undetected. Use of a screening questionnaire such as the ELDRS would increase the likelihood of its identification in this group.
Notes
- Joseph J. Duggan, University of California, Berkeley
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- The <I>Cantar de mio Cid</I>
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- 28 July 1989, pp 149-156
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9 - Conclusion
- Joseph J. Duggan, University of California, Berkeley
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- The <I>Cantar de mio Cid</I>
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- 28 July 1989, pp 143-148
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Summary
The “best hypothesis” to which this analysis of the Cantar de mio Cid leads is as follows. In the year 1199 or, more likely, 1200, a juglar of the Transierra, active in the valley of the Jalón, familiar with the area circumscribed by San Esteban, Calatayud, Guadalajara, and Medinaceli, and intent on pleasing Alfonso VIII of Castile and his partisans, performed the poem at Ariza or Huerta de Ariza, in the circle of Martín of Finojosa.
The juglar's motives as they can be reconstructed according to this hypothesis were, like those of most poets, complex: they included the wish to entertain, of course, but also the desire to flatter high-ranking members of the audience by evoking the exploits of their ancestors and the misdeeds of their enemy's ancestors. This evocation would have emphasized the solidarity of the Lara clan with the Castilian monarchy by displaying how the renowned Rodrigo Díaz – their kinsman through marriage as well as Alfonso VIII's direct ancestor – had regaled his king with extravagant gifts, and how his legitimacy, called into question by a popular tradition, had been confirmed in a judgment of God.
The jongleur also wanted to present fictional situations that reflected social issues of his day, involving both the political relationships of the Castilian monarchy with the other Christian kingdoms of the Iberian Peninsula and the depiction of economic incentives that would contribute toward reviving interest in the Reconquest after the disastrous experience of the Battle of Alarcos.
The Cantar de mio Cid
- Poetic Creation in its Economic and Social Contexts
- Joseph J. Duggan
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- 28 July 1989
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In this study, Joseph Duggan interprets the Cantar de mio Cid as a work that transmutes moral values first into the economic values of a gift economy, then into genealogical values. Considering the poem's distortions of history more significant than its retention of historical features, Duggan ascribes its depiction of the penurious hero who acquires wealth, power, and kinship alliances to the Castilian monarchy's preoccupations with furthering the victory of Las Navas de Tolosa. He maintains that the Cantar de mio Cid was composed around the year 1200 in substantially the form in which we have it now, in the course of a singer's performance. Arguing against a number of tendencies in Cid scholarship, Professor Duggan denies the necessity of assuming that the poet was a man of learning, that he was directly influenced by French literature, or that he was familiar with written law.
Contents
- Joseph J. Duggan, University of California, Berkeley
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- The <I>Cantar de mio Cid</I>
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- 28 July 1989, pp vii-vii
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3 - Economy and gift-giving
- Joseph J. Duggan, University of California, Berkeley
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- The <I>Cantar de mio Cid</I>
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- 28 July 1989, pp 30-42
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The terms “vassalage” and “feudalism” as they are normally understood are inadequate to encompass dealings between men, and especially between members of the noble classes, as they are represented in the Cantar de mio Cid. Social relationships in the poem are marked by a moral and economic give-and-take that mirrors a particular state of society known as a “gift economy” in which exchanges of money and goods take place continually, but not under conditions that one would normally call “economic” in the modern world. The historian Georges Duby (1973), drawing upon concepts developed by the socio-anthropologist Marcel Mauss (tr. 1954), has interpreted the early economy of medieval Europe as one based on gift-giving. The model he proposes illuminates the meaning of gift-giving and other processes of the eleventh- and twelfth-century Castilian economy as they are found in the poem.
Through conquest and the income from various types of taxes, dues, and rents, nobles of the period were endowed with a quantity of wealth beyond what was needed for their daily sustenance, even granting that they clothed, fed, and equipped themselves on a scale above what was strictly necessary for carrying out the functions of daily life and of warfare. The economic workings of society required that such wealth be passed on to others. Generosity in distributing it was not simply an option open to the powerful: it was an obligation, albeit uncodified and often even unarticulated.
5 - The poet's milieu
- Joseph J. Duggan, University of California, Berkeley
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- The <I>Cantar de mio Cid</I>
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In having the clan of Carrión cast doubt on the noble pedigree of Rodrigo of Vivar, the poet has chosen to give a particular emphasis to the final part of his tale, the section that a listening public or a reader of the manuscript would experience last and go away remembering. Since, as most commentators would now agree, the relationship between the Infantes de Carrión and the Cid's daughters is largely and perhaps entirely fictitious, the afrenta de Corpes, the court scene at Toledo, and the three trials by combat – that is to say almost the entire second half of the poem – must also be fictitious. The confection of those episodes is a key to the poet's purposes. He does what other epic poets composing in the Romance traditions did before him, appropriating the name and some historical details from the life of a figure who has caught the imagination of his compatriots and employing them in his narrative for his own purposes (see Duggan 1985). Those purposes are revealed by the selections that the poet makes in telling his tale.
The primary choice is, of course, that of the principal topic, the rise to power of Rodrigo Díaz of Vivar and his relationship with Alfonso VI.
A second area of choice is found in discrepancies between the poem and what is known about the Cid and his contemporaries from the historical record.
Frontmatter
- Joseph J. Duggan, University of California, Berkeley
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- The <I>Cantar de mio Cid</I>
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4 - Social status, legitimacy, and inherited worth
- Joseph J. Duggan, University of California, Berkeley
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- The <I>Cantar de mio Cid</I>
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- 28 July 1989, pp 43-57
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The relationship between the Cid and the Infantes de Carrión in the poem, totally fictitious from the vantage point of history (Spitzer 1948, Horrent 1973, Chalon 1976, Smith 1980, Lacarra 1980a), may have been conceived in part, as Lacarra has argued cogently (1980a: 137–56), to depict as reprehensible the Beni-Gómez, García Ordóñez, and Alvar Díaz – ancestors of the Castro family, one of the most powerful in the political life of late twelfth- and early thirteenth-century Castile and Leon. Lacarra believes that the force behind this portrayal is the clan that was the Castros' most intense rival, the Laras, one of whose members, the royal tutor Manrique de Lara, was killed by Fernando de Castro in 1164 at the battle of Huete. But the clash between the family of Carrión and the Cid also serves another function in the poem: to provide a context within which a question can be raised and answered concerning the nature of the Cid's descent from Diego Laínez and, concomitantly, his progeny's worthiness to contract marriages with partners of the very highest social rank. This last development may well be motivated by the fact that, as Lacarra has stressed, both the Laras of Molina and Alfonso VIII himself were related to Rodrigo Díaz of Vivar.
The Cid's third judicial demand opens the criminal part of the legal proceedings, occasioning a full-scale controversy about personal status, a subject that the Infantes had raised before.
Index
- Joseph J. Duggan, University of California, Berkeley
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- The <I>Cantar de mio Cid</I>
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- 28 July 1989, pp 168-178
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2 - The acquisition of wealth
- Joseph J. Duggan, University of California, Berkeley
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Summary
The critic who wishes to trace the complete sequence of motivations in the Cantar de mio Cid is at a disadvantage, since the sole surviving poetic manuscript is acephalic, lacking one folio and thus probably about fifty lines of text. To approximate the poet's conception of King Alfonso's intention in proclaiming the exile with which the manuscript opens, one must have recourse to the Crónica de veinte reyes, which contains the prosification whose text is closest to the poem (text in Menéndez Pidal 1954–56,1:1022–4; Dyer 1975 begins her text with the passage corresponding to the inception of the poetic text).
The chronicle relates that Alfonso had sent Rodrigo Diaz of Vivar to Seville and Cordoba to collect the tribute that the kings of those cities owed him annually. While Rodrigo was in the presence of Mutamid, king of Seville, Mudaffar of Granada attacked Mutamid's territory with the aid of several Christian noblemen – all Alfonso's vassals – including Count García Ordóñez, in spite of Rodrigo's warning that he would not permit one of his lord's tributaries to be threatened without retaliation. Rodrigo gathered an army of Christians and Arabs, overcame the invaders at Cabra, and held Mudaffar's Christian allies captive for three days. It was on this occasion that he pulled out a piece of García Ordóñez's beard, an affront of which Rodrigo strategically reminds the count during the court scene at Toledo in the poetic text (11. 3283—90).
Maps
- Joseph J. Duggan, University of California, Berkeley
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- The <I>Cantar de mio Cid</I>
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List of references
- Joseph J. Duggan, University of California, Berkeley
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Dedication
- Joseph J. Duggan, University of California, Berkeley
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8 - Mode of composition
- Joseph J. Duggan, University of California, Berkeley
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Summary
Like the issue of the poet's possible debt to chansons de geste, the manner in which he composed the work is a literary question whose resolution holds the potential of shedding light on the social context in which he moved – but positively rather than negatively. As a prelude to discussing mode of composition, I will take up the matter of the tradition in which he was working and, once again but from a different point of view, the date of the Cantar de mio Cid.
The poem's distortions and outright contradictions of history and its unexpected silences about the attributes and achievements of figures who are known to have acted in history, when coupled with its inclusion of themes that have their greatest relevance at the very end of the twelfth century or the beginning of the thirteenth, accord well with a dating of the extant version to shortly before the year 1207 that is mentioned in its colophon. Was the poem created in that period by a poet who made it up virtually ex nihilo? The presence of a series of names of persons who were the Cid's historical contemporaries creates problems for this hypothesis that are insuperable.
That some of these names were borne by people of relative obscurity who are not mentioned in chronicle treatments of the period increases the probability that the poet derived them from an historical tradition of some kind.
6 - Geography and history
- Joseph J. Duggan, University of California, Berkeley
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Summary
Rodrigo Díaz of Vivar is known to history above all as the man who conquered Valencia. The Cantar de mio Cid includes that feat in its narrative, but recounts the actual conquest in only eleven lines while devoting several hundred to military campaigns that are undocumented in history, or have been displaced from their rightful chronological place in the life of Rodrigo of Vivar, or did not take place at all. None of the historical sources on the Cid's life details the itinerary of his journey into exile, but the Historia Roderici reports that his first destination was Barcelona (Menéndez Pidal 1947,2:923), which would have required him to follow a route leading directly east rather than the south-southeastern trajectory that he takes in the poem (Chalon 1976: 83). See map 1. His activities in the valley of the Henares may reflect a raid he carried out in 1081, that is to say shortly before his first exile, but Jules Horrent has pointed out (1973: 273–4) that according to Rodrigo Jiménez de Rada the valley of the Henares was occupied at the time of the Cid's first exile by troops that Alfonso VI had led into the Moorish kingdom of Toledo. The Cid's stay at El Poyo recalls the period in 1089 when, reconciled with Alfonso VI, he imposed a tribute on the region around Calamocha (see Chalon 1976: 89n, 91, 97).
Acknowledgments
- Joseph J. Duggan, University of California, Berkeley
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- The <I>Cantar de mio Cid</I>
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