000 04280nam a2200529Ia 4500
001 221972
003 IT-RoAPU
005 20250106150848.0
006 m|||||o||d||||||||
007 cr || ||||||||
008 240426t20181995nyu fo d z eng d
020 _a9781501720697
_qPDF
024 7 _a10.7591/9781501720697
_2doi
035 _a(DE-B1597)9781501720697
035 _a(DE-B1597)514755
035 _a(OCoLC)1083599319
040 _aDE-B1597
_beng
_cDE-B1597
_erda
050 4 _aBS1485.2
_b.A77 1990
072 7 _aLIT011000
_2bisacsh
082 0 4 _a223/.906
_220
084 _aonline - DeGruyter
100 1 _aAstell, Ann W.
_eautore
245 1 4 _aThe Song of Songs in the Middle Ages /
_cAnn W. Astell.
264 1 _aIthaca, NY :
_bCornell University Press,
_c[2018]
264 4 _c©1995
300 _a1 online resource (208 p.)
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tContents --
_tAcknowledgments --
_tAbbreviations --
_tIntroduction --
_t1. The Song of Songs Ad Litteram --
_t2. The Exemplary Bride: Ecclesia and Mary --
_t3. Personal Brideship: The Mystical Treatments --
_t4. Middle English Transitions: The Case of Richard Rolle --
_t5. Mourning and Marriage in Saint Bernard's Sermones and in Pearl --
_t6. Religious Love Lyric and the Feminine "I" --
_t7. Biblical Drama, Devotional Response, and the Feminine "We" --
_tEpilogue --
_tBibliography --
_tIndex
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aIncluded among the sacred books of Judaism and Christianity alike, the Song of Songs does not mention God at all; on the surface it is a lyrical exchange between unnamed lovers who articulate the range of emotions associated with sexual love. Ann W. Astell here examines medieval reader response, both interpretive and imitative, to the Song. Disputing the common view that the literal meaning of Canticles had no value for medieval readers, Astell points to twelfth-century commentaries on the Song, as well as an array of Middle English works, as evidence that the Song's sensuous imagery played an essential part in its tropological appeal.Emphasizing the ways in which a complex fusion of the Song's carnal and spiritual meanings appealed rhetorically to a variety of audiences, Astell first considers interpretive responses to Canticles, contrasting Origen's dialectical exposition with the affective commentaries of the twelfth century—ecclesiastical, Marian, and mystical. According to Astell, these commentaries present Canticles as a marriage song that mirrors a series of analogous marriages, both within the individual and between human and divine persons. Astell describes interpretations of the Song of Songs in terms of the various feminine archetypes that the expositors emphasize—the Virgin, Mother, Hetaira, or Medium. She maintains that the commentat5ors encourage the auditor's identification with the figure of the Bride so as to evoke and direct the feminine, affective powers of the soul. Turning to literature influenced by the Song, she then discusses how the reading process is reinscribed in selected works in Middle English, including Richard Rolle's autobiographical writings, Pearl, religious love lyrics, and cycle dramas.The Song of Songs in the Middle Ages provides an innovative model of reader response that opens the way for a deeper understanding of the literary influence of biblical texts.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2024)
650 0 _aLiterature, Medieval
_xHistory and criticism.
650 4 _aLiterary Studies.
650 4 _aMedieval & Renaissance Studies.
650 4 _aReligious Studies.
650 7 _aLITERARY CRITICISM / Medieval.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.7591/9781501720697
856 4 0 _uhttps://www.degruyter.com/isbn/9781501720697
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9781501720697/original
942 _cEB
999 _c221972
_d221972