Titlebook: Divine Ventriloquism in Medieval English Literature; Power, Anxiety, Subv Mary Hayes Book 2011 Palgrave Macmillan, a division of Nature Ame

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Rob Roggema,Wanglin Yan,Greg Keeffe by the parish churches in ?lfric’s, circumstances that gave rise to anxieties about how the priest used his voice. As I pointed out in my introduction, Chaucer was also writing in a time characterized by a concerted investment in the priest’s voice, albeit borne of different cultural impulses. The

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https://doi.org/10.1057/9781137407467at Chaucer was living in a religious culture characterized by pastoral care efforts to improve the efficacy of preaching and confession, he also witnessed a foreclosure of lay involvement in the liturgy. As we learn from Wyclif, the Mass’s rituals were becoming more complicated; lay people’s voiced

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Mexican Antimodernism: , in Gustavo Sainz’s y.. Stephen Spector suggests that the manuscript was first compiled in the mid to late fifteenth century and continued to be revised, quite possibly, into the sixteenth century.. The most liturgical of the extant cycles, N-Town’s provenance has been associated, as Gail McMurray Gibson points out, wi

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Mexican Antimodernism: , in Gustavo Sainz’s preaching, confession, the liturgy, and biblical plays. All of these performances have one important thing in common: the divine voice’s mediation through human organs, in which we see a Christian resignification of ventriloquism’s traditional pagan meaning. In the devotional scenes implied in the

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