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Divine ventriloquism in medieval English literature[electronic resource] :power, anxiety, subversion /

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
杜威分類號:	820.9/382/0902
書名/作者:	Divine ventriloquism in medieval English literature : power, anxiety, subversion // by Mary Hayes.
作者:	Hayes, Mary,
出版者:	New York : : Palgrave Macmillan,, 2011.
面頁冊數:	1 online resource.
標題:	English literature - History and criticism. - Middle English, 1100-1500
標題:	Christian literature, English (Middle) - History and criticism.
標題:	Ventriloquism - Religious aspects
標題:	Spiritual life in literature.
標題:	Literature.
標題:	LITERARY CRITICISM - European
ISBN:	9780230118737 (electronic bk.)
ISBN:	0230118739 (electronic bk.)
書目註:	Includes bibliographical references.
內容註:	Introduction: Listen Up! * Part I: Fantasies of Power: The Priest's Voice in Anglo-Saxon Literature * The Talking Dead * Christ's Lips Move��Part II: Anxiety and the Priest's Voice The Master's Voice * Cursed Speakers * Part III: Subversion in the Eucharistic Canon * Belly Speech * Playing the Prophet * Resounding Voices��.
摘要、提要註:	This book studies medieval attitudes towards the ventriloquism of God's and Christ's voices through human media. It includes readers, who ventriloquized the divine voice when speaking the words of the Bible; pagan oracles, which become appropriated as organs for the divine voice; priests, who are the designated media for conveying the divine voice in preaching, confessions, and the liturgy; lay speakers, who unlawfully appropriate the clerical voice and, by extension, God's voice, by speaking words that do not pertain to them; bodily sources other than the mouth, such as when a churlish lay person utters divine speech through a fart; and actors on stage, who ventriloquized Christ's words spoken at the Last Supper. Simply put, the essence of each of these ventriloquial acts is that they relocate the voice from its conventional source in the speaker's mouth, in this case, in ore Domini, to a mortal medium. Taken together, these chapters tell a story, one of a progression from an orthodox view of divine vocal power to an anxiety over the authority of the priest's voice to a subversive take on the divine voice that foreshadows Protestant devotion. Although the primary audience for the book will be medievalists, it also makes a contribution to the burgeoning field of the history of the senses, in particular, sound theory, and thus will be helpful to any scholar who studies the voice and vocal performances.
電子資源:	An electronic book accessible through the World Wide Web; click for information

Divine ventriloquism in medieval English literature[electronic resource] :power, anxiety, subversion /
Hayes, Mary,1972-

Divine ventriloquism in medieval English literaturepower, anxiety, subversion /[electronic resource] :by Mary Hayes. - New York :Palgrave Macmillan,2011. - 1 online resource. - The new Middle Ages. - New Middle Ages (Palgrave (Firm)).

Includes bibliographical references.

Introduction: Listen Up! * Part I: Fantasies of Power: The Priest's Voice in Anglo-Saxon Literature * The Talking Dead * Christ's Lips Move�*�Part II: Anxiety and the Priest's Voice * The Master's Voice * Cursed Speakers * Part III: Subversion in the Eucharistic Canon * Belly Speech * Playing the Prophet * Resounding Voices��.

This book studies medieval attitudes towards the ventriloquism of God's and Christ's voices through human media. It includes readers, who ventriloquized the divine voice when speaking the words of the Bible; pagan oracles, which become appropriated as organs for the divine voice; priests, who are the designated media for conveying the divine voice in preaching, confessions, and the liturgy; lay speakers, who unlawfully appropriate the clerical voice and, by extension, God's voice, by speaking words that do not pertain to them; bodily sources other than the mouth, such as when a churlish lay person utters divine speech through a fart; and actors on stage, who ventriloquized Christ's words spoken at the Last Supper. Simply put, the essence of each of these ventriloquial acts is that they relocate the voice from its conventional source in the speaker's mouth, in this case, in ore Domini, to a mortal medium. Taken together, these chapters tell a story, one of a progression from an orthodox view of divine vocal power to an anxiety over the authority of the priest's voice to a subversive take on the divine voice that foreshadows Protestant devotion. Although the primary audience for the book will be medievalists, it also makes a contribution to the burgeoning field of the history of the senses, in particular, sound theory, and thus will be helpful to any scholar who studies the voice and vocal performances.

ISBN: 9780230118737 (electronic bk.)

Source: 525914Palgrave Macmillanhttp://www.palgraveconnect.comSubjects--Topical Terms:

370935
English literature
--History and criticism.--Middle English, 1100-1500Index Terms--Genre/Form:

336502
Electronic books.

LC Class. No.: PR275.R4 / H39 2011

Dewey Class. No.: 820.9/382/0902

Divine ventriloquism in medieval English literature[electronic resource] :power, anxiety, subversion /
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505 0 $a Fantasies of power: the priest's voice in Anglo-Saxon literature -- Anxiety and the priest's voice -- Subversion in the eucharistic canon -- Conclusion. Resounding voices.
520 $a This book studies medieval attitudes towards the ventriloquism of God's and Christ's voices through human media. It includes readers, who ventriloquized the divine voice when speaking the words of the Bible; pagan oracles, which become appropriated as organs for the divine voice; priests, who are the designated media for conveying the divine voice in preaching, confessions, and the liturgy; lay speakers, who unlawfully appropriate the clerical voice and, by extension, God's voice, by speaking words that do not pertain to them; bodily sources other than the mouth, such as when a churlish lay person utters divine speech through a fart; and actors on stage, who ventriloquized Christ's words spoken at the Last Supper. Simply put, the essence of each of these ventriloquial acts is that they relocate the voice from its conventional source in the speaker's mouth, in this case, in ore Domini, to a mortal medium. Taken together, these chapters tell a story, one of a progression from an orthodox view of divine vocal power to an anxiety over the authority of the priest's voice to a subversive take on the divine voice that foreshadows Protestant devotion. Although the primary audience for the book will be medievalists, it also makes a contribution to the burgeoning field of the history of the senses, in particular, sound theory, and thus will be helpful to any scholar who studies the voice and vocal performances.
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