Understanding Medieval Liturgy: Essays in Interpretation. Edited by Helen Gittos and Sarah Hamilton
Understanding Medieval Liturgy is a volume that I would like to have had at my disposal when as an undergraduate I first explored the intriguing and complex world of medieval liturgy. In the ten chapters collected by Helen Gittos and Sarah Hamilton the point of view of performance, applied to a dive...
| Main Author: | |
|---|---|
| Format: | Electronic Review |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Oxford University Press
2020
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| In: |
The journal of theological studies
Year: 2020, Volume: 71, Issue: 2, Pages: 926-932 |
| Further subjects: | B
Book review
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| Online Access: |
Volltext (kostenfrei) |
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| 520 | |a Understanding Medieval Liturgy is a volume that I would like to have had at my disposal when as an undergraduate I first explored the intriguing and complex world of medieval liturgy. In the ten chapters collected by Helen Gittos and Sarah Hamilton the point of view of performance, applied to a diverse manuscript transmission, aims to replace the predominant focus on fixed text in modern editions. The aim of the volume is to examine concrete and situational rituals in their broader performative context, rather than abstracted texts. As such, the book is an invaluable contribution and will serve new generations of medievalists, who can now no longer claim that medieval liturgy is a technical and hermetic, let alone tedious, discipline. The many detailed and fresh explorations of various kinds of written evidence are immensely helpful also to understand other domains of medieval culture, in terms of contextualizing manuscript evidence and taking into account variance and diversity. In its entirety the volume is first and foremost an extended argument for what I propose to call ‘performative philology’: the craft of interpreting and presenting liturgical textual evidence as part and effectuation of a larger performative context and lived practice. | ||
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