Description
Book SynopsisWhat is medieval religious drama, and what function does it serve in negotiating between the domains of theology and popular life? This book aims to answer these questions by studying three sets of these dramas: tenth-century Easter plays, twelfth-century Adam plays, and fifteenth- and sixteenth-century Passion plays.
However, the author's intent is not to present a genre history. Instead, he seeks to mediate between the historical development of the plays and a systematic unfolding of the archetypal structure within which the plays grasp salvation history and act it out. His theoretical approach is grounded in the work of Niklas Luhmann, which strongly emphasizes the priority of social functions over institutional structures.
The book's textual basis is truly Europeanincluding works from Germany, France, England, and Spainand goes beyond literary texts to engage a range of sources from sparsely documented folk rituals to high medieval theology. These sources enable the
Trade Review
"Medievalists in general as well as scholars of drama in particular will find this an important and thought-provoking study that is as relevant now as it was thirty years ago."—Claire Sponsler, University of Iowa
"...A remarkable undertaking."—Comparative Drama
Table of Contents
Foreword Hans Ulrich Gumbrecht; Acknowledgements; Introduction: function and structure; Part I. The End Brought Near: The Liturgical Visitatio Sepulchri and the vernacular Easter plays; 1. Liturgical celebration and allegorization of the mass: the Vistiatio Sepulchri between Kerygma and myth; 2. From the Vistiatio Sepulchri to the Descensus ad Inferos: Jesus' descent into hell as cardinal function; 3. from the Visitatio Sepulchri to the mythical Ostarun: the Marys play as catalyzer; 4. From glad tidings to the Risus Paschalis: the Easter play and ritualistic laughter; Part II. The Inferred Beginning: The Adam Play: 5. The fall in the ambivalence of dramatic and substantial dualism; 6. Figural events in the Locus and archetypal events on the Platea; 7. The play's dualism and dogmatics' exclusions: Anselm of Canterbury's Cur Deus Homo; Part III. The Archaic Middle: The Passion Play: 8. The Passion Play between mythologeme and theologumenon; 9. Jesus as scapegoat I: Compassio and ritual graphicness; 10. Jesus as scapegoat II: typology as desymbolized pseudocommunication; 11. Jesus as scapegoat III: nominalist theater - archaic sacrifice play; Conclusion: 'play' as a class of function equivalents; Afterword; Notes; Bibliography.
