FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W65693208> ?p ?o ?g. }

• W65693208 endingPage "492" @default.
• W65693208 startingPage "478" @default.
• W65693208 abstract "Liturgy and Community in N-Town Passion Play I Victor I. Scherb N-Town Passion Play I telescopes the events of the first half of Holy Week into a powerful dramatic whole. The Holy Week liturgy annually retells the Passion, and in it we find an emotional and devotional parallel to Passion Play I. Eleanor Prosser, Rosemary Woolf, and—most exceptionally—Theresa Coletti have explored the ways in which the playwright (or reviser) deliberately invokes the iconography and ritual of the Eucharist in the Last Supper sequence,1 but other liturgical echoes are also worth our exploration, and many of these work to reinforce the play's Eucharistie and communal emphasis. While the dramatist was not composing a liturgical play, he linked his drama with both the Advent and Holy Week liturgies through verbal echo and structure . By means ofquasi-liturgical moments such as the Prologues, Christ's entry, the lament of the Virgin, and the procession of the apostles, the dramatist could both borrow something of the authority of liturgical ceremonies while at the same time explicating them. In doing this, he gave careful attention to Eucharistie doctrine and ceremonial. The playwright-reviser was able thus to call upon the full evocative and allusive resources of the drama in order that they might point beyond themselves to a higher truth while modeling audience responses and reaffirming some of the central symbols of the medieval community. Liturgical patterns underlie many of the play's scenes, particularly in the sense of repetition which typifies the devotional and meditational nature of many ofPassion Play /'s actions. Like the liturgy itself, the two N-Town Passion plays seem to have been occasional in nature, with one play in the sequence being repeated at yearly intervals.2 The Passion is repeated during Holy Week by the recitation of all four Gospel accounts. Although we find only infrequent verbal echoes, the N-Town dramatist similarly stresses the devotional nature of his material by means oftechniques that it shares with the liturgy: both employ frequent 478 Victor I. Scherb479 pauses, repetitions, significant silences, and variations upon processional movement. These familiar techniques seem to be designed to allow the audience ample time to meditate upon the significance of the action and perhaps also to grasp the mystery that lies behind it. Many of the specific events celebrated in the Holy Week liturgy are enacted in Passion Play I; in fact, the liturgy provides a coherent explanation for the structure of a number of scenes, which differ markedly from those in other English cycles. The liturgy narrates Christ's entry into Jerusalem which it juxtaposes with the Conspiracy on Palm Sunday; it also relates Judas' Betrayal on Monday and Tuesday of Holy Week; the forgiveness of the unnamed woman at Simon the Leper's House on Passion Wednesday and Thursday;3 the washing of the feet and altars on Maundy Thursday; the Feast of the Compassion usually associated with Passion Friday; and the Tenebrae ceremony on Holy Thursday, Good Friday, and Holy Saturday. All of these—along with other elements from the yearly liturgy—are re-arranged and recalled by the dramatist in a compressed and coherent narrative sequence. The reception of the Eucharist had of course become a key moment in the late medieval layman's perception ofthe liturgical year. Most people communicated only once a year, at Easter,4 though at least some people seem to have gone through a second period of shriving in order to receive the sacrament at Corpus Christi.5 Proper preparation was necessary, for the Eucharist was understood to be a source of awesome power and the symbol of more. As Charles Zika has argued, the Host itself had come to take the place of the relic as a repository for the sacred in the thinking oflate medieval men and women.6 According to Mervyn James, the Eucharist and the processions that were associated with it could act as powerful unifying devices, symbolizing the unity which could exist in spite of evident social fragmentation.7 Liturgical and paraliturgical processions could also function to establish social cohesion and delineate the structures of everyday life.8 John Cox, speaking of rogation processions, has..." @default.
• W65693208 created "2016-06-24" @default.
• W65693208 creator A5041223118 @default.
• W65693208 date "1995-01-01" @default.
• W65693208 modified "2023-10-17" @default.
• W65693208 title "Liturgy and Community in N-Town Passion Play I" @default.
• W65693208 cites W1569544970 @default.
• W65693208 cites W193040704 @default.
• W65693208 cites W1992440022 @default.
• W65693208 cites W1996353101 @default.
• W65693208 cites W1999757836 @default.
• W65693208 cites W2015436240 @default.
• W65693208 cites W2016289882 @default.
• W65693208 cites W2020248778 @default.
• W65693208 cites W2020525583 @default.
• W65693208 cites W2050507959 @default.
• W65693208 cites W2055949609 @default.
• W65693208 cites W2071405302 @default.
• W65693208 cites W2074647363 @default.
• W65693208 cites W2224771069 @default.
• W65693208 cites W2323651897 @default.
• W65693208 cites W2796774161 @default.
• W65693208 cites W3157149666 @default.
• W65693208 cites W393809498 @default.
• W65693208 cites W47960323 @default.
• W65693208 cites W48021665 @default.
• W65693208 cites W2499877229 @default.
• W65693208 doi "https://doi.org/10.1353/cdr.1995.0000" @default.
• W65693208 hasPublicationYear "1995" @default.
• W65693208 type Work @default.
• W65693208 sameAs 65693208 @default.
• W65693208 citedByCount "2" @default.
• W65693208 countsByYear W656932082021 @default.
• W65693208 crossrefType "journal-article" @default.
• W65693208 hasAuthorship W65693208A5041223118 @default.
• W65693208 hasConcept C124952713 @default.
• W65693208 hasConcept C138885662 @default.
• W65693208 hasConcept C142362112 @default.
• W65693208 hasConcept C15744967 @default.
• W65693208 hasConcept C27206212 @default.
• W65693208 hasConcept C2776347870 @default.
• W65693208 hasConcept C2777852031 @default.
• W65693208 hasConcept C2778360567 @default.
• W65693208 hasConcept C2778662435 @default.
• W65693208 hasConcept C2779421831 @default.
• W65693208 hasConcept C2780310893 @default.
• W65693208 hasConcept C523419034 @default.
• W65693208 hasConcept C523496792 @default.
• W65693208 hasConcept C542102704 @default.
• W65693208 hasConcept C95457728 @default.
• W65693208 hasConceptScore W65693208C124952713 @default.
• W65693208 hasConceptScore W65693208C138885662 @default.
• W65693208 hasConceptScore W65693208C142362112 @default.
• W65693208 hasConceptScore W65693208C15744967 @default.
• W65693208 hasConceptScore W65693208C27206212 @default.
• W65693208 hasConceptScore W65693208C2776347870 @default.
• W65693208 hasConceptScore W65693208C2777852031 @default.
• W65693208 hasConceptScore W65693208C2778360567 @default.
• W65693208 hasConceptScore W65693208C2778662435 @default.
• W65693208 hasConceptScore W65693208C2779421831 @default.
• W65693208 hasConceptScore W65693208C2780310893 @default.
• W65693208 hasConceptScore W65693208C523419034 @default.
• W65693208 hasConceptScore W65693208C523496792 @default.
• W65693208 hasConceptScore W65693208C542102704 @default.
• W65693208 hasConceptScore W65693208C95457728 @default.
• W65693208 hasIssue "4" @default.
• W65693208 hasLocation W656932081 @default.
• W65693208 hasOpenAccess W65693208 @default.
• W65693208 hasPrimaryLocation W656932081 @default.
• W65693208 hasRelatedWork W2108156287 @default.
• W65693208 hasRelatedWork W2120034433 @default.
• W65693208 hasRelatedWork W2162402094 @default.
• W65693208 hasRelatedWork W2574751693 @default.
• W65693208 hasRelatedWork W2719280216 @default.
• W65693208 hasRelatedWork W2889649462 @default.
• W65693208 hasRelatedWork W3130390008 @default.
• W65693208 hasRelatedWork W4245917649 @default.
• W65693208 hasRelatedWork W65693208 @default.
• W65693208 hasRelatedWork W2512309206 @default.
• W65693208 hasVolume "29" @default.
• W65693208 isParatext "false" @default.
• W65693208 isRetracted "false" @default.
• W65693208 magId "65693208" @default.
• W65693208 workType "article" @default.