Rita Copeland

Rhetoric, hermeneutics, and translation in the Middle Ages : academic traditions and vernacular texts

rhetoric hermeneutics and translation in the middle ages translation played a crucial role in the emergence of vernacular literary culture in the middle ages this is the first book to consider the rise of translation as part of a broader history of critical discourses from classical rome to the late middle ages and as such adds significantly to our understanding of the development of european culture, rhetoric hermeneutics translation cambridge studies in this first book to consider the rise of translation as part of a broader history of critical discourses from classical rome to the late middle ages sheds light on the crucial role of translation in the development of vernacular european culture, project muse rhetoric hermeneutics and translation in rhetoric hermeneutics and translation in the middle ages by rita copeland xiv 295 pp cambridge cambridge university press 1991 64 95 cloth 22 95 paper in this deeply learned book rita copeland studies the history of rhetoric and grammar and their shifting roles in the history of translation commentary and interpretation from classical antiquity through the middle ages, book review rhetoric hermeneutics and translation in philosophy and literature 19 2 1995 413 415 rhetoric hermeneutics and translation in the middle ages by rita copeland xiv 295 pp cambridge cambridge university press 1991 64 95 cloth, rhetoric hermeneutics and translation in the middle ages roman theories of translation the fusion of grammar and rhetoric 2 from antiquity to the middle ages i the place of translation and the value of hermeneutics 3 the rhetorical character of academic commentary 4, rhetoric hermeneutics and translation in the middle ages rhetoric hermeneutics and translation in the middle ages has 6 ratings and 1 review this first book to consider the rise of translation as part of a b, rhetoric hermeneutics and translation in the middle ages roman theories of translation the fusion of grammar and rhetoric from antiquity to the middle ages i the place of translation and the value of hermeneutics the rhetorical character of academic commentary translation and interlingual commentary notker of st gall and the ovide moralis translation and the intralingual reception, cambridge studies in medieval literature rhetoric from antiquity to the middle ages i the place of translation and the value of hermeneutics 3 the rhetorical character of academic commentary 4 translation and interlingual commentary notker of st gall and the ovide moralise 5, pdf rhetoric hermeneutics and translation in the middle for those of you who are confiused to find the book pdf rhetoric hermeneutics and translation in the middle ages academic traditions and vernacular texts cambridge studies in medieval literature download but not yet you get do not worry buddy by sitting at home while playing your laptop can get the book rhetoric hermeneutics and, rita copeland rhetoric hermeneutics and translation in rhetoric hermeneutics and translation in the middle ages academic traditions and vernacular texts author s douglas a kibbee 1 view affiliations hide affiliations rhetoric hermeneutics and translation in the middle ages academic traditions and vernacular texts page 1 of 1 previous page

Pedagogy, intellectuals, and dissent in the later Middle Ages : Lollardy and ideas of learning

Acknowledgments General introduction: pedagogy and intellectuals Part I. From Pedagogies to Hermeneutics: Childhood, the Literal Sense and the Heretical Classroom: Introduction 1. Revaluating the literal sense from antiquity to the Middle Ages 2. Lollardy and the politics of the literal sense Part II. Violent Representations: Intellectuals and Prison Writing: Introduction 3. Richard Wyche and the public record 4. William Thorpe and the historical record Bibliography Index.

Dante and allegory

Since the seminal work of Charles Singleton in the 1950s, the subject of allegory has been at the controversial heart of Dante scholarship. The debate focuses on the Commedia and in particular on the question of whether Dante is there writing an allegory “of theologians,” that is, an imitation of the fourfold model of Scriptural signification, or not. Around this central question several others are arrayed. Is the “letter” of the “holy poem” to be taken as “true” like that of the Bible or as a “beautiful lie”? If the Commedia is modeled on the Bible, does it include all or some of the three allegorical senses (allegorical or Christological; moral or tropological; anagogical or eschatological) attributed to Scripture in the exegetical tradition? Is it more appropriate to talk about the Commedia in terms of allegory per se or rather in those of the typological ordering of Gods two books - the Bible and creation as a whole - sub specie aeternitatis , which provides the ontological and epistemological basis out of which the fourfold scheme is developed? Most of what has been written - far more than can be summarized here - has been aimed at determining the Commedia s intrinsic mode of signification and has consistently begged the question of how Dante might have come to displace into the domain of lay vernacular poetry an exegetical practice designed for exclusive application to Holy Scripture, and what might the wider significance of such an extraordinary displacement have been.

Origen as theorist of allegory: Alexandrian contexts

Within an early Christian context, one finds allegory judged by at least two quite different measures. It is, on the one hand, the powerful engine of Pauline reinterpretation that makes the Hebrew Bible into an “old” testament. On the other, it is a non-literal way of reading that raises a certain anxiety within a set of traditions that at regular intervals insist on different forms of literalism. Both kinds of measures are regularly applied to the vast corpus of Origen (185- c. 254), the formative thinker of early Christian allegorical exegesis. Among the anxieties that his non-literal interpretations have raised is that he too quickly abandons the literal sense of a text and is more informed by the spirit of Platonism than by the Scriptural letter. Frequently we even find him described as if a prior commitment to Platonic philosophy drove his theological enterprise and thus “distorted” his Christian theology, as well as his interpretative practice. This aspect of Origens work highlights the transition of allegory from a pagan practice of interpreting difficult passages in Homer and Hesiod to a foundational piece of an emerging Christian biblical hermeneutics. I would now propose that we think of this consequential relationship between Plato and Origen differently, in nearly opposite fashion: Platonism provided a framework within which Origen could think about the question of how we interpret; and Christian Logos theology, the notion of Christ as the incarnation of the Word, provided a solution to problems left unsolved by Platonism, precisely in that crucial area of epistemological theory, as well.

Renaissance allegory from Petrarch to Spenser

In such a long stretch of time, over 250 years, from roughly the middle of the fourteenth to the end of the sixteenth century, so much happened in allegorical theory and practice that I will have to be very selective, working by example rather than offering a comprehensive picture. I will discuss only heroic poetry with occasional glances at pastoral, the two classical genres commonly associated with allegory. For allegorical interpretation, the objects of study are the Aeneid and the Divina commedia . For allegorical writing, the discussion here will cover Petrarch and Boccaccio, Boiardo, Camoes, Tasso, and Spenser. My approach will be topical. I will begin each topic with Petrarch and Boccaccio, who developed their position out of that created by Dante and his circle, and then proceed to show how later interpreters and poets made significant changes or explored special problems. Petrarch and Boccaccio set the parameters that involve two interlocking concepts and practices. First is the theory and practice of allegory itself and its varieties, the moral-psychological, the historical or euhemeristic, the physical and cosmological; and the second, the consequences of that theory, the varied attempts to control audience response. Part one: The theory and interpretation of allegory Ethical and psychological allegory I begin with some remarks on terminology. The tendency in the fourteenth century was to talk of a literal and an allegorical sense, but the situation was still fluid enough so that other terms could be used as well.

Pathos and Pastoralism: Aristotle's Rhetoric in Medieval England

In 1927 Heidegger claimed that there was hardly a better analysis of the emotions than Aristotles account in book 2 of his Rhetoric. Here I will consider how this pronouncement might have rung true for a fifteenth-century English preacher. My study concerns an unexpected junction of two textual worlds, one ancient and one medieval, all the more surprising because the connection occurs in the mind of a fifteenth-century annotator of a manuscript of Aristotle. The significance of this intersection lies in that vast field that we now call the “history of the emotions.” My argument here will take its departure from a poignant and powerful piece of manuscript evidence that links Aristotles Rhetoric with the poetic effects of Piers Plowman. This evidence opens a window onto what the Rhetoric meant to readers in medieval England and how it was appreciated for its systematic, rhetorical approach to the passions. The Rhetoric could serve as a catalyst acting upon two already familiar discourses, poetry and preaching, to tap their common potential as the key repositories of knowledge about audience emotions.