Medieval Theory of Authorship

Minnis, Alastair

doi:10.9783/9780812205701

Cited by 135 publications

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“…We remind ourselves that in biblical commentary, the initial ordering texts to hand was called the ordo or forma tractatus; the actual literary treatment or fashioning, the modus or forma tractandi. 39 Given that in our first citation, from Bromyard, the expression tractatus was also used in the open-ended sense of design or treatment (I think for the first time in an English context of writing about art or artists), we should not be dismissive of the cross-over of academic and artistic terminology in such specific cases. In fact they help us, once noticed, not least because they show how practitioners of the visual arts as professionals were engaged in a process of redefinition common to other professions such as law or medicine in this period.…”

Section: Authorshipmentioning

confidence: 97%

Notes on artistic invention in Gothic Europe

Binski¹

2014

Intellectual History Review

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Section: Authorshipmentioning

confidence: 97%

Notes on artistic invention in Gothic Europe

Binski¹

2014

Intellectual History Review

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“…God was deemed the first auctor of the Bible, its "primary efficient cause," whereas its human authors were considered "instrumental efficient causes." 77 This allowed the medieval schoolmen to focus attention on the individual human auctor and his intended meaning, i.e., the "literal sense." The spiritual or "mystical" senses of Scripture, on the other hand, were attributed to the Holy Spirit.…”

Section: In Her Influential Workmentioning

confidence: 99%

“…The spiritual or "mystical" senses of Scripture, on the other hand, were attributed to the Holy Spirit. 78 The implications of these distinctions would emerge in Aquinas' interpretive theory and practice, and would be more fully realized in the literal expositions of Nicholas of Lyra 79trends that postdate Rashi by one to two centuries. Introduction terms of use, available at https://www.cambridge.org/core/terms.…”

Section: In Her Influential Workmentioning

confidence: 99%

Rashi, Biblical Interpretation, and Latin Learning in Medieval Europe

Cohen¹

2021

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The scholarly literature on Rashi's Bible exegesis is vast and will be introduced throughout this study as relevant. For a helpful introductory overview, see Grossman, Rashi, 73-132; Gruber, Rashi on Psalms, 52-75. The precise definition of peshat, as will be seen in this study, is a complex matterdebated through the centuries as well as in modern scholarship. As an initial working definition, the Hebrew/Aramaic term peshat can be rendered the plain sense or plain sense exegesis, though the correspondence is not exact, and this translation does not reflect the fact that various key pashtanim (practitioners of peshat) in the formative medieval period worked with somewhat different conceptions of peshat. See Cohen, "Emergence"; Cohen, Rule of Peshat. In any case, the common translation of peshat as the literal sense, while workable in many cases, is problematic because peshat readings are at times figurative, in accordance with contextual factors. (The term mashma', on the other hand, can be said to connote the literal sense, and Rashi does at times acknowledge its correlation with peshat, as discussed in Chapter 1.) Midrash or derash, which characterizes virtually all rabbinic Bible interpretation, connotes a reading that departs from the plain sense or peshat. Working with the assumption that the biblical text is written as a sort of cipher that hints to its hidden "true" meaning, midrash often violates the rules of grammar and philology, as well as historical-scientific sensibilityall of which guided medieval peshat exegesis. 6 The extensive scholarly literature on the exegetical work of these two key students of Rashi and their students will be introduced in this study as relevant. For a helpful overview, see Grossman, "Literal Exegesis," 346-371. The years of the birth and death of Qara and accompaniment of the Talmud, and his Bible commentary, which displaced midrash as a standard accompaniment of Hebrew Scripture, became a central pillar of the highly influential Rabbinic Bible (Miqra'ot Gedolot)both appearing in publications reprinted and used widely to this day. 7 Even within certain Christian interpretive schools Rashi's Bible commentary would become a key exegetical resource. Christianity traditionally considered the Jews blind to the true, inner, "spiritual" sense of the Law, as they stubbornly adhered to its "letter" and the "carnal" or literal sense of Scripture. Yet a movement emerged in medieval Latin learning that increasingly privileged the literal sense (sensus litteralis), prompting scholars to consult Jewish sources to an extent unprecedented in Christian tradition since Jerome. 8 Most notably, Nicholas of Lyra (d. 1349), considered by many to have been the best-equipped Latin Bible scholar of the Middle Ages, cites Rashi often. 9 Nicholas was following a trend set by earlier medieval Christian Bible scholars, as Rashi's interpretations were evidently utilized extensively by Andrew of St. Victor (c. 1110-1175 10 and Herbert of Bosham (1120-1194); 11 and they may have even been known to Hu...

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“…By naming his witnesses he demonstrates the reliability and authenticity of his text. 64 Eyewitness accounts were regarded as amongst the most trustworthy forms of evidence. 65 Not only does John include Grimbald's special relationship with the king to support his role as teller of the tale, but he also includes that he learnt of these matters in the presence of Abbot Godfrey of Winchcombe.…”

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Henry I's dream in John of Worcester's Chronicle (Oxford, Corpus Christi College, MS 157) and the illustration of twelfth-century English chronicles

Collard

2010

Journal of Medieval History

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Keywords:Chronicle illumination John of Worcester Henry of Huntingdon Dreams of Henry I of England Sun spots Crucifixion Diagrams a b s t r a c t Henry I's four-part dream sequence in John of Worcester's Chronicle is well known to both historians and art historians as a rare but striking historical illustration. This article examines the location of the images within the manuscript itself as well as in the broader context of twelfth-century chronicle illustration. Despite the flourishing of history writing in England, the illumination of such works was rare. In the use of diagrams and narrative scenes, the images found in the Oxford manuscript are amongst the more innovative. Like the near contemporary illuminations in Henry of Huntingdon's Historia Anglorum, the choice of subject and the approach taken, reflect the content of the text itself. It is by locating such manuscripts within the tradition of history-writing and historical illustration that both the inventive and more typical elements become clear.

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Medieval Theory of Authorship

Cited by 135 publications

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Notes on artistic invention in Gothic Europe

Notes on artistic invention in Gothic Europe

Rashi, Biblical Interpretation, and Latin Learning in Medieval Europe

Henry I's dream in John of Worcester's Chronicle (Oxford, Corpus Christi College, MS 157) and the illustration of twelfth-century English chronicles

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