The Golden Legend

Voragine, Jacobus de; Ryan, William G.; Duffy, Eamon

doi:10.1515/9781400842056

Cited by 172 publications

(26 citation statements)

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“…And in likewise it happed him of a mass of gold that he found in this way, which the devil had cast for to deceive him, which he took and cast it into the fire and anon it vanished away. (De Voragine, 2012: n.p. )…”

Section: Grand Plots Of Management Bestsellersmentioning

confidence: 96%

Grand plots of management bestsellers: Learning from narrative and thematic coherence

Kociatkiewicz

Kostera

2016

Management Learning

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Section: Grand Plots Of Management Bestsellersmentioning

confidence: 96%

Grand plots of management bestsellers: Learning from narrative and thematic coherence

Kociatkiewicz

Kostera

2016

Management Learning

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“…Almachius coveted Cecilia's fortune, as the heiress of both her own great house and that of her husband and brother-in-law. 74 He imprisoned her, ordered her to worship stone idols, and interrogated her about her faith; like Beatrice facing the papal interrogators, Cecilia offered eloquent refutations of her jailer's arguments and defended her moral innocence.…”

Section: St Ceciliamentioning

confidence: 99%

‘Corps a corps’: Martyrs, Models, and Myths in Harriet Hosmer's Beatrice Cenci

Gustin¹

2021

Art History

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This essay demonstrates that Harriet Hosmer's Beatrice Cenci (1855–56) not only illustrated a popular literary narrative, but also responded to specific Roman historic, cultural and artistic touchstones as a performance of romanità through visual literacy. It addresses and challenges the accretion of historical myths around Hosmer's sculpture, its models, and its modern interpretations through the written and visual sources available to her in the nineteenth century. I draw attention to the conflation of key historic events in Rome, the execution of Beatrice Cenci, and the production of Stefano Maderno's Saint Cecilia. These narrative parallels and an emphasis on identifiable women's bodies has led to scholarship repeating the rumour of Hosmer's aristocratic model, which I demonstrate is problematic for evidentiary and interpretative reasons. The essay argues that a scholarly emphasis on her biography and psychology as a queer woman has ignored the sophisticated visual and historic citations in her sculpture.

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“…Not being able to enter into a spiritual marriage, Elizabeth maintained her dedication to perpetual chastity by promising to be a chaste widow upon the death of her husband. 108 Yet Erasmus provides evidence that a wife-as-widow should be celibate during marriage.…”

Section:  Unintended Bigamiesmentioning

confidence: 99%

Unintended Bigamies: Holy Widowhood, Marriage, andSponsa Christiin Erasmus'sDe Vidua Christiana

Smith

2017

H. Theolo. Review

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Christ's brides were hell bound by the end of the Middle Ages, when women—in the figure of the witch—were increasingly seen as Satan's spouses. Such is the narrative arc of Dyan Elliott's significant recent study of sponsa Christi (bride of Christ), The Bride of Christ Goes to Hell. Elliott points toward the incarnational logic of Christianity in general and the type of physically immanent bridal mysticism that flourished among late medieval women in particular to locate some of the dynamic forces that helped make possible the theological ideas about witches that flourished from the fifteenth century onward. Elliott has done much to enrich our understanding of the development of an embodied version of the bride of Christ. Medieval and early modern Christianity held out an option, for women at least, to marry Jesus—to become a sponsa Christi—in a literal sense, a form of marriage sustained by such things as legal mechanisms, theological visions, particular emotions, religious rituals, and spiritual practices. But Elliott's argument, stopping as it does right before the tumultuous sixteenth century, lends itself to a reading that the literalized sponsa Christi was bound henceforth to the early modern witch craze. Desiderius Erasmus's 1529 treatise De vidua christiana provides us evidence that the literalized sponsa Christi developed in alternative ways in the early modern period, including the creation of a distinctive vision of the Christian widow who is, at times, bigamous. De vidua, then, can serve as the basis for expanding upon an alternative historical trajectory for the bride of Christ that Elliott mentions in passing in her study.

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The Golden Legend

Cited by 172 publications

References 0 publications

Grand plots of management bestsellers: Learning from narrative and thematic coherence

Grand plots of management bestsellers: Learning from narrative and thematic coherence

‘Corps a corps’: Martyrs, Models, and Myths in Harriet Hosmer's Beatrice Cenci

Unintended Bigamies: Holy Widowhood, Marriage, andSponsa Christiin Erasmus'sDe Vidua Christiana

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