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The Virgin Mary and the Song of Song...

Fulton, Rachel Lee.

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The Virgin Mary and the Song of Songs in the High Middle Ages.

Record Type:	Electronic resources : Monograph/item
Title/Author:	The Virgin Mary and the Song of Songs in the High Middle Ages./
Author:	Fulton, Rachel Lee.
Description:	710 p.
Notes:	Source: Dissertation Abstracts International, Volume: 55-06, Section: A, page: 1656.
Contained By:	Dissertation Abstracts International55-06A.
Subject:	Medieval history. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9427072

The Virgin Mary and the Song of Songs in the High Middle Ages.
Fulton, Rachel Lee.

The Virgin Mary and the Song of Songs in the High Middle Ages. - 710 p.

Source: Dissertation Abstracts International, Volume: 55-06, Section: A, page: 1656.

Thesis (Ph.D.)--Columbia University, 1994.

This dissertation is a study of the Marian use and interpretation of the Song of Songs from its origins in the ninth-century liturgies for the Assumption to its full development in the commentaries of the twelfth and thirteenth centuries. The argument reads as follows. The Latin Fathers Ambrose and Jerome used the occasional verse of the Song in their descriptions of Mary's maternal virginity, but no general Marian application of the Song emerged until the ninth century. By that time, the churches of the Latin West had begun to observe the Eastern feast of the Dormition. Distrust of the apocryphal accounts of Mary's Transitus precluded the use of these narratives as sources for the liturgy (Chapter One). In their stead, antiphons and responsories drawn from the Song told the story of Mary's death and assumption (Chapter Two). Whereas the Carolingian and Anglo-Saxon homilists used the Song to avoid talking about Mary's posthumous fate, twelfth-and thirteenth-century preachers read the Song as a positive proof text for her bodily assumption (Chapter Three). The hymns and poetry written in honor of the Virgin echo the antiphonal drama of the liturgy (Chapter Four). In the commentary tradition prior to the twelfth century, the Song was held to have only allegorical or mystical significance. The Marian liturgical use revealed an historical sense and thereby enabled a reading of the Song as a narrative of the things said and done by the Virgin and Christ. The twelfth-century commentators Honorius Augustodunensis, Rupert of Deutz, Philip of Harvengt, Alan of Lille and William of Newburgh each read the Song as a prophecy of Mary's life from the Annunciation to the Assumption (Chapter Five). By the second half of the twelfth century, the Marian interpretation of the Song had entered the mainstream commentary tradition as one of three primary senses: the ecclesiological, tropological and mariological (Chapter Six).Subjects--Topical Terms:

3173905
Medieval history.

The Virgin Mary and the Song of Songs in the High Middle Ages.
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100 1 $a Fulton, Rachel Lee. $3 3179230
245 1 4 $a The Virgin Mary and the Song of Songs in the High Middle Ages.
300 $a 710 p.
500 $a Source: Dissertation Abstracts International, Volume: 55-06, Section: A, page: 1656.
500 $a Adviser: Caroline Walker Bynum.
502 $a Thesis (Ph.D.)--Columbia University, 1994.
520 $a This dissertation is a study of the Marian use and interpretation of the Song of Songs from its origins in the ninth-century liturgies for the Assumption to its full development in the commentaries of the twelfth and thirteenth centuries. The argument reads as follows. The Latin Fathers Ambrose and Jerome used the occasional verse of the Song in their descriptions of Mary's maternal virginity, but no general Marian application of the Song emerged until the ninth century. By that time, the churches of the Latin West had begun to observe the Eastern feast of the Dormition. Distrust of the apocryphal accounts of Mary's Transitus precluded the use of these narratives as sources for the liturgy (Chapter One). In their stead, antiphons and responsories drawn from the Song told the story of Mary's death and assumption (Chapter Two). Whereas the Carolingian and Anglo-Saxon homilists used the Song to avoid talking about Mary's posthumous fate, twelfth-and thirteenth-century preachers read the Song as a positive proof text for her bodily assumption (Chapter Three). The hymns and poetry written in honor of the Virgin echo the antiphonal drama of the liturgy (Chapter Four). In the commentary tradition prior to the twelfth century, the Song was held to have only allegorical or mystical significance. The Marian liturgical use revealed an historical sense and thereby enabled a reading of the Song as a narrative of the things said and done by the Virgin and Christ. The twelfth-century commentators Honorius Augustodunensis, Rupert of Deutz, Philip of Harvengt, Alan of Lille and William of Newburgh each read the Song as a prophecy of Mary's life from the Annunciation to the Assumption (Chapter Five). By the second half of the twelfth century, the Marian interpretation of the Song had entered the mainstream commentary tradition as one of three primary senses: the ecclesiological, tropological and mariological (Chapter Six).
590 $a School code: 0054.
650 4 $a Medieval history. $3 3173905
650 4 $a Religious history. $3 2122824
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856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9427072