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Prayer in Middle English literature:...

Kinzer, Craig Robert.

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Prayer in Middle English literature: Theology, form, genre.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Prayer in Middle English literature: Theology, form, genre./
Author:	Kinzer, Craig Robert.
Description:	354 p.
Notes:	Adviser: John Ganim.
Contained By:	Dissertation Abstracts International68-06A.
Subject:	Literature, English. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3270439
ISBN:	9780549089513

Prayer in Middle English literature: Theology, form, genre.
Kinzer, Craig Robert.

Prayer in Middle English literature: Theology, form, genre. - 354 p.

Adviser: John Ganim.

Thesis (Ph.D.)--University of California, Riverside, 2007.

This dissertation examines prayers in and as Middle English literature, arguing that a correct understanding of any such prayer must be informed by contexts, among which are the theory of Christian prayer theology, the practical requirements of prayer as devotional type, the high Middle Ages' flowering of devotional forms, and the genre within which a prayer is set. Chapter One traces prayer theology from early formulations through the patristic and medieval periods, examining also practical expectations of prayer, and noting divergences between monastic and lay theory and practice. Chapter Two looks at prayer as one among, and a foundational sub-text of, a variety of new and renewed devotional forms in the high Middle Ages generally and England more locally. Within the contextual frameworks laid out by the first two chapters, Chapter Three reads prayers in dramatic contexts, demonstrating that, operating largely within the accepted constraints of theology, practice, and genre, authors make productive uses of prayers. Chapter Three argues that the authors display an awareness of prayer's performative nature, using this to advantage, the most noteworthy cases occurring as prayer is used to bridge the divide between stage and audience. Chapter Four takes up prayers in and as lyrics, noting again the multiple readings required by the nature of prayer as performative, and finding again the prayers to be largely orthodox and well fit to their contexts. Especially notable in the lyrics are closing prayers, which, though conventional, are often found to be integrated parts of the larger works to which they are attached. It is argued that the best prayers in and as lyrics transcend their immediate contexts and make themselves available to any Christian reader. Chapter Five focuses on prayers within the writings of the Pearl Poet, William Langland, and Geoffrey Chaucer. Choices of genre limit the uses of prayer by these authors, particularly Langland, to a lesser degree the Pearl Poet. While Chaucer does make some extensive uses of prayers---particularly in relation to thorny issues of theology---examined is the fact that these are placed in pagan contexts.

ISBN: 9780549089513Subjects--Topical Terms:

1017709
Literature, English.

Prayer in Middle English literature: Theology, form, genre.
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100 1 $a Kinzer, Craig Robert. $3 1263292
245 1 0 $a Prayer in Middle English literature: Theology, form, genre.
300 $a 354 p.
500 $a Adviser: John Ganim.
500 $a Source: Dissertation Abstracts International, Volume: 68-06, Section: A, page: 2466.
502 $a Thesis (Ph.D.)--University of California, Riverside, 2007.
520 $a This dissertation examines prayers in and as Middle English literature, arguing that a correct understanding of any such prayer must be informed by contexts, among which are the theory of Christian prayer theology, the practical requirements of prayer as devotional type, the high Middle Ages' flowering of devotional forms, and the genre within which a prayer is set. Chapter One traces prayer theology from early formulations through the patristic and medieval periods, examining also practical expectations of prayer, and noting divergences between monastic and lay theory and practice. Chapter Two looks at prayer as one among, and a foundational sub-text of, a variety of new and renewed devotional forms in the high Middle Ages generally and England more locally. Within the contextual frameworks laid out by the first two chapters, Chapter Three reads prayers in dramatic contexts, demonstrating that, operating largely within the accepted constraints of theology, practice, and genre, authors make productive uses of prayers. Chapter Three argues that the authors display an awareness of prayer's performative nature, using this to advantage, the most noteworthy cases occurring as prayer is used to bridge the divide between stage and audience. Chapter Four takes up prayers in and as lyrics, noting again the multiple readings required by the nature of prayer as performative, and finding again the prayers to be largely orthodox and well fit to their contexts. Especially notable in the lyrics are closing prayers, which, though conventional, are often found to be integrated parts of the larger works to which they are attached. It is argued that the best prayers in and as lyrics transcend their immediate contexts and make themselves available to any Christian reader. Chapter Five focuses on prayers within the writings of the Pearl Poet, William Langland, and Geoffrey Chaucer. Choices of genre limit the uses of prayer by these authors, particularly Langland, to a lesser degree the Pearl Poet. While Chaucer does make some extensive uses of prayers---particularly in relation to thorny issues of theology---examined is the fact that these are placed in pagan contexts.
590 $a School code: 0032.
650 4 $a Literature, English. $3 1017709
650 4 $a Literature, Medieval. $3 571675
650 4 $a Theater. $3 522973
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791 $a Ph.D.
792 $a 2007
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3270439