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Divine ventriloquism in medieval English literature = power, anxiety, subversion /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Divine ventriloquism in medieval English literature/ by Mary Hayes.
Reminder of title:	power, anxiety, subversion /
Author:	Hayes, Mary,
Published:	New York :Palgrave Macmillan, : 2011.,
Description:	1 online resource.
Subject:	English literature - History and criticism. - Middle English, 1100-1500 -
Online resource:	An electronic book accessible through the World Wide Web; click for information
ISBN:	9780230118737 (electronic bk.)

Divine ventriloquism in medieval English literature = power, anxiety, subversion /
Hayes, Mary,1972-

Divine ventriloquism in medieval English literaturepower, anxiety, subversion /[electronic resource] :by Mary Hayes. - New York :Palgrave Macmillan,2011. - 1 online resource. - The new Middle Ages. - New Middle Ages (Palgrave (Firm)).

Includes bibliographical references.

Introduction: Listen Up! * Part I: Fantasies of Power: The Priest's Voice in Anglo-Saxon Literature * The Talking Dead * Christ's Lips Move€*€Part II: Anxiety and the Priest's Voice * The Master's Voice * Cursed Speakers * Part III: Subversion in the Eucharistic Canon * Belly Speech * Playing the Prophet * Resounding Voices€€€€.

This book studies medieval attitudes towards the ventriloquism of God's and Christ's voices through human media. It includes readers, who ventriloquized the divine voice when speaking the words of the Bible; pagan oracles, which become appropriated as organs for the divine voice; priests, who are the designated media for conveying the divine voice in preaching, confessions, and the liturgy; lay speakers, who unlawfully appropriate the clerical voice and, by extension, God's voice, by speaking words that do not pertain to them; bodily sources other than the mouth, such as when a churlish lay person utters divine speech through a fart; and actors on stage, who ventriloquized Christ's words spoken at the Last Supper. Simply put, the essence of each of these ventriloquial acts is that they relocate the voice from its conventional source in the speaker's mouth, in this case, in ore Domini, to a mortal medium. Taken together, these chapters tell a story, one of a progression from an orthodox view of divine vocal power to an anxiety over the authority of the priest's voice to a subversive take on the divine voice that foreshadows Protestant devotion. Although the primary audience for the book will be medievalists, it also makes a contribution to the burgeoning field of the history of the senses, in particular, sound theory, and thus will be helpful to any scholar who studies the voice and vocal performances.

ISBN: 9780230118737 (electronic bk.)

Source: 525914Palgrave Macmillanhttp://www.palgraveconnect.comSubjects--Topical Terms:

93203
English literature
--History and criticism.--Middle English, 1100-1500Index Terms--Genre/Form:

96803
Electronic books.

LC Class. No.: PR275.R4 / H39 2011

Dewey Class. No.: 820.9/382/0902

Divine ventriloquism in medieval English literature = power, anxiety, subversion /
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505 0 $a Introduction: Listen Up! * Part I: Fantasies of Power: The Priest's Voice in Anglo-Saxon Literature * The Talking Dead * Christ's Lips Move€*€Part II: Anxiety and the Priest's Voice * The Master's Voice * Cursed Speakers * Part III: Subversion in the Eucharistic Canon * Belly Speech * Playing the Prophet * Resounding Voices€€€€.
505 0 $a Fantasies of power: the priest's voice in Anglo-Saxon literature -- Anxiety and the priest's voice -- Subversion in the eucharistic canon -- Conclusion. Resounding voices.
520 $a This book studies medieval attitudes towards the ventriloquism of God's and Christ's voices through human media. It includes readers, who ventriloquized the divine voice when speaking the words of the Bible; pagan oracles, which become appropriated as organs for the divine voice; priests, who are the designated media for conveying the divine voice in preaching, confessions, and the liturgy; lay speakers, who unlawfully appropriate the clerical voice and, by extension, God's voice, by speaking words that do not pertain to them; bodily sources other than the mouth, such as when a churlish lay person utters divine speech through a fart; and actors on stage, who ventriloquized Christ's words spoken at the Last Supper. Simply put, the essence of each of these ventriloquial acts is that they relocate the voice from its conventional source in the speaker's mouth, in this case, in ore Domini, to a mortal medium. Taken together, these chapters tell a story, one of a progression from an orthodox view of divine vocal power to an anxiety over the authority of the priest's voice to a subversive take on the divine voice that foreshadows Protestant devotion. Although the primary audience for the book will be medievalists, it also makes a contribution to the burgeoning field of the history of the senses, in particular, sound theory, and thus will be helpful to any scholar who studies the voice and vocal performances.
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