Tag: trinity 23

Watch the Performance here

Location: Front Quad

Performers: Angels of Oxford

Cast

God the Father – Megan Bruton

God the Son – Carys Howell

God the Holy Spirit – Helen Dallas

Seraphyn – Matilda Houston-Brown

Lucifer – Antonia Anstatt

Cherabyn – Chloe Fairbanks

Angelus Deficiens – Wren Talbot-Ponsonby

Crew

Director – Carys Howell

Dramaturg – Matilda Houston-Brown

Producer – Antonia Anstatt

Text

The Fall of the Angels as transmitted in the York Cycle. Performed in Middle English, with some Modern English elements.

Summary

It is the beginning of the world: God creates the Universe and enjoys his own might. The two Good Angels – Seraphyn and Cherabyn – glorify him, while the two Bad Angels bask in their own beauty and power. God names one of them as Lucifer, the Bringer of Light, which further inflates Lucifer’s ego. But he becomes too confident and, supported by the other Bad Angel (Angelus Deficiens), talks about becoming even higher than God himself. God expels the two Bad Angels from Heaven, causing them to fall into Hell. There, they lament their state and blame each other for their downfall. Back in Heaven, God and the Good Angels celebrate, and God creates Day and Night.

About the Performance

This group chose a modern approach to the play. They set the biblical story in a modern office, with God, split into three as the Trinity, representing the leadership board of the company, and the angels their employees. The play was mostly presented in its original Medieval English, but with a twist: after their Fall from Heaven, the two Bad Angels switched to Modern English.

2. Adam and Eve

Watch the Performance here

Location: Front Quad

Performers: Oxford Medieval Germanists

Cast

Cherub – Carl Haller von Hallerstein

The Lord – Wilfred Lamont

Adam – Henry Nobes

Raphael – Timothy Powell

Michael – Rahel Micklich

Gabriel – Henrike Lähnemann

Eve – Courtney McNeil

Lucifer – Monty Powell

Belial – Graham Salter

Satan – Laurentien Jungkamp

Serpent – Liv Brown

Crew

Director – Timothy Powell

Text

Hans Sachs, Tragedia von schöpfung, fal und außtreibung Ade auß dem paradeyß (1548), adapted by Timothy Powell and Nina Unland. Hans Sachs was a famous German playwright and poet. Between 1548–1560, he wrote 40 religious comedies and tragedies. His ‘Tragedy of the creation, fall, and expulsion of Adam from Paradise’ is an example of a play at the threshold between ‘medieval’ and ‘early modern’ religious drama. It displays many features of emerging ‘early modern’ Protestant religious drama, drawing on the Latin religious dramas of Renaissance humanism, Martin Luther’s reflections on religious tragedy, and the language of Luther’s translation of the Biblical account of the creation and fall of humankind. These elements coexist and interact with numerous elements drawn from medieval mystery plays, especially the extra-biblical episodes involving the three chief devils that keep some of the more light-hearted aspects of ‘medieval’ religious drama alive.

Summary

God creates Adam, then leads him away to show him Paradise. The three angels Raphael, Michael, and Gabriel enter, praising God and the Creation. Once they have left, God and Adam return. God creates Eve, but as soon as the two first humans have left to explore the Garden of Even, three devils appear – Lucifer, Satan, and Belial. They decide to conspire against the humans and call the Snake, who convinces Eve to try one of the apples of the Tree of Life. Eve then gives an apple to Adam; horrified, the two recognise that they are naked. The three devils return and rejoice, followed by the three angles, who weep. Finally, God returns and punishes the wrongdoers: the Snake is made to slither on its belly, Eve is punished with painful childbirth, and Adam with hard manual labour. Then, they are expelled from the Garden of Eden by an angel with a flaming sword.

About the Performance

The entire performance was in Hans Sachs’ original German, except for an English Prologue and Epilogue delivered by the Cherub. The play was performed in Teddy Halls’ Front Quad, with the well serving as the space from where Adam and Eve were created. The Tree of Life was represented by the same cross which, later in the day, served as the cross on which Christ was crucified – an excellent example for the reuse of different props throughout the day. The angels and God were all dressed in liturgical vestments, enhancing their aura of sacrality.

3. The Flood

Watch the Performance here

Location: Front Quad

Performers: The Travelling Beavers

Cast

God – George Rowe

Noah – Oli Hardy

Noah’s Wife – Alice Walton

Ham – Ellie Hall

Shem – Gabriella Berkeley-Agyepong

Japhet – James Lewin, Adam Szep

Ham’s Wife – Madeleine Bainbridge

Good Gossips – Amy Jenkins, Rowan Wilson, Siân Grønlie, George Manning

Crew

Director – Minna Jeffrey

Music and Art – St Giles’ Choir, the children of St Giles’ and St Margaret’s churches

Text

The Chester Flood play in Middle English. The Chester cycle probably originated in the later fourteenth century, although the earliest written version dates to 1422. In later years, the Chester cycle was performed on Whitsun and took three days to perform in full. The Chester play of Noah’s flood is one of several flood plays in Middle English. It was chosen by this group because it has most on the actual animals (eight stanzas) and because of the ‘Good Gossips’. It was set to music by Benjamin Britten as Noyes Fludde.

Summary

Dissatisfied with humankind, God decides to send a great flood. The only ones to be spared are Noah and his family. Noah is tasked with the building of a great ark, on which his family and two animals of every kind will survive. Noah complies and brings the animals and his family – his wife, his three sons, and one of their wives – on board, just the Earth begins to flood. The ark is on sea for a considerable amount of time, but finally, the rain ceases. God commands Noah and his family to disembark and repopulate the Earth. So far, the story is well known, but what is special about this version is the central role of Noah’s family. Especially Noah’s relationship with his ‘crabbed’ and not at all ‘meek’ wife is a topic throughout. There is also a unique scene with the ‘good gossips’: ‘gossip’ comes from Middle English ‘godsib(be)’. Originally, this referred to either godparents or godchildren, but it came to mean one’s close friends (especially women) and did not take on its current meaning of tell-tale before the mid-sixteenth century. In this play, Noah’s wife is reluctant to leave her friends behind when the flood begins, which is framed as disobedience to God – but modern audiences might feel more sympathy.

About the Performance

Although in fifteenth-century English, this play is fairly easy to understand. The group made very few changes to the language, but read the text with Modern English pronounciation.

Among the most remarkable elements of this performance were the animals, which were portrayed by the children of St Giles’ and St Margaret’s churches, who held hand-painted cut-out animals to represent the crowd on the ark. Very helpfully for the audience, the human characters all wore T-shirts with their characters’ names. This group highlighted especially that they felt that the play has a strong contemporary message, given current concerns around extreme weather events, climate refugees, and the denial of climate change, as represented by the good gossips, who ultimately do not escape the flood.

4. Abraham and Isaac

Location: Front Quad

Performers: Shear and Trembling

Cast

Abraham – George Eustace

Isaac – Emily Porter

Angel/Servant – Hanyue Wei

Crew

Director – Miriam Waters

Script Adapter – Miriam Waters

Costume Designer – Emily Porter

Text

The version of Abraham and Isaac from the York Cycle, performed in Middle English. Specifically, taken from Clifford Davidson’s edition of the York Mystery Cycle, which closely adheres to the text in British Library, MS. Add. 35290.

Summary

To test the faith of his loyal servant Abraham, God sends an angel who commands Abraham to sacrifice his youngest and favourite son, Isaac. Despite his sorrow, Abraham resolves to follow the command. He takes Isaac up a hill under a pretense. Once there, he reveals the truth to his son, binds his hands, and gets ready to sacrifice Isaac, who accepts his fate. At the very last moment, the angel of God re-appears and stops Abraham, commending him for his obedience to God and showing him a sheep to sacrifice instead.

The York version of Abraham and Isaac diverges from other iterations of the story by having a grown-up Isaac, who is ‘thirty year and more sumdele’ – around thirty years old, the same age that Christ was believed to have been when he was crucified. The York Abraham and Isaac therefore brings the play closer to the story of the Passion, anticipating the climax of the cycle of performances. Rather than a helpless child, Abraham is asked to kill a son whom he has raised and with whom he has grown old, a strong young man who could overpower his father if he chose to fight back. This also emphasises Isaac’s own acceptance of his fate and his obedience to both God and his father.

About the Performance

This group chose to have the actor playing the angel double as a servant. As a result, God’s messenger appears to watch over – or perhaps spy on – Abraham and Isaac as they go to the mountain to perform the sacrifice. The group got particularly creative with their costumes, drawing on traditional shepherds’ clothing from a variety of times and places and showing the angel as both a messenger and a symbol. A special highlight was the sheep, which was crocheted by a member of the group and caused a round of applause upon its dramatic revelation by the angel.

THE NEW TESTAMENT

5. The Annunciation

Location: Statue of St Edmund in the garden

Performers: Low Countries Ensemble

Cast

God – Oscar de Wit

Gabriel – Johanneke Sytsema

Mary – An Van Camp

Narrator – Irene Van Eldere

Crew

Director – Irene Van Eldere

Script Adapter – Godelinde Gertrude Perk

Text

Die Eerste Bliscap van Maria (The First Joy of Mary), in Middle Dutch, based on the text preserved in Brussels, KBR, MS.IV 192. From 1348 onwards, the city of Brussels held an annual procession on the Sunday before Pentecost to honour a statue of the Virgin Mary. A century after its inception, an extra element was added to the festivities: on the Grote Markt, a seven-year cycle of Bliscap, or ‘Joy’ plays was peformed. Each year until 1566, one of the seven Joys of Mary was staged and celebrated. Of the original seven plays, only two have survived, each preserved in a manuscript in the Royal Library of Belgium.

Summary

God tells the angel Gabriel that he wants to become human and sends him to travel to Nazareth, where he will find Mary. Gabriel is astonished, but complies. He greets Mary, who is reading, and announces that she, albeit a virgin, will conceive a child who shall be called Jesus and be the Saviour of mankind. Mary, too, is astonished by the concept of the immaculate conception, but Gabriel explains that her cousin, Elizabeth, although old and barren, will also conceive a child.

About the Performance

This was the first time a Dutch play was performed in the Oxford Medieval Mystery Plays, and a wonderful addition to the cycle. A particular highlight was the merry angel Gabriel, whose travels from God to Nazareth were accompanied by a jingling bell.

6. The Nativity

Location: Churchyard; in front of the library entrance

Performers: Les perles innocentes

Cast

Joseph/Satan – Elisa Pagliaro

Marie/God – Aurélie Blanc

Host 1/Angel 1 – Anaïs Collonge

Host 2/Angel 2 – Antigoni Tasiou

Host 3/Angel 3 – Christina Morgan

Sophron, a Shepherd – Helene Wigginton

Elpison, a Shepherd – Carmen Vigneswaren-Smith

Philetine, a Shepherdess – Marta Folegnani

Cristilla, a Shepherdess – Inès Trouplin

Crew

Director – Elisabeth Dutton

Assistant Director – Aurélie Blanc

Musical Director – Antigoni Tasiou

Design, Props, and Costumes – Maria Papantuono

Producer – Helene Wigginton

With special thanks to Sandy Maillard (Université de Fribourg, Suisse)

Text

Marguerite de Navarre (1492–1549), Comédie de la Nativité de Jésus Christ, abridged and performed in the original (early 16^th century) French.

Marguerite, wife of King Henry II of Navarre, sister to Francis I, king of France, and ancestress of the Bourbon kings of France, was a patron of humanists and reformers, and herself an important writer: she composed poems, a collection of short stories called the Heptameron, and the intense mystical poem Miroir de l’âme pécheresse. She also wrote a number of plays, including dramatisations of scriptural episodes.

Summary

Joseph, travelling on orders of the Emperor, is seeking accommodation for his heavily pregnant wife Mary. Three ‘Hosts’ turn them away, but they find a stable where Mary can give birth. God sends his angels to celebrate the moment of Christ’s coming to earth: the angels praise Mary and her newborn baby, and Joseph kneels and kisses him. The angels announce the arrival of the Saviour to two shepherds and two shepherdesses, who sing on their way to the stable and offer gifts to the baby of milk, a flute, and firewood. Satan appears and laments the loss of the power he has held over mankind since Adam and Eve were expelled from Eden. The shepherds and shepherdesses tell him that they have met the Saviour; Satan argues that such an important person would not be found in a stable, but their faith remains unshaken. Satan, realising he cannot escape God’s power, calls on evil spirits to advise him ‘how to make shadows eclipse the sun’. God proclaims that the willing sacrifice of his son will overcome Satan, and the angels sing in praise of God.

Like the Comédie des Innocents, which les perles innocentes staged at the Oxford Medieval Mystery Plays 2023, the Comédie de la Nativité is both richly theological, presenting the contrast between divine authority and evil tyranny, and deeply concerned with social justice. Marguerite shows humble people challenging corrupt and bullying powers: ordinary women defied the callous soldiers who murdered their children at a tyrant’s command; humble shepherds outface Satan himself, empowered by their newfound faith in a baby who, to their own initial wonderment, has chosen not a great hall but a humble stable as his first home. Once again, Marguerite gives particular emphasis to female characters, portraying female as well as male shepherds, and emphasising the faith, strength, and wisdom of the Virgin Mary.

About the Performance

Just like their previous performances at the Medieval Mystery Plays, this performance of Les perles innocentes, who travelled from Fribourg just for the Cycle, was once again wonderfully rich and detailed. Performed in perfect, but easily understandable, 16^th-century French, their staging included such details as the three Hosts looking like proper concierges, and the angels sang beautifully in between the spoken passages. They also built on the Marguerite de Navarre’s emphasis on strong women by having an all-female cast.

7. The Wedding at Cana

Location: Churchyard

Performers: Pusey House

Cast

Angel – Elliott Clark

Bride – Matti Veldhuis

Bridegroom – Ashby Neterer

Jesus – Phillip Quinn

Mary – Ruth Danstål

Master of the Feast – Alex Christofis

Unruly Guest – Nathan Brown

Servants – Natalie Tiede, Richard Garrard

Crew

Director – Phillip Quinn

Script Writer and Adapter – Phillip Quinn, with help from Elliott Clark

Text

The Wedding at Cana was included in the York Medieval Mystery Cycle, but the original text has unfortunately mostly been lost. The script used for this performance was an original composition in Modern English (with some Middle English archaisms), written by Phillip Quinn with help from Elliott Clark and based on the one and a half known lines of the York version.

Summary

When the wine runs out at a wedding in the little Galilean town of Cana, Mary asks Jesus to step in. After some hesitation, his ultimate response is to perform the first miracle of his earthly ministry: transforming several large jars of water into fine wine. In doing so, he heralds the coming of the Kingdom of God and foreshadows the consummation of history in the heavenly banquet at which he himself will be the bridegroom.

About the Performance

Despite its foreshadowing of the Crucifixion at the end and the seriousness of Christ’s miraculous power, the Wedding at Cana is an entertaining story, and this performance brought the hilarious elements out in full. Featuring perplexed servants, drunken wedding guests, the happy couple, and a proud-mother-moment for Mary, it elicited many laughs from the audience.

8. The Crucifixion

Location: Grassy Mound

Performers: The Wicked Weights (Lincoln College Players)

Cast

Soldiers – Jess Hind, Molly Milton, Kyra Radley, Alys Young

Christ – Petru Badea

Crew

Directors – Paul Cooley, Molly Milton

Stage and Script Adapter – Paul Cooley, Molly Milton

Costume Designer – Maureen Abrokwa

Props Designer – Tallula Haynes

Music and Marketing – Anja Woosnam

Administration and Assistance – Rebecca Menmuir, Alison Ray

With special thanks to:

Mike Hawkins (Lincoln College Head Gardener) for creating a crown of thorns

Jonny Torrance (Lincoln College Chaplain) for building a cross

Lincoln College JCR for providing funding

Text

The York version of the Crucifixion (Middle English). The group used a manuscript version which was updated to sound more familiar to the modern English-speaking ear but kept as much of the original language and rhyme-scheme as possible to remain close to the original version of the play. Jesus’ speeches were entirely translated into modern English from the original Middle English, adding a sense of gravity that is wholly unique to this particular edition of the play.

Summary

The play depicts the well-known story of Christ’s crucifixion, but with a twist: despite the undeniable seriousness of the situation, the focus is not on Christ and his suffering, but on the four somewhat inept soldiers who are responsible for nailing him to the cross and erecting it. Throughout the play, they bicker with each other over trivial matters whilst Christ endures his cruficixion with solemnity and without objection. The comedic dynamic between the soldiers contrasts heavily with Jesus’ wholly serious speeches and thus creates a tense atmosphere which toes the line between dark comedy and an exploration of the mundane cruelty of the process of the crucifixion. This invites the audience to consider their own inaction during Christ’s passion.

About the Performance

The Wicked Weights were named after a particularly iconic line in the York Crucifixion. They are a group of Lincoln College undergraduates studying English and were supported by various members of college. A particular highlight of this performance was the towering cross, purpose-built for this day by Jonny Torrance, the chaplain at Lincoln College. Other comedic elements were added to the already surprisingly funny play through prop and costume choices – for instance, the soldiers all had giant inflatable hammers, and were reading their Scripts from ‘Cross Flatpack Instructions’.

9. The Lamentation

Location: Churchyard

Performers: St Edmund Consort

Cast

John – Carlos Rodríguez Otero

Mary – Montgomery Powell

Mary Magdalen – Henrike Lähnemann

Mary, Mother of John – Rebecca Schleuß

Jesus – Lucian Shepherd

Rector – Andrew Dunning

With special thanks to Fr Andreas Wenzel, the chaplain of St Edmund Hall, for permission to use the vestments.

Text

The Bordesholmer Marienklage, in Low German and Latin. The Bordesholmer Marienklage is a remarkable dramatic dialogue from the late 15^th century, written for performance at the Augustinian monastery of Bordesholm in Northern Germany by Provost Johannes Reborch. It consists of sung and chanted text for a cast of five: Christ, John, and the three Marys.

The sung dialogue is taken from the liturgy, including verses from the Stabat Mater, to which are added Middle Low German adaptations of the same, sung to similar melodies. The bulk of the action takes place in chanted Middle Low German rhyming verse. A particular feature, unique amongst German Marian Laments, is the survival of detailed instructions which specify that the work should be performed either on Good Friday or on the preceding Monday, and that it should be ‘neither a play nor amusement, but lamenting and wailing and devout compassion for the glorious Virgin Mary’. It was therefore intended to form a part in the monastery’s liturgical life during Holy week; moreover, these instructions and the ‘personae’ throughout continually insist on the necessity of the audience’s participation, through compassion, in Mary’s suffering. It should be performed either in front of the church choir, or – if the weather is fair – outdoors. The ‘personae’ should wear liturgical vestments and Jesus and John ‘dyademata de papiro’ – paper crowns, and that of Jesus was to be decorated with crosses.

Summary

After Christ’s crucifixion, the three Marys – the Virgin, Mary Magdalen, and Mary, mother of John – as well as St John the Evangelist, lament Christ’s death at the cross. At the end, Christ is taken from the cross and laid on the ground.

About the Performance

Complying with Johannes Reborch’s detailed instructions, the five figures in this performance all wore liturgical vestments from the St Edmund Hall chapel, as well as paper crowns (courtesy of Christmas crackers). Singing their lament in front of the cross from the preceding Crucifixion play, this was a wonderful contrast to the entertaining Crucifixion, emphasising the women’s grief after Jesus’ death.

10. The Harrowing of Hell

Watch the performance here and here

Location: Churchyard and Crypt

Performers: The Choir of St Edmund Hall

Cast

Angelic Hosts – Choir of St Edmund Hall

Adam – Shaw Worth

Eve – Molly Bray

Text

Latin Sequences. Sequences, complex liturgical songs with a strong poetic and narrative function, are among the most recent, and therefore truly medieval, sung elements of the Christian liturgy, staging particularly in the Easter Night the fundamental miracle of salvation history, Christ overcoming death.

The version used for these sequences was taken from the Handbook of the Provost of the Cistercian convent of Medingen, like Bordesholm located in Northern Germany. It is kept in the Bodleian Library, MS. Lat. liturgy. e. 18.

Summary

Christ descends into Hell, where he brings salvation to the captive souls there, before overcoming death and rising again.

About the Performance

The Choir of St Edmund Hall picked up seamlessly from the previous Lamentation. Accompanying Christ into hell (the crypt underneath the Teddy Hall Library), they sang the Cum rex gloriae, which tells of the host of angels breaking into hell. There, they were greeted with an Advenisti (you have arrived!) by Adam, Eve, and all the patriarchs and prophets of the Old Testament. Following this sequence, there was a short tea break, marking the significant turning point in the narrative that is Christ’s overcoming of death. After the tea break, the choir opened the third part of the Cycle with the Victimae paschali laudes, in which Mary Magdalen reports her experience of the empty tomb to the apostles.

11. The Resurrection

Location: Churchyard

Performers: St Stephen’s House

Cast

Pilate – Oliver Baldwin

Caiaphas – Lizzy Flaherty

Annas – Edward Parker-Sunderland

Centurion – Felix Trimbos

Mary 1 – Sofia Radaelli

Mary 2 – Danielle Duncan

Mary 3 – Amy Taylor

Angel – Ewan Gillings

Soldier 1 – Tobias Thornes

Soldier 2 – Ben Almond

Soldier 3 – Jonathan Thompson

Soldier 4 – Madeleine Ridout

Text

The York verison of the Resurrection (Middle English). The play fits in well with the liturgical traditions of Easter Sunday. Particularly the Angel’s song and the meeting between the Angel and the three Marys, the so-called Visitatio Sepulchri, is a common theme. It appears that this section of the play reproduces a piece of liturgical drama in use at the time. On the other hand, the representation of Pilate and the High Priests is unusual, drawing on speculations in the apocryphal writings, texts which seek to fill in the imaginative gaps left in the Biblical narrative: what did they really think, and what did they do next?

Summary

The York version of the Resurrection of Christ focuses not on Jesus himself but on three sets of characters who represent three sets of responses to the mystery of Easter Sunday. The play begins and ends with Pilate and the High Priests. To begin with, they are pleased with how the crucifixion went, but the Centurion arrives and tells them of strange occurrences which suggest all is not as it seems. To make sure Jesus stays dead, they set a guard of soldiers to watch the tomb. At the tomb, the soldiers are contrasted with the Marys, who bring oils to anoint the body and are confronted with the empty tomb. An angel arrives and tells them that Jesus is risen and now in Galilee, to which they respond with faith, hope, and love. Meanwhile, Pilate and the High Priests Caiaphas and Annas conspire to cover up the embarrassing and disturbing fact of the empty tomb with a story that the soldiers were overpowered by Jesus’ disciples, who stole the body away. The ironic framing invites the audience to question whose account they believe: is it all ‘fake news’, or is he risen indeed?

The dramatist’s range covers pious devotion, political conspiracy, and the everyday reactions of the soldiers who represent the everyman. Faced with the life-changing reality of the empty tomb, they display the full range of responses from pretending nothing has happened to embracing the truth come what may. The piece is character-driven, often emotive, and finally supremely ironic, drawing the audience in.

About the Performance

The York Resurrection, like the Crucifixion, brings out the human element surrounding the biblical narrative, reflecting the worries of the soldiers at the tomb and the High Priests. The players from St Stephen’s House chose to lean on the already existing comedic elements, turning this into a genuinely hilarious production – complete with gorgeously dressed and very camp High Priests who hand-fed Pilate grapes, and a comforting angel delivering tissues to the weeping Virgin Mary.

12. The Martyrdom of the Three Holy Virgins

Location: Grassy Mound

Performers: Clamor Validus

Cast

Emperor Diocletian/Dulcitius’ Wife – Jialin Li

Agape – Laura Laube

Chionia – Abigail Pole

Irena – Loveday Liu

Governor Dulcitius – Andrew “Stilly” Stilborn

Count Sisinnius – Laurence Nagy

Soldiers – Hillary Chua, Ivana Kuric, Alex Marshall

Angels – Elizabeth Crabtree, Marisia Czepiel

Crew

Director – David Wiles

Stage Manager – Elizabeth Crabtree

Musician – Jessica Qiao

Text

The Martyrdom of the Three Holy Virgins, by Hrosvitha of Gandersheim, performed in a mix of Latin and a new translation. Hrosvitha was an aristocratic tenth-century canoness, and her six plays are a bridge between the classical and medieval worlds. She had a ribald sense of humour and a strong feminist agenda – even this play, despite its serious plot, is a comedy with many hilarious elements. Latin was a language that Hrosvitha used in daily life, and this group sought to discover her unique style, midway between poetry and prose.

Summary

The Roman Emperor Diocletian insists that the three virgin sisters Agape, Chionia, and Irena renounce their Christian faith and marry members of his court. When they refuse, he orders them imprisoned. Governor Dulcitius, seeing their beauty, tells his soldiers to lock the sisters in the kitchen so that he can visit them. That night, Dulcitius embraces the pots and pans in the dark kitchen, thinking they are the women. He leaves covered in soot, and the soldiers think he is possessed. Not realising this, Dulcitius goes to the palace, where he is beaten and ridiculed. In retaliation for his embarrassment, he commands that Agape, Chionia, and Irena be stripped in public, but the soldiers are unable to remove the robes from the women’s bodies. Eventually, Emperor Diocletian orders Count Sisinnius to punish the sisters. Sisinnius orders Agape and Chionia burned alive – their spirits leave their bodies, but their bodies and clothes miraculously are not burned. Despite her sisters’ death, Irena continues to refuse to renounce her faith. She manages to escape the soldiers and stands on top of a mountain. The soldiers are unable to reach her there, so Sisinnius orders one of the soldiers to shoot her with an arrow. She dies, but her spirit is lifted to heaven.

About the Performance

This performance was unique among the mystery plays in several respects. It was the only play performed partly in Latin, and superbly so – the interspersing of Latin with English parts made it easy to follow the story, and the Latin elements gave an indication of how Hrosvitha of Gandersheim had written the play. The players consisted of both students and members of the Iffley community, making this a production spanning a large range of ages and backgrounds. The performance also included music played on a violin, which gave it a wonderfully emotional note. The group chose to perform the play in modern dress, in order to suggest that the impulses driving early martyrs have not vanished in the modern world. For the research behind this production, see David Wiles ‘Hrosvitha of Gandersheim: The Performance of her Plays in the Tenth Century’, Theatre History Studies 19 (1999), pp. 133-150. The group’s name, Clamor Validus, means ‘Forceful Shout’, Hrosvitha’s Latinisation of her Saxon name.

13. The Last Judgement

1 Comment on CAT – Conversations Across Time

Location: Far Side of Churchyard

Performers: MSt English (650–1550)

Cast

Jesus – Alicia Camacho Fielding

Lucifer – Daniel Pereira

Archangel Michael – Jasmine Webster

Angel Gabriel – Alice Watkinson

Demons – Leslie Shen, Lauren Allsopp, Olivia Cook

Crew

Director – Emma Nihill Alcorta

Writer – Ruby Whitehouse

Producer – Alice Watkinson

Text

A modern English adaptation of the Middle English The Last Judgement, drawing from the Chester, N-Town, and Towneley cycles.

Summary

It’s the end of the world. God and the angels recall the Creation and the history of humankind. Then the final reckoning comes: the angels call up the dead souls from their graves. One by one, they praise God (the good souls) or lament their own wicked deeds (the bad souls). Jesus, as king of heaven, judges them. He praises the good souls, who ascend singing into heaven, and scolds the bad ones, who are dragged to hell by Lucifer and the demons.

About the Performance

Performed in modern English and with plenty of ingenious staging choices – highlights included the guitar-playing archangel Gabriel, the dead souls popping up from the ditch next to the church, the gummy worms sewn to their clothes, and a hungover Lucifer being roused by his demons to get ready for Judgment Day –, this performance was a wonderful end to the day. After the Jesus-related plays, TheLast Judgement picked up some of the characters who had appeared in the Old Testament plays earlier that morning, including God, Lucifer, and the archangels, which demonstrated the cyclical nature of world history as presented in the Bible.

CAT – Conversations Across Time

by Henrike Lähnemann

02/06/2024

15:27

Art, physics, theatre, trinity 23

CAT is back! After a successful run in June 2023, artist in residence at the Physics Department Pam Davis has developed a second art-piece ‘Conversations Across Time’. Free tickets for the performances moving from the Ashmolean to a second secret hidden location are available via the website https://www.citizensai.com/

Dates: June 15th (preview at 11am – 1:20pm) | June 15th | June 16th

Schedule: 15:20 Meet on the steps at the Ashmolean Museum
15:30 Prequel
16:00 Departure for Scene Two
16:15 Scene II is in a Quantum Anomaly [hidden location]
17:40 End | Conversation to Follow

Players: Giovanni De Felice, Sirui Ning and, Juliette Imbert, PDK, Costi Levy,
Directors: PDK and Costi Levy
Composer: Cheryl Frances-Hoad

From the announcement in 2023: What do horses, medievalists, black hole orbits, boardrooms, and quantum computers have in common? Inspired by the Medieval Mystery Plays, artist in residence at the Physics Department Pam Davis has developed an art-piece ‘Conversations Across Time’ which links medieval theatre, women in science, and Quantum future.

Oxford Medieval Studies Impact Report 2022/23 Published!

4 Comments on Oxford Medieval Studies Impact Report 2022/23 Published!

02/10/2023

14:33

Around Oxford, News

hilary 23, michaelmas 22, OMS, trinity 23

In the last ten years, Oxford Medieval Studies has grown into a stunningly successful interdisciplinary Humanities community for research and teaching, with a reach that now goes far beyond Oxford. Time to take stock and to bring together the offerings of just the last academic year, 2022-2023 in form of a booklet. Enjoy the read below as pdf or download a printable version here.

Oxford Medieval Studies Impact Report Download

Introduction

(Henrike Lähnemann and Lesley Smith)

Begun on the initiative of Prof. Chris Wickham, and transformed from a TORCH network into a permanent programme under the directorship of Prof. Sophie Marnette, Oxford Medieval Studies now encompasses the local – such as the interdisciplinary MSt. in Medieval Studies – to the global, with 1,300 visitors to our blog last year alone (http://medieval.seh.ox.ac.uk). The termly booklet of offerings around the University, Faculties and Colleges gives some idea of the breadth and variety available to (and from) Oxford’s medievalists: as the statistics on the next page show, we are finding an eager audience for the Middle Ages both inside and outside the city.

Our regular seminars, reading groups, one-off workshops and social events make for a rich and lively culture. We are the biggest and most diverse group studying the Middle Ages in any UK university, with links to the most important US and European institutions. Just as much as its reputation in science or medicine, the Middle Ages puts Oxford on the map.

As co-directors our job is made simple by the enthusiasm and expertise of our graduates and post-docs. Over the last two years Luisa Ostacchini has done a brilliant job of producing a weekly Monday morning newsletter of the week’s offerings, which comes with the wit and wisdom that only an expert in Old English and medieval Latin can claim. Her piece in the report below paints a vivid picture of what goes on each year – not forgetting the fun (anyone for haruspices?) that is a hallmark of so many medieval manuscripts, and of our gatherings today. We thank Luisa and all those who help make Oxford a wonderful place to be a medievalist, and we look forward to ten more successful years. This report is an experiment to bring the lively culture and documentation of the Oxford Medieval Studies blog http://medieval.seh.ox.ac.uk/ into a material form and gather together the rich offerings of seminars, reading groups, regular and one-off events in a booklet.

Midsummer Outing to Godstow Abbey

by Alison Ray

15/06/2023

17:31

Comments Off on Midsummer Outing to Godstow Abbey

events, trinity 23

Oxford Medieval Studies will be celebrating the end of term with a Midsummer outing to Godstow Abbey! All are welcome to join on Saturday, 24 June from 4pm and encouraged to take part in summer activities, including singing, sketching and swimming (weather permitting). Take along a picnic too!

Please contact Alison Ray with any queries.

Directions to Godstow and Port Meadow FAQs can be found on the Oxford City Council website here.

A brief history of Godstow Abbey and further details of the medieval site can be viewed here.

Medieval Matters: Week 8

12/06/2023

10:55

Comments Off on Medieval Matters: Week 8

News, Uncategorized

Here we are at the end of the academic year! It seems like just yesterday that I was sending the first email of Michaelmas. Thank you to everyone who has organised seminars and reading groups, given papers, hosted events and conferences, and contributed to our rich community at Oxford. It’s been the busiest OMS year on record, and it’s been so wonderful to see our medievalist community thriving. In the words of Alcuin:

Nihil laudabilis est in homine, quam sapientiae decus et caritatis affectus
[Nothing is more praiseworthy in a person than the glory of wisdom and the goodwill of love, Ep. 290]

According to this, Oxford’s medievalists are very praiseworthy indeed! We would like to celebrate our community in an annual record publication, recounting the highlights of the year. All events included in the newsletters will be included as a matter of course, but if you have published a book, held a special event, or given a special paper, or would just like to send a paragraph about your seminar/reading group, we would love to hear from you! See our blog post for more information. All submissions must be received by August 20th.

We have a bumper list of events this week. For a list of all events taking place after the end of this week, please see the end of the events section:

ANNOUNCEMENTS:

Celebrating OMS 2022/23: Call for Submissions: The OMS Record will be completed in time for the new academic year, both online and in (limited) print format. We welcome all submissions detailing events or book releases from the academic year 2022/23. Please send submissions to luisa.ostacchini@ell.ox.ac.uk. All submissions must be received by August 20th 2023.
CAT – Conversations Across Time: What do horses, medievalists, black hole orbits, boardrooms, and quantum computers have in common? Inspired by the Medieval Mystery Plays, artist in residence at the Physics Department Pam Davis has developed an art-piece ‘Conversations Across Time’ which links medieval theatre, women in science, and Quantum future. Free tickets for the performances in the unique Beecroft Building (Physics) on June 15th, 17:30-18:30, June 16th, 17:30-18:30, June 17th, 14:30-15:30, and June 17th, 17:30-18:30 available via the website https://www.citizensai.com/.

EVENTS THIS WEEK:

Monday 12th June:

The Byzantine Graduate Seminar will meet at 12:30-14:00 via Zoom. This week’s speaker will be Jack Dooley (Royal Holloway, University of London), Between the self and the other: the case of the gasmouloi in Late Byzantium, and the respondent will be Dr Yannis Stouraitis. To register, please contact james.cogbill@worc.ox.ac.uk.
The Medieval Latin Manuscript Reading Group led by Matthew Holford and Andrew Dunning is meeting as usual via Teams from 1-2pm. This term we will read some satirical poetry from a thirteenth-century manuscript, the so-called ‘Bekyngton anthology’ (Bodl. MS. Add. A. 44). Sign up for the mailing list to receive updates and the Teams invite, or contact matthew.holford@bodleian.ox.ac.uk or andrew.dunning@bodleian.ox.ac.uk for more information.
The Queer and Trans Medievalisms Reading and Research Group meets at 3pm at Univ College, 12 Merton St Room 2. This week’s theme is The medieval hyena: Emma Campbell, ‘Visualizing the Trans-Animal Body’. All extremely welcome! To join the mailing list and get texts in advance, or if you have any questions, email rowan.wilson@univ.ox.ac.uk.
The Medieval History Seminar meets at 5pm at the Wharton Room, All Souls College. This week’s speaker will be Emilia Jamroziak (Leeds), ‘Understanding the cult of saints in the late medieval Cistercian order‘. The seminar will also be available remotely via Teams. The Teams session can be accessed by logging in to Teams with your .ox.ac.uk account and joining the group “Medieval History Research Seminar” (team code rmppucs). If you have any difficulties please email: medhistsem@history.ox.ac.uk.
The Oxford Interfaith Forum meets online via Zoom at 6pm. Professor Katherine Southwood, Senior Fellow of the Oxford Interfaith Forum, Associate Professor in Old Testament, Faculty of Theology and Religion, University of Oxford, and Tutorial Fellow in Theology and Religion at St John’s College, Oxford, will be leading a session on ‘Metaphor, Illness, and Identity: Psalms 88 and 102‘ as part of the Psalms in Interfaith Contexts Reading Group.To register, please click here.

Tuesday 13th June:

The Medieval Church and Culture Seminar meets at the Wellbeloved Room, Harris Manchester College, with tea & coffee from 5pm; papers begin at 5.15pm. This week’s speaker will be Peter Kidd (freelance researcher), ‘Tracing the Provenance of a Medieval Manuscript: from start to finish‘. Everyone is welcome at this informal and friendly graduate seminar! As an appetizer, have a look at the latest blog post RECEPTIO Redux.

Wednesday 14th June:

The Medieval German Seminar will meet at 11:15-12.45pm at St Edmund Hall Old Library. In Trinity Term, we are continuing to discuss Heinrich von Neustadt’s texts, focussing on ‘Von Gottes Zukunft’. We meet in person in the Old Library of St Edmund Hall, this week with the topic: Apocalypse! Further information and reading recommendations via the teams channel; if you want to be added to that: please email Henrike Lähnemann.
The Old High German Reading Group at 11-12 in 41 Wellington Square, 2nd floor (Henrike Lähnemann’s office). This week’s text will be Wessobrunner Gebet. It will be an opportunity to read and analyse some simpler OHG texts and give people the chance to read the oldest form of German if they’ve not been exposed to it before. It will be very informal, and all are welcome. Led by William Thurlwell william.thurlwell@wolfson.ox.ac.uk – contact him for updates.
The Medieval Latin Document Reading Group meets on Teams at 4-5pm. We are currently focusing on medieval documents from New College’s archive as part of the cataloguing work being carried out there, so there will be a variety of hands, dates and types. A document is sent out in advance but homework is not expected. Contact Michael Stansfield for further details and the Teams link.
The Late Antique and Byzantine Seminar meets at 5pm at Ioannou Centre for Classical and Byzantine Studies, 66 St. Giles. This week’s seminar will be a Special OCBR lecture by James Howard-Johnston (emeritus, Corpus Christi), ‘The Last Great War of Antiquity: Course and Consequences’. You can also join the seminar remotely via Teams, click here.

Thursday 15th June:

The Medieval Women’s Writing Reading Group meets at 3-4pm at Lincoln College: meet at the lodge. This week’s theme will be Hierarchies: ecclesiastical, non-ecclesiastical and “alternative” hierarchies of power used and created by medieval women. Please email katherine.smith@lincoln.ox.ac.uk to be added to the mailing list and get texts in advance, or to find out more.
The Piers Plowman in Context discussion group will be led by Kantik Ghosh in the Main Quad Boardroom at Univ from 4:30-5:30pm. For this last session we will be discussing Passus XX of the B-text, in relation to some texts by Bonaventura, Aquinas, and Pecock, available online through this link. All welcome! Email Jacob Ridley (jacob.ridley@univ.ox.ac.uk) with any questions.
The Invisible East Group is co-hosting a webinar with the Elahé Omidyar Mir-Djalali Institute of Iranian Studies online at 5pm. The speaker will be Prof Geoffrey Khan, University of Cambridge, ‘The Arabic documents from early Islamic Khurasan‘. Registration and more information at this link.
The Medieval Visual Culture Seminar meets at 5.15-6.45pm at St Catherine’s College, Arumugam Building. This week’s speaker will be Sara Lipton, Stony Brook University: ‘Blood Piety and Anti-Judaism in an Early Fourteenth-century Illuminated Prayer Book from Liège‘. For further information, contact Elena Lichmanova (elena.lichmanova@merton.ox.ac.uk).
WOOPIE (Oxford Old English Work in Progress Seminar) meets at 5.15-6.30pm in the Ferrar Room, Hertford College. This week’s speaker will be Mar Gutiérrez Ortiz (University of Seville), ‘Isidore’s Etymologies, A Source for Boniface’s Classification of Metrical Feet in the Caesurae uersuum‘.
The Oxford Interfaith Forum meets online via Zoom at 6pm. Professor Matthew Milliner, Senior Fellow of the Oxford Interfaith Forum, and Professor of Art History at Wheaton College, USA, will be leading a session on ‘The Tao of Mary: Images of the Virgin in the Church of the East‘ as part of the ART in Interfaith Contexts Reading Group. To register, please click here.

Friday 16th June:

The Medieval Coffee Morning meets as usual 10:30am in the Visiting Scholars Centre of the Weston Library (instructions how to find it) with presentation of items from the special collections, coffee and the chance to see the view from the 5th floor terrace.
Exhibition Launch: Early Modern Monsters At 5pm, History of the Book students from MML and the MSc Digital Scholarship are jointly launching the digital editions and a Monster Exhibition in the Taylor Institution Library, Main Hall (with the exhibition open in the Voltaire Room from now until 26 June). The focus will be on early modern monstruous birth pamphlet but there will also be medieval monsters and their modern successors to marvel at.

SUMMER EVENTS:

Monday 19th June:

Distance: Medieval and Modern Languages Conference will take place at 9am-6pm in the Taylor Institution Library. For the full programme, see our blog here.
The Byzantine Graduate Seminar will meet at 12:30-14:00 via Zoom. This week’s speaker will be Rachel Catherine Patt (Princeton University), From Pliny’s Potter to Proclus’ Vision: Tracing the Role of Pothos in Byzantine Visual Culture, and the respondent will be Dr Maria Lidova. To register, please contact james.cogbill@worc.ox.ac.uk.
The Oxford Interfaith Forum meets online via Zoom at 6pm. Ilana Tahan OBE, Lead Curator of Hebrew and Christian Orient Collections, The British Library, will be leading a session on ‘British Library Hebrew Treasures Reveal Interfaith Narratives: The Sana’a Pentateuch‘ as part of the International Interfaith Reading Group on Manuscripts in Interfaith Contexts. To register, please click here.

Wednesday 21st June/ Thursday 22nd June:

The Joint Oxford-Princeton Conference: State Documents from the Medieval Islamicate World takes place from 21st June 8.45am to 22nd June 5pm at Trinity College, Oxford. For full details, click here. To attend the colloquium, please register using the form at this link. Participation is free of charge, but advanced registration is requested.

Thursday 13th July:

WOOPIE (Oxford Old English Work in Progress Seminar) meets at 5.15-6.30pm in the Lange Room, St Cross College. This week’s speaker will be Rachel Burns (Oxford), ‘“I will open my mouth in parables”: A new biblical context for early medieval English riddles’.

For those of you moving on to new things outside Oxford, I’d like to wish you luck in your endeavours on behalf of all of us at OMS. If you would like to stay in contact via the mailing list, please let me know so that I can update your details. For everyone else, I look forward to returning to your inboxes in October – I am remaining in post as communications officer for 2023/24:

Sequenti vero anno certius aliquid de nobis audies vel videbis
[You will see me next year, or hear more definite news of me, Ep. 17]

It has been an honour and a pleasure to be your guide to the year’s medieval happenings. At a time when humanities are in decline, it’s been such a joy to see our community flourishing and thriving. On behalf of everyone at OMS, I’d like to extend a huge thanks to everyone for making this such a wonderful year. Wishing you a restful and productive summer, and I will see you again in October!

*[Medievalists sailing off on Summer adventures. Bon voyage, and see you next year!]*
Ashmole Bestiary, Bodleian Library MS. Ashmole 1511, f. 86 v.
Viewable in full at Digital Bodleian

Celebrating OMS 2022/23: Call for Submissions

1 Comment on Celebrating OMS 2022/23: Call for Submissions

12/06/2023

09:25

News, opportunities

As we wrap up the year, we here at OMS have been reflecting on the amazing accomplishments of Oxford’s medievalists in the last year. 2022/23 saw even more seminars and reading groups than ever before, covering an extremely diverse range of languages, themes, and ideas. We have also seen a considerable number of publications, special lectures, and practice-as-research events, like the Medieval Crafternoon and Mystery Plays.

Beginning this year, we will be creating an annual record publication to sum up the year’s events and spotlight the wonderful achievements of Oxford’s Medievalist community. This will be a place to celebrate major publications, highlight new and ongoing seminars/reading groups, and remember the special events that were held in the academic year.

If you have something to celebrate, we would love to hear from you! Submissions on the following would be much appreciated:

Book publications (monographs or edited volumes) by Oxford Medievalists in 2022/23 with a short summary or abstract (no more than 250 words).
Write-ups of special lectures, conferences, or events hosted at Oxford. If you have pictures of your event in progress, these would be particularly gratefully received! (no more than 500 words).
A paragraph about your reading group / seminar series, and what you did in 2022/23. We are particularly keen to hear from those who started new reading groups/seminars in the academic year 2022/23 (no more than 250 words).

Please send submissions to luisa.ostacchini@ell.ox.ac.uk. All submissions must be received by August 20th 2023. The OMS Record will be completed in time for the new academic year, both online and in (limited) print format.

Distance: Medieval and Modern Languages Conference

by Henrike Lähnemann

09/06/2023

20:46

Comments Off on Distance: Medieval and Modern Languages Conference

conference, trinity 23

When? 19 June 2023
Where? Taylor Institution Library (St Giles, OX1), Main Hall

9am Panel One ‘Distance’ in Pre- and Early Modern Times (Panel Chair: Sebastian Dows-Miller)

Jack Nunn, University of Oxford: ‘Distant voices’: The Making of Late-Medieval Anthologies
Marlene Schilling, University of Oxford: ‘Defying Distance’: The Rhetorical Potential of Personifications of Time in the Prayerbooks of the Northern German Convent Medingen
Samuel FitzGibbon, University of Cambridge: Windows to New Worlds: Illustrations as Conveyors of Eyewitness Testimony in 16th Century Travel Accounts

10:40 Panel 2 ‘Distance’ in Translation, Reception and Adaptation (Panel Chair: Alexia Ji Wang)

Edward Voet, University of Oxford: Sanskrit to Korean transliteration in the Ansimsa-pon Chinŏn chip (1569)
Xiyuan Meng, University of St. Andrews: Performing ‘Distance’ on Chinese Stages: Translation, Adaption, and (Re-)Performance of Euripides’ Medea
Mariachiara Leteo, University of Oxford: The Distant Perspective of Greek Tragedy in Woolf’s Jacob’s Room

13:00 Panel Three Distance, Oppression and Transgression (Panel Chair: Mathieu Farizier)

Jake Robertson, University of Oxford: Art on the Edge: Patronage and Precarity in Gulag Theaters on the Soviet ‘Periphery’
Audrey Gosset, Université Bordeaux-Montaigne and EHESS: From Stasis to Democratic Ex-stasis: Bridging the Distance through Shared Art
Georgina Fooks, University of Oxford: Susana Thénon’s Distancias: Poetry as Choreography

14:35 Panel Four ‘Distance’ in Literary Correspondences (Panel Chair: Aditi Gupta)

Tess Eastgate, University of Oxford: The implications of distance in Marie-Antoinette’s correspondence
Valery Goutorova, University of St.Andrews: “My plan is to treat you as detached spirit”: Virginia Woolf’s Effigy to Beloved Women

15:40 Panel Five ‘Distance’ in Migration and Diasporic Literature (Panel Chair: Ola Sidorkiewicz)

Ruming Yang, University of Miami: Orientalism and Auto-orientalism in Contemporary Peruvian Literature
Madeleine Pulman-Jones, SOAS University of London: The Love Poems of Debora Vogel: A Jewish-Modernist Aesthetics of Longing
Kendsey Clements, University College London: Through Her Eyes: An Analysis of écriture migrante au féminin in Québec

17:15 Keynote: Karolina Watroba

Conference programme flyer designed by Anna Glieden

Medieval Matters: Week 7

05/06/2023

09:49

Comments Off on Medieval Matters: Week 7

News

As we move into seventh week, the term and indeed the whole academic teaching year is beginning to wrap up. It has been an extremely busy year with more medieval events than ever before. It’s been a particular delight to see so many new seminars and events joining our roster this year, and to see the range of Oxford Medieval Studies expanding ever further. That being said, our busy programme is the product of extremely hard work, and I’m sure that many of us (especially our MSt students, currently working on their dissertations) are feeling rather tired. For those who need a little motivation to keep up the good work until the end of term, here is some advice from Alcuin:

non incipiens sed perseverans in finem salvus erit
[It is not the person who begins who will be saved, but the one who perseveres to the end, Ep. 276]

Some of our seminars have now finished for the year, but others are “persevering” to the end of the term! For your guide to everything happening this week, please see below:

EVENTS THIS WEEK:

Monday 5th June:

The Byzantine Graduate Seminar will meet at 12:30-14:00 via Zoom. This week’s speaker will be Peter Boudreau (McGill University), Keeping Time in Byzantium: Temporal Imagery and Thought in the Calendars of Later Byzantium. To register, please contact james.cogbill@worc.ox.ac.uk.
The Medieval Latin Manuscript Reading Group led by Matthew Holford and Andrew Dunning is meeting as usual via Teams from 1-2pm. This term we will read some satirical poetry from a thirteenth-century manuscript, the so-called ‘Bekyngton anthology’ (Bodl. MS. Add. A. 44). Sign up for the mailing list to receive updates and the Teams invite, or contact matthew.holford@bodleian.ox.ac.uk or andrew.dunning@bodleian.ox.ac.uk for more information.
The Invisible East Group is hosting a seminar at 3pm in the Spalding Room, FAMES, Pusey Lane. This week’s speaker will be Prof Edmund Herzig, University of Oxford, ‘Closing a bank account in early 18^th century Isfahan‘. M ore information at this link
The Medieval History Seminar meets at 5pm at the Wharton Room, All Souls College. This week’s speaker will be Sara Lipton (Stony Brook/All Souls), ‘Iconography Against the Grain: Looking at and Learning from Art in the High Middle Ages‘. The seminar will also be available remotely via Teams. The Teams session can be accessed by logging in to Teams with your .ox.ac.uk account and joining the group “Medieval History Research Seminar” (team code rmppucs). If you have any difficulties please email: medhistsem@history.ox.ac.uk.

Tuesday 6th June:

The Medieval Church and Culture Seminar meets at the Wellbeloved Room, Harris Manchester College, with tea & coffee from 5pm; papers begin at 5.15pm. This week’s speaker will be Samuel Oliver (Queen’s), Envisioning Beguines’ ideas of community after the Council of Vienne, with a special focus on the Vita et Revelationes of Agnes Blannbekin. Everyone is welcome at this informal and friendly graduate seminar!
There will be a reconstruction of the Night Office in 15th-Century Oxford in New College Chapel at 9pm prepared by Henry Parkes. Come along to experience of listening to the Office for Thomas Becket! More information and a glimpse of the manuscripts on which this is based in this blogpost.

Wednesday 7th June:

The Medieval German Seminar will meet at 11:15-12.45pm at St Edmund Hall Old Library. In Trinity Term, we are continuing to discuss Heinrich von Neustadt’s texts, focussing on ‘Von Gottes Zukunft’. We will meet in person in the Old Library of St Edmund Hall. Further information and reading recommendations via the teams channel; if you want to be added to that: please email Henrike Lähnemann.
The Medieval Latin Document Reading Group meets on Teams at 4-5pm. We are currently focusing on medieval documents from New College’s archive as part of the cataloguing work being carried out there, so there will be a variety of hands, dates and types. A document is sent out in advance but homework is not expected. Contact Michael Stansfield for further details and the Teams link.
The Late Antique and Byzantine Seminar meets at 5pm at Ioannou Centre for Classical and Byzantine Studies, 66 St. Giles. This week’s speaker will be Asli Niyazioglu (Exeter College), ‘Ottoman Istanbul’s Talismanic Antiquities’. You can also join the seminar remotely via Teams, click here.

Thursday 8th June:

The Discussion Group: Governability across the medieval globe meets at 12.30 in the Sainsbury Common Room in Worcester College. Everyone welcome: staff, students and researchers, of all historical periods. We encourage you to bring lunch along. This week’s topic is ‘Plants and animals 🐄🌳’.
The Piers Plowman in Context discussion group will be led by Helen Barr in the Main Quad Boardroom at Univ from 4:30-5:30. This week’s session will be on Passus XIX of the B-text, which we’ll be discussing in relation to the Wycliffite ‘On the Ecclesiastical Hierarchy’ (available through this link: https://drive.google.com/drive/folders/1LSWHJAX2abXPsd_9PwC-540qcBTXrucB) and Chaucer’s Parson’s Tale. All welcome! Email Jacob Ridley (jacob.ridley@univ.ox.ac.uk) with any questions

Friday 9th June:

The Medieval Coffee Morning meets as usual 10:30am in the Visiting Scholars Centre of the Weston Library (instructions how to find it) with presentation of items from the special collections, coffee and the chance to see the view from the 5th floor terrace.
The Germanic Reading Group meets at 4pm on Zoom. To receive the materials and be added to the mailing list, please contact howard.jones@sbs.ox.ac.uk.
The Anglo-Norman Reading Group meets at 5-6.30pm at the Julia Mann room, St Hilda’s College and online. This term we are reading extracts from Hue de Rotelands’s Protheselaus. Please contact Jane Bliss and/or Stephanie Hathaway to let us know if you can come in person (so we know whom to expect), also to obtain copies of the texts, and for the Zoom invitations.

Finally, some more wisdom from Alcuin on the importance of staying focussed even as the term draws to a close (always a difficult task):

non segniter labora
[don’t work half-heartedly! Ep. 18]

Wishing the best of luck to all of our graduate students finishing up dissertations or taking exams in the next few weeks. For everyone else: may you work whole-heartedly this week!

*[Never wake a sleeping medievalist in seventh week]*
Ashmole Bestiary, Bodleian Library MS. Ashmole 1511, f. 80 v.
Viewable in full at Digital Bodleian

Medieval Matters: Week 6

29/05/2023

12:49

Comments Off on Medieval Matters: Week 6

News

2 Comments on Night Office in 15th-Century Oxford

It’s another beautiful sunny bank-holiday Monday here in Oxford. The parks are looking especially lovely, and provide a particularly lovely break from work. Indeed, Alcuin tells us that we can find lots of examples for good behaviour in nature. In particular the bee, famed for its careful selection of good pollen, might be a useful model for research:

Sicut apis sapientissima, omnia, quae honestatis sunt, discendo probate; et quae optima esse videntur, eligendo retinete
[By learning confirm what is important, and by choosing keep hold of whatever seems good – just like the wisest bee. Ep. 72 ]

It’s easy to follow such advice given that there are so many wonderful seminars, reading groups and events for you to examine and learn from this week. The great difficulty is, of course, choosing which to attend: Alcuin unfortunately did not give us any advice on how to select seminars when all of them ‘optima esse videntur’! Please see below for the many wonderful things happening in Oxford this week:

ANNOUNCEMENTS:

Rethinking Lyric Communities in Premodern Worlds will take place at Christ Church Research Centre, Oxford, on 20-21 June. This symposium is part of the collaborative research project Rethinking Lyric Communities, which had its first two workshops in Oxford and Berlin last year. This third instalment will focus on questions of lyric and community in premodern times in both European and Middle Eastern worlds. Bringing contemporary lyric theory into dialogue with medieval and early modern studies, the fundamental questions we intend to explore are: what is it that makes the lyric particularly shareable? How was it actually shared? And what kind of community formation did it enable or envision? This is a hybrid event. To receive the link, please write to Nicolas Longinotti by Thursday 15 June 2023: n.longinotti@fu-berlin.de. For more information and the full programme, please click here.
The Night Office in 15th-Century Oxford: on Tuesday 6th June at 9pm in New College Chapel, New College Choir will enact a short-form Night Office as it might have been known in 15th-century Oxford, to explore how this nowforgotten liturgy worked in performance. In southern England from the late 14th century on, Tuesdays were commonly given over to the veneration of St Thomas Becket. This service recreates a ‘commemorative’ Tuesday Becket office, as precribed in late medieval books of the Sarum Use—many of which survive in Oxford libraries.
Medieval Mystery Play Recordings are now available! If you missed the Medieval Mystery Plays or just want to relive the fun of them, you can now watch the recordings on our blog. For a taster of the medievalist merriment, please see the trailer here. Huge thanks to Natascha Domeisen for her hard work filming and editing these.

EVENTS THIS WEEK:

Monday 29th May:

The Byzantine Graduate Seminar will not meet today, but resumes next week.
The Medieval Latin Manuscript Reading Group led by Matthew Holford and Andrew Dunning is meeting as usual via Teams from 1-2pm. This term we will read some satirical poetry from a thirteenth-century manuscript, the so-called ‘Bekyngton anthology’ (Bodl. MS. Add. A. 44). Sign up for the mailing list to receive updates and the Teams invite, or contact matthew.holford@bodleian.ox.ac.uk or andrew.dunning@bodleian.ox.ac.uk for more information.
The Queer and Trans Medievalisms Reading and Research Group meets at 3pm at Univ College, 12 Merton St Room 2. This week’s theme is Animal magics: The Mabinogion, fourth branch (Mab uab Mathonwy). All extremely welcome! To join the mailing list and get texts in advance, or if you have any questions, email rowan.wilson@univ.ox.ac.uk.
The Medieval History Seminar meets at 5pm at the Wharton Room, All Souls College. This week’s speaker will be José Maria Andres Porras (St Hugh’s) ‘Violence, Blood, and Vendetta: A Girardian Interpretation‘. The seminar will also be available remotely via Teams. The Teams session can be accessed by logging in to Teams with your .ox.ac.uk account and joining the group “Medieval History Research Seminar” (team code rmppucs). If you have any difficulties please email: medhistsem@history.ox.ac.uk.

Tuesday 30th May:

The Medieval English Research Seminar will meet at 12:00 in Lecture Theatre 2, St Cross Building. This week’s speaker will be Euan Roger (National Archives), Life Records and The National Archives.
The Medieval Church and Culture Seminar meets at the Wellbeloved Room, Harris Manchester College, with tea & coffee from 5pm; papers begin at 5.15pm. This week’s speaker will be Lucas Dorschel (St Hugh’s), Recontextualizing the Donestre: Queer Cannibalism in the Wonders of the East Manuscripts, c. 1000-1125. Everyone is welcome at this informal and friendly graduate seminar!
The first lecture of the New CMTC Lecture Series: Provenance Unknown will take place at 5.15-7pm in the Memorial Room, Queen’s College. The speaker is Alexander Herman (Institute of Art and Law, London), Don’t Turn That Page! The Legal Risks of Dealing in Unprovenanced Manuscripts. You can also join the lecture online via Zoom: to register for the link, please click here. Sign-ups will close at 10,00am on Tuesday 30th May. We cannot guarantee that we will be able to provide a Zoom link if you email us after this time. If you have not received a link by 12.00noon on 30th May, please email Gabriele Rota (gabriele.rota@queens.ox.ac.uk).

Wednesday 31st May:

The Medieval German Seminar will meet at 11:15-12.45pm at St Edmund Hall Old Library. In Trinity Term, we are continuing to discuss Heinrich von Neustadt’s texts, focussing on ‘Von Gottes Zukunft’. This week Magdalena Butz will present findings from her doctoral thesis on the transformation of religious knowledge into vernacular storytelling. Further information and reading recommendations via the teams channel; if you want to be added to that: please email Henrike Lähnemann.
The Old High German Reading Group will not meet this week.
The Old French Reading Group takes place at 4-5pm at St Hilda’s College (meet by the lodge) on Wednesdays of Even Weeks in association with Oxford Medieval Studies, sponsored by The Oxford Research Centre in the Humanities (TORCH). We welcome readers of Old French of all abilities. For further information, please email alice.hawkins@st-hildas.ox.ac.uk or irina.boeru@st-hildas.ox.ac.uk
The Medieval Latin Document Reading Group meets on Teams at 4-5pm. We are currently focusing on medieval documents from New College’s archive as part of the cataloguing work being carried out there, so there will be a variety of hands, dates and types. A document is sent out in advance but homework is not expected. Contact Michael Stansfield for further details and the Teams link.
The Late Antique and Byzantine Seminar meets at 5pm at Ioannou Centre for Classical and Byzantine Studies, 66 St. Giles. This week’s speaker will be Cristina Rognoni (Università degli Studi di Palermo), ‘The Greek monastery of S. Salvatore di Bordonaro (Messina, Sicily, 12th century): a short history and a long tradition’. You can also join the seminar remotely via Teams, click here.

Thursday 1st June:

The Environmental History Group meets at 12-2pm in the Gary Martin Room, History Faculty. This week’s speaker will be G. J. Morgan, “The Hagiocene: ‘the Age of the Saints’ and environmental thought”. We try to keep discussions informal, and we encourage anyone at all interested in these kinds of approaches to join our meetings, regardless of research specialism or presumed existing knowledge. For those interested in joining the group, you can join our mailing list by getting in touch with us at environmentalhistoryworkinggroup-owner@maillist.ox.ac.uk.
The Pursuit of Musick. The Taverner Consort at 50 will take place at 3-4pm at the Taylor Institution Library, Room 2. Andrew Parrott will be in conversation with Henrike Lähnemann on musical life in medieval and early modern Europe. This is a celebration of 50 years of the Taverner Consort and Andrew Parrott’s The Pursuit of Musick: Musical Life in Original Writings & Art c1200–1770, a uniquely colourful compendium of almost everything to do with pre-modern musical life. The lecture will take as its starting point how the examples on music in the everyday life of medieval and early modern Germany can be used as a teaching tool and will also discuss questions of translation of premodern sources. All original source material is open access available on the publication website, e.g. https://www.taverner.org/everyday-life. For more information, see our blog here.
The Medieval Women’s Writing Reading Group meets at 3-4pm at Lincoln College: meet at the lodge. This week’s theme will be Holiness and sainthood: forms of holiness and sainthood, and their effect on authority both by women and for women. Please email katherine.smith@lincoln.ox.ac.uk to be added to the mailing list and get texts in advance, or to find out more.
This week’s Piers Plowman in Context discussion group will be led by Mishtooni Bose in the Main Quad Boardroom at Univ from 16:30-17:30. This week’s session will be on Passus XV of the B-text, which we’ll be discussing in relation to the short contexts available through this link: https://drive.google.com/drive/folders/1ecmqwQpuxmxbEn7e9Pu0uFCMVONSCdRC All welcome! Email Jacob Ridley (jacob.ridley@univ.ox.ac.uk) with any questions.
The Medieval Visual Culture Seminar meets at 5.15-6.45pm at St Catherine’s College, Arumugam Building. This week’s speaker will be Michelle Brown University of London, Visual Exegesis and its Deployment in Insular Illumination. For further information, contact Elena Lichmanova (elena.lichmanova@merton.ox.ac.uk).

Friday 2nd June:

The Medieval Coffee Morning meets as usual 10:30am in the Visiting Scholars Centre of the Weston Library (instructions how to find it) with presentation of items from the special collections, coffee and the chance to see the view from the 5th floor terrace.

Saturday 3rd June:

A one-day-only exhibition: Maleficia: Magic, Witchcraft, & Astrology will take place at New College. We will be displaying some manuscripts, mostly astrological texts, along with a number of early modern printed books, mostly witchcraft treatises. The exhibition will be in New College’s Lecture Room 4 and is open to the public.

Of course, just as there are good examples to be found in nature, Alcuin reminds us that there are bad ones too:

Nec mirum, si tarditas aselli sustineat in dorso flagellum
[It’s not surprising if a lazy donkey gets a whip across his back! Ep. 98]

I take this to mean that it’s important not to get overly carried away with walks in University Parks when there is still plenty of work to do before the end of term! Nonetheless, I hope that you all get to enjoy some sunshine today, and wish you a week of being ‘like the wisest bee’ in your learning and teaching!

*[Medievalists taking Alcuin’s advice and choosing which seminars seem to them to be best]*
Ashmole Bestiary, Bodleian Library MS. Ashmole 1511, f. 75 v.
Viewable in full at Digital Bodleian

Night Office in 15th-Century Oxford

by Henrike Lähnemann

26/05/2023

21:40