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Toward a vision of the Devil's right...

Ruth, Kevin J.

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Toward a vision of the Devil's rights in the theater of late medieval Europe.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Toward a vision of the Devil's rights in the theater of late medieval Europe./
Author:	Ruth, Kevin J.
Description:	394 p.
Notes:	Source: Dissertation Abstracts International, Volume: 65-06, Section: A, page: 2194.
Contained By:	Dissertation Abstracts International65-06A.
Subject:	Literature, Medieval. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3134885
ISBN:	0496821101

Toward a vision of the Devil's rights in the theater of late medieval Europe.
Ruth, Kevin J.

Toward a vision of the Devil's rights in the theater of late medieval Europe. - 394 p.

Source: Dissertation Abstracts International, Volume: 65-06, Section: A, page: 2194.

Thesis (Ph.D.)--Rutgers The State University of New Jersey - New Brunswick, 2004.

"Nunc ego mitto to aperire oculos eorum ut convertantur a tenebris ad lucem et de potestate Satanae ad Deum ut accipiant remissionem peccatorum." [Now I am sending you to open their eyes and turn them from darkness to light, and from the power of Satan to God, so that they may receive forgiveness of sins.] For early Christian writers, these words from Acts 26:18, the account of Paul's conversion, formed the tenet that the Devil held power over humanity. The Church Fathers understood this power to be a right granted to the Devil by God, following the Fall of Man. As Christian writers strived to forge a coherent doctrine of redemption, especially during the earliest centuries of Christianity, there were various, and sometimes conflicting, views pertaining to the defeat of the Devil. Augustine of Hippo crafted a working synthesis of these strands in the fourth century, insisting that the Devil was defeated by justice. Implicit in his stance is that the Devil held a right over humanity. In the twelfth century, Anselm of Canterbury, although he did not dispute the belief in the Devil's power over humanity, refused to accept that the Devil had a right to this power. Instead, Anselm identified it as a permission from God, reconceptualizing the manner of the defeat of the Devil. Over the course of several generations, his view became the accepted view of the Church. It stands to reason, then, that the religious theater of the late Middle Ages, as a tool of doctrinal dissemination---complemented by the understanding of theater as a mirror of society, reflected this change in conceptualization of the Devil's rights and his defeat. This dissertation examines the principal threads of early and medieval Christian thought on the Devil's rights and his defeat, then moves to an investigation and comparison of thirty French and German religious plays. It shows that late-medieval continental playwrights were aware of the conceptual shift vis-a-vis the Devil's rights, and that they applied this understanding when writing their plays, whether the texts were destined for private reading or public performance.

ISBN: 0496821101Subjects--Topical Terms:

571675
Literature, Medieval.

Toward a vision of the Devil's rights in the theater of late medieval Europe.
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520 $a "Nunc ego mitto to aperire oculos eorum ut convertantur a tenebris ad lucem et de potestate Satanae ad Deum ut accipiant remissionem peccatorum." [Now I am sending you to open their eyes and turn them from darkness to light, and from the power of Satan to God, so that they may receive forgiveness of sins.] For early Christian writers, these words from Acts 26:18, the account of Paul's conversion, formed the tenet that the Devil held power over humanity. The Church Fathers understood this power to be a right granted to the Devil by God, following the Fall of Man. As Christian writers strived to forge a coherent doctrine of redemption, especially during the earliest centuries of Christianity, there were various, and sometimes conflicting, views pertaining to the defeat of the Devil. Augustine of Hippo crafted a working synthesis of these strands in the fourth century, insisting that the Devil was defeated by justice. Implicit in his stance is that the Devil held a right over humanity. In the twelfth century, Anselm of Canterbury, although he did not dispute the belief in the Devil's power over humanity, refused to accept that the Devil had a right to this power. Instead, Anselm identified it as a permission from God, reconceptualizing the manner of the defeat of the Devil. Over the course of several generations, his view became the accepted view of the Church. It stands to reason, then, that the religious theater of the late Middle Ages, as a tool of doctrinal dissemination---complemented by the understanding of theater as a mirror of society, reflected this change in conceptualization of the Devil's rights and his defeat. This dissertation examines the principal threads of early and medieval Christian thought on the Devil's rights and his defeat, then moves to an investigation and comparison of thirty French and German religious plays. It shows that late-medieval continental playwrights were aware of the conceptual shift vis-a-vis the Devil's rights, and that they applied this understanding when writing their plays, whether the texts were destined for private reading or public performance.
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