383 research outputs found
W. Bede Mitchell papers
No full textThe collection consists of the papers of Dr. W. Bede Mitchell, Professor, and Dean of Libraries Emeritus. Materials include copies of journals which include articles written or edited by Mitchell, correspondence between colleagues, updated curriculum vitae and Emeritus letter.
Find this collection in the University Libraries\u27 catalog.https://digitalcommons.georgiasouthern.edu/finding-aids/1122/thumbnail.jp
Was Bede the Author of a Penitential?
No full textThe recent publication of the more important medieval handbooks of penance in an English version raises afresh the often disputed question, whether the Venerable Bede was the author or compiler of a penitential. What may be called the positive evidence that he did so is slight. In, or soon after, 906 Regino of Prüm composed his treatise, De synodalibus causis et disciplinis ecclesiasticis, in which he refers by name to the penitentials of Bishop Theodore and of the Venerable Bede. In the second place, there still survive several nearly related penitentials which are ascribed to Bede in the extant manuscripts. However, this ascription to Bede carries little weight, if unsupported by other evidence. For several centuries after his death his authority as a theologian ranked next to that of the four Latin doctors and the list of works going under his name, but not by him, is long. Nor is Regino's testimony unimpeachable, for his acquaintance with Bede's writings was not extensive. He does not seem to have used the theological works when composing the De synodalibus causis; and, though he did, when compiling his Chronica, make use of the chronicle inserted by Bede in the De temporum ratione, he did not consult the Ecclesiastical History. Had he been familiar with that basic work on British history, he would assuredly have drawn on it, as so many others did. He would also have found in 5, 24 Bede's own list of his writings. Thus we may suspect that Regino attributed a penitential to Bede merely on the strength of a rubric in a manuscript, and we shall do well to query the accuracy of his statement, unless corroborated by other proofs.</jats:p
Adam Bede: Author, Narrator and Narrative
No full textReaders of novels seem to have a natural, almost instinctive, tendency to perceive the voices of the author and the omniscient narrator as being one and the same. This tendency is even stronger when the narrator is blatantly intrusive, frequently inserting his own opinions into the objective narrative material of the novel. And although there are certainly some novelists who truly intend their narrative voices to be perceived as their own, this is not the case with George Eliot in Adam Bede.
In analyzing the narrative voice in this particular novel, I was struck by the almost total agreement, on the part of the critics, that there is a distinction in Eliot\u27s work between the author and the narrator. In fact, Barbara Hardy goes one step further and makes a case for a third category, discriminating between characters who tell their stories, the narrator who does everything but tell his or her story, and the reticent author whose name never appeared on the cover or title-page.! For the purposes of this study, I will be using categories which are basically parallel to Hardy\u27s, though my third category differs somewhat: (1) the author - Mary Ann Evans, (2) the narrator - George Eliot, and (3) the narrative itself.
Any serious student of English literature knows that \u27George Eliot\u27 is the pseudonym for Mary Ann Evans, but the fact was hardly common knowledge to the readers of Adam Bede in 1859. The newly-published novel was an immediate success, selling thirteen thousand copies in the first year, and two thousand copies in the first month alone. A comment by Elizabeth Gaskell, the Victorian novelist and biographer of Charlotte Bronte, humorously reflects both the mystery of the author and the popularity of the novel: \u27I have had the greatest compliment paid me I ever had in my life. I have been suspected of having written Adam Bede\u27.2 While I do not wish to elaborate on the historical facts surrounding the mystery of the author hiding behind this pen name, it is important to try to understand why Mary Ann Evans chose to let George Eliot narrate Adam Bede, rather than speaking through her own authorial voice.
The use of pseudonyms has been fairly common practice throughout the history of English literature, particularly among female writers who felt the need to disguise themselves behind a man\u27s name. Just a decade earlier, the Bronte sisters had published novels and a book of poetry in the names of Acton, Currer and Ellis Bell. Pseudonyms create a situation in which the relationship between the author and the work is reserved, and the fiction creates a reality, rather than reality creating fiction. Or as Michael Ginsburg explains it, \u27The author who chooses to use a pseudonym wants to upset the normal relationship according to which he is the father of his works; he wants to be himself an offspring of his own imagination
Adam Bede: Author, Narrator and Narrative
No full textReaders of novels seem to have a natural, almost instinctive, tendency to perceive the voices of the author and the omniscient narrator as being one and the same. This tendency is even stronger when the narrator is blatantly intrusive, frequently inserting his own opinions into the objective narrative material of the novel. And although there are certainly some novelists who truly intend their narrative voices to be perceived as their own, this is not the case with George Eliot in Adam Bede.
In analyzing the narrative voice in this particular novel, I was struck by the almost total agreement, on the part of the critics, that there is a distinction in Eliot\u27s work between the author and the narrator. In fact, Barbara Hardy goes one step further and makes a case for a third category, discriminating between characters who tell their stories, the narrator who does everything but tell his or her story, and the reticent author whose name never appeared on the cover or title-page.! For the purposes of this study, I will be using categories which are basically parallel to Hardy\u27s, though my third category differs somewhat: (1) the author - Mary Ann Evans, (2) the narrator - George Eliot, and (3) the narrative itself.
Any serious student of English literature knows that \u27George Eliot\u27 is the pseudonym for Mary Ann Evans, but the fact was hardly common knowledge to the readers of Adam Bede in 1859. The newly-published novel was an immediate success, selling thirteen thousand copies in the first year, and two thousand copies in the first month alone. A comment by Elizabeth Gaskell, the Victorian novelist and biographer of Charlotte Bronte, humorously reflects both the mystery of the author and the popularity of the novel: \u27I have had the greatest compliment paid me I ever had in my life. I have been suspected of having written Adam Bede\u27.2 While I do not wish to elaborate on the historical facts surrounding the mystery of the author hiding behind this pen name, it is important to try to understand why Mary Ann Evans chose to let George Eliot narrate Adam Bede, rather than speaking through her own authorial voice.
The use of pseudonyms has been fairly common practice throughout the history of English literature, particularly among female writers who felt the need to disguise themselves behind a man\u27s name. Just a decade earlier, the Bronte sisters had published novels and a book of poetry in the names of Acton, Currer and Ellis Bell. Pseudonyms create a situation in which the relationship between the author and the work is reserved, and the fiction creates a reality, rather than reality creating fiction. Or as Michael Ginsburg explains it, \u27The author who chooses to use a pseudonym wants to upset the normal relationship according to which he is the father of his works; he wants to be himself an offspring of his own imagination
Bede
No full textBede is the inaugural volume in the Sources of Anglo-Saxon Literary Culture series, which seeks to comprehensively map British literary culture from 500 to 1100 CE. This volume presents four texts, or fascicles, dedicated to the Venerable Bede (d. 735), theologian and author of the Historia ecclesiastica gentis Anglorum. Articles provide a wealth of information on Bede through manuscript evidence, medieval library catalogs, citations, and quotations. Using discussions of source relationships, the entries weigh and consider different interpretations of Bede’s works and suggest possibilities for future research. Part of an exciting new reference series, this book“and those that follow“will be indispensable to anyone interested in the history and literature of the period.</jats:p
Mitchell Elected VP of LAMA
No full textDean W. Bede Mitchell of Henderson Library has been elected vice president/president-elect of the Library Administration and Management Association (LAMA)
TOWARDS A CHRISTIAN VEDANTA: THE ENCOUNTER OF HINDUISM AND CHRISTIANITY ACCORDING TO BEDE GRIFFITHS
No full textBede Griffiths has sought for many years to formulate and express the relationship of the Christian and Hindu faiths. And he has done this within the context of a historical movement which is identified as sannyasic monasticism. In this study, the author attempts to discover how these two traditions are relatable and what precisely the terms of the relationship are in Bede Griffiths\u27 understanding. In order to answer these questions, the author considers Bede\u27s views on knowledge, metaphysical reality and his mystical or contemplative theology, for the nature of knowledge is answered in Bede\u27s version of the perennial philosophy which itself rests on spiritual wisdom or contemplative awareness. The author then examines the main themes of Bede\u27s theology, and considers the primordial link between the Judeo-Christian tradition and Hinduism in Bede\u27s notion of the Cosmic Revelation/Covenant which unites them in an original, pure experience of the Divine in nature and in the depths of the soul. Thus the first indication of relatability is discovered. Hinduism is shown to be a religion of the Cosmic Revelation/Covenant in which all traditions share. The author then explores the terms of the relationship on the more ultimate level of both traditions, as Bede regards them: advaita/saccidananda and the Trinity. He finds that Bede understands the Trinity as a deeper grasp of the mystery because of the note of interpersonal relationship, which is one of communion in knowledge and love. The author shows how Bede relates saccidananda and Trinity in the same ontological mystery of ultimate depth, but does not identify them, or equate them. Furthermore, it is also shown hows accidananda, in Bede\u27s view, can be a term for the Trinity in an Indian Christian theology which is also a Christian form of the Vedanta, though it is not itself the Trinity in its Hindu meaning. It can, however, be appropriated as a term for the Trinity. The author goes on to examine Bede\u27s Christology, his notions of Christian Tantrism, Christian sannyasa and his vision of the Church\u27s role as the unifying center of the world\u27s religions. Arising out of this study of Bede Griffiths\u27 contemplative, dialogical theology, the author identifies three creative implications: existential convergence, the ontological continuum/spiral, and a new model of the Church
The Old English Bede: Transmission and Textual History in Anglo-Saxon Manuscripts
No full textAn unknown author translated the Old English version of Bede’s Ecclesiastical History (OEB) around the ninth century. Previous research focused on the text’s authorship, specifically on Mercian linguistic features in its earliest manuscript, rather than the reception and transmission of its manuscripts (Miller, 1890; Whitelock, 1962; Kuhn, 1972). This thesis considers the OEB’s reception and transmission as evident in its copyists’ scribal performances. Conservative and innovative textual variants are identified for the OEB, and scribal behaviour categorised according to the framework devised by Benskin and Laing (1981) in their study of Middle English scribes. A detailed linguistic comparison of OEB witnesses combined with a close examination of the physical manuscripts reveals the working methods of scribes involved in their production. The manuscripts examined are:
Oxford, Bodleian Library Tanner 10 (T)
Oxford, Corpus Christi College 279B (O)
Cambridge, Corpus Christi College 41 (B)
Cambridge, University Library Kk.3.18 (Ca)
Each chapter analyses a particular scribal performance. O’s scribe created a Mischsprache text, combining Mercian and West-Saxon forms, yet conflicting views of what constituted a good text are revealed by O’s producers’ extensive textual corrections. Relict forms in B demonstrate that its exemplar was illegible in places and that the scribe was forced to make several textual repairs. Ca has long been considered a direct copy of O, however my detailed comparison of the two manuscripts reveals that this cannot be the case. Finally, some previously unnoticed and unpublished drypoint annotations to O’s text are presented and explored in the context of other Anglo-Saxon scratched material.
This thesis shows the benefits of examining the OEB from a scribal viewpoint, identifying common modes of scribal behaviour across the medieval period. It proposes a set of features belonging to the original translation, some of which hint at an earlier date of composition than previously supposed
Review of Adam Bede
No full textThis Broadview edition of Adam Bede has a biographical and critical introduction, appropriately integrating G. H. Lewes into its discourse, and useful essays on some of the themes of the novel, - Religion, Love, Rank and Status. There are short summaries of selected critical commentaries from the contemporary to the current, including an appraisal of the feminist divide over George Eliot. The brief chronology is succeeded by a note on the text, here that of the First Edition with minor corrections/adjustments from the manuscript, footnoted throughout. The Appendices which follow it provide foreground and background to the novel, for example the author\u27s own self-conscious account of how and when she came to write Adam Bede. Further material is found in the broadsheets on the execution of Mary Voce, extracts on the contemporary reception of the novel - an extension of pp. 39-40 of the introduction - and a telling analysis of the religious background. There are relevant derivations from Eliot\u27s theories of fiction, drawn from comments in the years preceding Adam Bede, which show just show how swiftly they were assimilated into her practice
- …
