Thematische Bibliographien / Little Gidding

Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile

Auswahl der wissenschaftlichen Literatur zum Thema „Little Gidding“

Autor: Grafiati
Veröffentlicht am 4. Juni 2021
Zuletzt aktualisiert am 6. Februar 2022

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Zeitschriftenartikel zum Thema "Little Gidding"

1

Walton, Regina L. „Liturgy at Little Gidding“. Studia Liturgica 43, Nr. 1 (März 2013): 133–54. http://dx.doi.org/10.1177/003932071304300108.

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2

Ransome, Joyce. „“Courtesy” at Little Gidding“. Seventeenth Century 30, Nr. 4 (02.10.2015): 411–31. http://dx.doi.org/10.1080/0268117x.2015.1091982.

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3

YANG, Jae-Yong. „Little Gidding’ and Anglo-Catholicism“. Journal of the T. S. Eliot Society of Korea 25, Nr. 2 (30.08.2015): 45–64. http://dx.doi.org/10.14364/t.s.eliot.2015.25.2.45-64.

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4

Wilson, Mervyn. „Tony Hodgson at Little Gidding“. Rural Theology 15, Nr. 1 (02.01.2017): 50–51. http://dx.doi.org/10.1080/14704994.2017.1298257.

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5

Pyung-Soon Kang. „Moment and Eternity in “Little Gidding”“. Jungang Journal of English Language and Literature 55, Nr. 4 (Dezember 2013): 25–44. http://dx.doi.org/10.18853/jjell.2013.55.4.002.

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6

RANSOME, JOYCE. „Monotessaron: The Harmonies of Little Gidding“. Seventeenth Century 20, Nr. 1 (März 2005): 22–52. http://dx.doi.org/10.1080/0268117x.2005.10555549.

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7

RANSOME, JOYCE. „‘Voluntary Anglicanism’: The Contribution of Little Gidding“. Seventeenth Century 24, Nr. 1 (März 2009): 52–73. http://dx.doi.org/10.1080/0268117x.2009.10555621.

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8

LOUCKS, JAMES F. „PATER AND CARLYLE IN ELIOT'S ‘LITTLE GIDDING’?“ Notes and Queries 40, Nr. 4 (01.12.1993): 500—b—502. http://dx.doi.org/10.1093/nq/40-4-500b.

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9

Coltharp, Duane. „Richard Gough, Peter Peckard, and the Problem of Little Gidding“. Journal of Anglican Studies 18, Nr. 1 (Mai 2020): 74–97. http://dx.doi.org/10.1017/s1740355320000212.

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AbstractThis article explores the ways in which Little Gidding and its inhabitants – including the leader of that pious seventeenth-century household, Nicholas Ferrar – were remembered in the late eighteenth and early nineteenth centuries. The memory of Little Gidding was shaped, in part, by a passage in Richard Gough’s British Topography, in which Gough dismissed Nicholas Ferrar as a ‘useless enthusiast’. Gough’s attack was answered by the liberal churchman Peter Peckard, who defended the reputation of his wife’s ancestor in his Memoirs of the Life of Mr. Nicholas Ferrar. And yet Peckard’s response to the Ferrars of Little Gidding was not entirely approving: while Peckard celebrated their piety and benevolence, he also worried over their ‘ceremonials’ and their ‘austerities’. This article presents a reading of the Memoirs, as well as a study of the relationship between Peckard’s text and other contemporary sources, in order to shed light on the complex nature of Peckard’s liberal Anglicanism.
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성창규. „A Reverie for Fire and Death in “Little Gidding”“. Journal of English Cultural Studies 7, Nr. 2 (August 2014): 93–114. http://dx.doi.org/10.15732/jecs.7.2.201409.93.

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Dissertationen zum Thema "Little Gidding"

1

Henley, Carmen Ortiz. „The Women of Little Gidding: The First Anglican Nuns“. Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/223380.

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This dissertation examines the lives and material production of the early modern women known as the Nuns of Little Gidding, Mary Collett Ferrar (1603-1680) and Anna Collett (1605-1639). The religious community at Little Gidding, Huntingsonshire (now Cambridgeshire), founded in 1626 by Mary Woodnoth Ferrar and her son Nicholas, housed forty-some members of the extended Ferrar, Collet, and Mapletoft family and their retainers. They devoted their lives to prayer, Bible study and memorization, contemplation, acts of charity, and the production of several unique Bible concordances or harmonies (as well as some Bible histories) of which fifteen are extant. Women were central to the spiritual life of the community, in particular, Mary and Anna who took vows of chastity. They were also the primary creators of the concordances, a task that entailed cutting up printed Bibles, reorganizing the text according to a complex scheme devised by Nicholas Ferrar. The resulting harmonized Gospel suppressed the discrepancies and differences in the four canonical accounts and produced a single, seamless narrative that preserved every detail of the originals. Close study of the relationship between image and text in the Gospel harmonies shows that the women sometimes chose particular images not to illustrate but rather to undermine the authority of the biblical narrative. Images might restore women to an account that minimizes, trivializes, or elides their importance in the life of Jesus. Thus, while their explicit task was to harmonize the Gospel accounts, the women were surreptitiously "deconstructing" them to reveal their discord.
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Riley, Kate E. „The good old way revisited : the Ferrar family of Little Gidding c.1625-1637“. University of Western Australia. School of Humanities, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0026.

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[Truncated abstract] The Ferrars are remembered as exemplars of Anglican piety. The London merchant family quit the city in 1625 and moved to the isolated manor of Little Gidding in Huntingdonshire. There they pursued a life of corporate devotion, supervised by the head of the household, Nicholas Ferrar, until he died in December 1637. To date, the life of the pious deacon Nicholas Ferrar has been the focus of histories of Little Gidding, which are conventionally hagiographical and give little consideration to the experiences of other members of the family, not least the many women in the household. Further, customary representations of the Ferrars have tended to remove them from their seventeenth-century context. Countering the biographical trend that has obscured many details of their communal life, this thesis provides a new, critical reading of the family's years at Little Gidding while Nicholas Ferrar was alive. It examines the Ferrars in terms of their own time, as far as possible using contemporary documents instead of later accounts and confessional mythology. It shows that, while certain aspects of life at Little Gidding were unusual, on the whole the family was less exceptional than traditional histories have implied; certainly the family was not so unified and unworldly as the idealised images have suggested. Moreover, the Ferrars were actively engaged in making those images, for immediate effect and for posterity. The Ferrars' identities, corporate and individual, and their largely textual practices of self-fashioning are central to the study. Other key concerns are the Ferrars' moral and religious ideals and practices, gender in the family, and intra-familial relationships. Evidence for the thesis is drawn from family documents dating from the early years of the seventeenth century to the time of Nicholas Ferrar's death. ... The Little Academy is considered first: in this unique dialogue circle, young women discussed morally edifying historical tales, offering them a textually-mediated experience of the world and working to reinforce conventional gender roles and religious values. The final three chapters pertain to the copious and little-studied family correspondence. A chapter that develops a theory of the functions of the family correspondence network is followed by one studying the affective relationships that the celibate sisters Mary and Anna Collet maintained through their letters with their unmarried uncle and spiritual mentor, Nicholas Ferrar. These chapters consider the identities as single people that all three developed through these relationships, within the maritally-focused framework of the Protestant family. The last chapter also concerns the lives of the unmarried, examining the relationships of single male adults and their roles in the family, focusing on the friendship of Nicholas Ferrar and his cousin Arthur Woodnoth. The thesis closes by reflecting on the fact that returning the Ferrars to their seventeenth-century context reveals their multi-faceted nature, comprising ideals and identities sometimes incongruous with one another, and certainly unaccounted for in the traditional narratives. It thus demonstrates the importance of the overall project of reconceiving the Ferrars? history, which forms an original contribution to the study of the social, cultural and religious history of early seventeenth-century England.
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長畑, 明利, und Akitoshi Nagahata. „調和と死 - 戦意高揚詩としての"Little Gidding" (古典を読み直す)“. 名古屋大学大学院国際言語文化研究科, 2005. http://hdl.handle.net/2237/8118.

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Trettien, Whitney Anne. „Cut/Copy/Paste: Composing Devotion at Little Gidding“. Diss., 2015. http://hdl.handle.net/10161/9928.

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At the community of Little Gidding from the late 1620s through the 1640s, in a special room known as the Concordance Chamber, Mary Ferrar, Anna Collett, and their sisters sliced apart printed Bibles and engravings, then pasted them back together into elaborate collages of text and image that harmonize the four gospels into a single narrative. They then bound these books between elaborate covers using a method taught to them by a bookbinder's daughter from Cambridge. The resulting volumes were so meticulously designed that one family member described the process as "a new kind of printing." Collectively, these books are known as the Little Gidding Harmonies, and they are the subject of Cut/Copy/Paste.

By close-reading the Little Gidding Harmonies, Cut/Copy/Paste illuminates a unique Caroline devotional aesthetic in which poets, designers, and printmakers collaboratively explored the capacity of the codex to harmonize sectarianism. Proceeding chronologically, I begin in the Elizabethan and early Stuart periods, when women writers like Isabella Whitney, Mary Sidney Herbert, and a range of anonymous needleworkers laid the groundwork for the Harmonies' cut-up aesthetic by marrying the language of text-making to textile labor (Chapter 1). Situating women's authorship in the context of needlework restores an appreciation for the significance and centrality of ideologically gendered skills to the process of authoring the Harmonies. Building on this chapter's argument, I turn next to the earliest Harmony to show how the Ferrar and Collett women of Little Gidding, in conversation with their friend George Herbert, used cutting and pasting as a way of bypassing the stigma of print without giving up the validation that publication, as in making public, brings. This early volume attracted the attention of the court, and Little Gidding soon found itself patronized by King Charles, Archbishop Laud, and an elite coterie who saw in the women's cut-and-paste "handiwork" a mechanism for organizing religious dissention (Chapter 2). In response, Little Gidding developed ever more elaborate collages of text and image, transforming their writing practice into a full-fledged devotional aesthetic. This aesthetic came to define the poetry of an under-appreciated network of affiliated writers, from Frances Quarles and Edward Benlowes to Royalist expatriate John Quarles, Mary Ferrar at Little Gidding, and her close friend Richard Crashaw (Chapter 3). It fell out of favor in the eighteenth century, derided by Alexander Pope and others as derivative and populist; yet annotations and objects left in one Little Gidding Harmony during the nineteenth century witness how women, still denied full access to publishing in print, continued to engage with scissors and paste as tools of a proto-feminist editorial practice (Chapter 4). The second half of the last chapter and a digital supplement turn to the Harmonies today to argue for a reorientation of digital humanities, electronic editing, and "new media" studies around deeper histories of materialist or technical tropes of innovation, histories that do not always begin and end with the perpetual avant-gardism of modernity.

This project participates in what has been called the "material turn" in the humanities. As libraries digitize their collections, the material specificity of textual objects - the inlays, paste-downs, typesetting, and typography occluded by print editions - becomes newly visible through high-resolution facsimiles. Cut/Copy/Paste seizes this moment of mass remediation as an opportunity to rethink the categories, concepts, and relationships that define and delimit Renaissance literature. By reading early modern cultural production materially, I reveal the richness of the long-neglected Caroline period as a time of literary experimentation, when communities like Little Gidding and their affiliates developed a multimedia, multimodal aesthetic of devotion. Yet, even as this project mines electronic collections to situate canonical texts within a wider field of media objects and material writing practices, it also acknowledges that digital media obscure as much as they elucidate, flattening three-dimensional book objects to fit the space of the screen. In my close readings and digital supplement, I always return to the polyphonic dance of folds and openings in the Harmonies - to the page as a palimpsest, thickly layered with paper, ink, glue, annotations, and evidence of later readers' interactions with it. By attending to the emergent materiality of the Harmonies over the longue durée, Cut/Copy/Paste both deepens our knowledge of seventeenth-century devotional literature and widens the narrow lens of periodization to consider the role of Little Gidding's cut-up method in past, present, and future media ecologies.


Dissertation
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5

Walton, Regina Laba. „Pious designs: theological aesthetics in the writings of George Herbert and the Ferrars of Little Gidding“. Thesis, 2013. https://hdl.handle.net/2144/15164.

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This study examines both the theological aesthetics of George Herbert (1593-1633), English priest and poet, and those of his friends, the Ferrar family of Little Gidding, who founded a quasi-monastic religious community near Cambridge from 1624-1646. In their writings, Herbert and the Ferrars negotiated two traditional but usually competing aesthetic stances: the "beauty of holiness"; on the one hand, and austere plainness, on the other. They skillfully navigated between conflicting theological positions during the years leading up to the English Civil War. Chapter 1 reviews the historical connection between Herbert and Nicholas Ferrar (1592/3-1637) in light of recent revisionist biographies. It describes and contextualizes the anomalous and controversial devotional life at Little Gidding within the complex religio-political landscape of the 1620s and 1630s; it also argues for a shared theological aesthetic between Herbert and the Ferrars as evident in their collaboration on various projects. (Herbert also designated the Ferrars his literary executors.) Chapter 2 revisits the question of Herbert's paradoxical "plain style," a topic that has engaged scholars for decades, by exploring his poetic use of clothing images in conjunction with the Renaissance commonplace of the "garment of style." Chapter 3 examines in detail liturgical practice at Little Gidding, both the family's public and private worship life, as well as their extensive renovation of two churches. Here I argue that the community did not fit easily within any single category in the "worship wars" of the early seventeenth century, but instead drew upon influences across the liturgical spectrum, from Laudianism to puritanism. Chapters 4 and 5 explore how Herbert (in his poetry) and the Ferrars (in their religious dialogues called the Story Books) use narrative of various kinds, but especially parable and exempla, for catechetical ends, and emphasize the centrality of "true stories" to Christian belief. The conclusion argues that these texts present a theological aesthetic that is deeply connected to a lived, practiced ethics. This project fills in a major gap in Herbert studies while recovering important primary sources for the understanding of religion, literature and culture in early modern England.
2018-04-30T00:00:00Z
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Bücher zum Thema "Little Gidding"

1

Weyer, Robert Van de. Little Gidding: Story & guide. London: Lamp Press, 1989.

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2

The web of friendship: Nicholas Ferrar and Little Gidding. Cambridge [Eng.]: James Clarke & Co., 2011.

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3

The little church that refused to die. Allison Park, Pa: Pickwick Publications, 1993.

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4

The Little Gidding Way. Darton, Longman & Todd Ltd, 1988.

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5

Williams, A. M. Conversations at Little Gidding. Cambridge University Press, 2006.

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The Little Gidding Prayer Book. Society For Promoting Christian Knowledge, 1986.

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Little Gidding Str/gde Pb. Marshall Pickering, 1988.

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1592-1637, Ferrar Nicholas, und Williams A. M, Hrsg. Conversations at Little Gidding: 'On the retirement of Charles V' ; 'On the austere life'. Cambridge: Cambridge University Press, 2006.

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Paul, Handley, Hrsg. The English spirit: The Little Gidding anthology of English spirituality. London: Darton, Longman and Todd in association with Little Gidding Books, 1987.

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Paul, Handley, Hrsg. The English spirit: The Little Gidding anthology of English spirituality. Nashville: Abingdon Press, 1988.

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Buchteile zum Thema "Little Gidding"

1

Krockel, Carl. „Trauma Transfigured: “The Hollow Men” to Little Gidding“. In War Trauma and English Modernism, 156–96. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230307759_7.

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Thurston, Michael. „In Nekuia Begins Responsibility: “Little Gidding” and the Postwar Necromantic Tradition“. In The Underworld in Twentieth-Century Poetry, 87–104. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230102149_4.

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Atkins, G. Douglas. „Little Gidding (Continued): The Pattern in the Movement, the Doing in the Speaking“. In T.S. Eliot and the Fulfillment of Christian Poetics, 80–104. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137466259_7.

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4

Johnson, Nicholas. „Anima-tion at Little Gidding: Thoughtful Inconsistency as Ecological Ethos in an Early Modern Bible Harmony“. In Early Modern Ecostudies, 145–65. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230617940_9.

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5

Prochaska, Bernadette. „The Visible and the Invisible: T. S. Eliot’s Little Gidding and Edmund Husserl’s Expression and Meaning“. In The Visible and the Invisible in the Interplay between Philosophy, Literature and Reality, 191–98. Dordrecht: Springer Netherlands, 2002. http://dx.doi.org/10.1007/978-94-010-0485-5_12.

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Atkins, G. Douglas. „Little Gidding: Coming This Way, Coming Closer: Commonality, Communication, Community, and Communion, or What’s Being Done in What’s Being Said“. In T.S. Eliot and the Fulfillment of Christian Poetics, 67–79. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137466259_6.

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7

Blamires, Harry. „Little Gidding“. In Word Unheard, 123–84. Routledge, 2020. http://dx.doi.org/10.4324/9781003074830-5.

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„The New Household at Little Gidding:“. In The Web of Friendship, 50–79. The Lutterworth Press, 2011. http://dx.doi.org/10.2307/j.ctt1cgf243.10.

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Trettien, Whitney. „Women’s labor and the Little Gidding Harmonies“. In Routledge Companion to Women, Sex, and Gender in the Early British Colonial World, 120–35. Routledge, 2018. http://dx.doi.org/10.4324/9781315613772-9.

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10

„The church heroic: Charles, Laud, and Little Gidding“. In Literature and Religious Culture in Seventeenth-Century England, 21–55. Cambridge University Press, 2001. http://dx.doi.org/10.1017/cbo9780511483448.002.

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