Author Description

In This Volume, Christian, Jewish, And Samaritan Liturgical Poetry From Late Antiquity (ca. 3rd-4th C. Ce) Is Examined Not Only From Within The Context Of Religious Traditions Of Biblical Interpretation And Conventions Of Prayer But Also Through The Lenses Of Performance, Entertainment, And Spectacle. Recognizing That Liturgical Poets Were As Invested Engaging Their Listeners As Orators And Actors Were, This Study Analyses Hymnody As A Performative Genre Akin To Oratory And Theatre, The Two Primary Modes Of Public Performance From The Wider Societal Context. Attention To Liturgical Poetry's Theatricality Draws Our Attention To A Range Of Subjects, From How Biblical Stories Were Adapted To The Liturgical Stage, Much In The Way That The Classical Works Of Greco-roman Antiquity Were Themselves Popularized In This Late Antique Period; To The Adaptation Of Physical Techniques And Material Structures To Augment The Ability Of Performers To Engage Their Audiences. Specific Techniques Associated With Both Oratory And Acting In Antiquity Will Offer Concrete Means For Elucidating The Affinities Of Liturgical Presentations And Other Modes Of Performance: Indications Of Direct Address, For Example, And Apostrophe, As Well As The Creation Of Character Through Speech (ethopoeia); And Appeals To The Audience's Senses, Including Vivid Descriptions (ekphrasis), A Technique Especially Popular In Antiquity. A Serious Consideration Of Performance Also Demands That We Make The Difficult Leap To Imagining The World Beyond The Page. While Late Antique Hymnody Has Come Down To The Present Primarily In Textual Form, The Written Word Constitutes Something Quite Remote From The Actual Experience These Scripts Reflect. We Will Thus Attempt To Consider More Speculative But Recognizably Essential Elements Of These Works' Reception, Including Ways In Which Liturgical Poetry Could Have Borrowed From The Gestures And Body Language Of Oratory, Mime, And Pantomime, And How Poets May Have Used The Phy