Journal articles: 'Murder in the Cathedral'

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Horne, Brian. "Murder in the Cathedral." International Journal for the Study of the Christian Church 20, no. 3-4 (October 1, 2020): 275–87. http://dx.doi.org/10.1080/1474225x.2020.1863694.

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Holloway, Patricia Mosco. "T. S. Eliot’s Murder in the Cathedral." Explicator 43, no. 2 (December 1985): 35–36. http://dx.doi.org/10.1080/00144940.1985.11483867.

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Ronnick, Michele Valerie. "Eliot's Murder in the Cathedral, line 92." Explicator 53, no. 1 (October 1994): 54–56. http://dx.doi.org/10.1080/00144940.1994.9938818.

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Talib, Assist Teacher: Kawakib. "of Tyranny and Martyrdom in Two plays Murder in Cathedral and Walls of Fear." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 223, no. 1 (December 1, 2017): 13–20. http://dx.doi.org/10.36473/ujhss.v223i1.310.

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This research paper deals with two plays: Iraqi play (Walls of Fear) by Iraqi dramatist Kadhim Imarn Mousa) and the second one is Murder in Cathedral by American Dramatist T.S.Eliot.Both dramatists present the martyr character from ordinary people but the tyrant is represented by kings or rulers. Theme of the play Murder in Cathedral is the conflict between what a man knows is right in the sight of God and brute force but the theme of the play Walls of Fear is the conflict between the people and the tyrant king .Many of Iraqi young people are martyrs like Thomas Becket.

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de Villiers, Rick. "Mr Eliot’s Christmas Morning Service: Participation, Good Will, and Humility in Murder in the Cathedral." Literature and Theology 34, no. 2 (February 29, 2020): 166–83. http://dx.doi.org/10.1093/litthe/fraa003.

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Abstract Despite the coy designation of ‘Interlude’, the sermon in T.S. Eliot’s Murder in the Cathedral presents a nexus of tension. On the one hand, it constitutes a crucial dramatic component of a play that balances on the knife-edge between pride and humility. On the other hand, it retraces certain theological assimilations found elsewhere in Eliot’s writing which collectively shape his understanding of Christian humility and good will. In circling around recurring phrases and influences, this article traces a conceptual genealogy behind the play’s sermon and offers a revaluation of Murder in the Cathedral as the creative culmination of Eliot’s ongoing engagement with secular humanism.

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Davies, Malcolm. "Murder in the Cathedral: Antibodies and the Limits of Transplantation." Wits Journal of Clinical Medicine 1, no. 3 (2019): 125. http://dx.doi.org/10.18772/26180197.2019.v1n3a4.

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Goldman, Howard H., and Antoinette A. Gattozzi. "Murder in the Cathedral Revisited: President Reagan and the Mentally Disabled." Psychiatric Services 39, no. 5 (May 1988): 505–9. http://dx.doi.org/10.1176/ps.39.5.505.

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Ozsvárt, Viktória. "Interactions between symphonies and film music in the œuvre of László Lajtha." Studia Musicologica 58, no. 2 (June 2017): 239–53. http://dx.doi.org/10.1556/6.2017.58.2.6.

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In the case of Hungarian composer and ethnomusicologist László Lajtha (1892–1963) discovering the manifold potentials in a symphonic orchestra linked strongly with the composition of works for stage and screen. Nevertheless, it clearly makes sense to examine the long-term relations Lajtha had with the film as a genre, by searching for common features in the structure of his music composed for films and his symphonies. Much of the musical material in Lajtha’s Third Symphony is similar to those he used in his 1948 film music for Murder in the Cathedral. The similarity gains more complexity if one takes into consideration that the Third Symphony was marked by the composer as the starting point in a monumental, five-fold symphonic cycle composed through the 1950s. The article makes an attempt to explore the thematic and motivic relationship between the Third Symphony, the Variations and the film score Murder in the Cathedral by analysing the musical material and the structure, and by searching for correlation between the audible and visual effects of the music Lajtha used in the movie scenes. This kind of examination may offer a new perspective on the sources of inspiration that shaped Lajtha’s workmanship and it also gives some important information about his way of thinking about music.

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Nelson, C. "Murder in the Cathedral: Editing a Comprehensive Anthology of Modern American Poetry." American Literary History 14, no. 2 (June 1, 2002): 311–27. http://dx.doi.org/10.1093/alh/14.2.311.

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Michael, Krystyna. "Neomedievalism and the modern subject in T.S. Eliot’s Murder in the Cathedral." postmedieval: a journal of medieval cultural studies 5, no. 1 (March 2014): 34–43. http://dx.doi.org/10.1057/pmed.2014.2.

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Wilson, James Matthew. "The Formal and Moral Challenges of T. S. Eliot’s Murder in the Cathedral." Logos: A Journal of Catholic Thought and Culture 19, no. 1 (2016): 167–203. http://dx.doi.org/10.1353/log.2016.0005.

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Kim, Younghee. "The Conflict and Aspect of Reality and Ideals in Murder in the Cathedral." Journal of the T. S. Eliot Society of Korea 30, no. 2 (August 31, 2020): 131–53. http://dx.doi.org/10.14364/t.s.eliot.2020.30.2.131-53.

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Daumer, Elisabeth. "Blood and Witness: The Reception of Murder in the Cathedral in Postwar Germany." Comparative Literature Studies 43, no. 1 (2006): 79–99. http://dx.doi.org/10.1353/cls.2006.0029.

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Richards, Joshua. "Aristophanic Structures in Sweeney Agonistes, “The Hollow Men,” and Murder in the Cathedral." T. S. Eliot Studies Annual: Volume 1, Issue 1 1, no. 1 (January 1, 2017): 157–76. http://dx.doi.org/10.3828/tsesa.2017.vol1.14.

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Vandana Chauhan et al.,, Vandana Chauhan et al ,. "The Panckriyā Theory and the Murder in the Cathedral, A Study in Creative Process." International Journal of English and Literature 10, no. 4 (2020): 37–44. http://dx.doi.org/10.24247/ijelaug20205.

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Hibberd, S. "Murder in the Cathedral? Stradella, Musical Power, and Performing the Past in 1830s Paris." Music and Letters 87, no. 4 (November 1, 2006): 551–79. http://dx.doi.org/10.1093/ml/gcl081.

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Gautam, Sushil, and Tek Bahadur Chhetry. "Redemption through Martyrdom: Depiction of Christ Hero Archetype in Eliot’s “Murder in the Cathedral”." Nepal Journal of Multidisciplinary Research 4, no. 4 (December 31, 2021): 75–80. http://dx.doi.org/10.3126/njmr.v4i4.43376.

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Mythology began as a way to answer questions about life, explain tradition, build culture and enlighten people. It tries to clarify the role of gods in human life. Mythology has multidisciplinary role as it amuses, connects history and conveys man’s relationship to god and the universe. In literature, heroes are vital and the most convincing characters as they are the icons who leave a valuable lesson to the humanity. It was Homer who first established the hero and journey archetypes approximately 800 B.C. and different authors follow the trend of using them in their work of art. Heroes set an example for entire humanity and teach the readers that there are more important things in life than personal benefits as Northrop Frye mentions in his “Myth and Metaphor”, “hero goes out to accomplish something” (213). Hero simply does not go out for adventurous journey but is on a quest, to explore the meaning of human situation and the universal values of good and evil. The main purpose of hero is to serve humanity putting his own life at risk. Joseph Campbell in his “Power of Myth” states “the ultimate aim of the hero’s quest must be neither release nor ecstasy for oneself, but the wisdom and power to serve others” (XIV). In need Christ hero archetype embraces martyrdom for the enlightenment of entire humanity. The research paper depicts the literary archetype of the Christ hero who undergoes challenges, struggles all the way and sacrifices own life for the salvation of humanity. Thomas Becket’s martyrdom in the play is the landmark for the purification of all sins of the people listing him as the Christ figure.

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Kim, Younghee. "The Function and the Role of a Chorus of Women in Murder in the Cathedral." Journal of the T. S. Eliot Society of Korea 30, no. 3 (December 30, 2020): 51–69. http://dx.doi.org/10.14364/t.s.eliot.2020.30.3.51-69.

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Däumer, Elisabeth. "BLOOD AND WITNESS: THE RECEPTION OF MURDER IN THE CATHEDRAL IN POSTWAR GERMANY." Comparative Literature Studies 43, no. 1-2 (January 1, 2006): 79–99. http://dx.doi.org/10.2307/complitstudies.43.1-2.0079.

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Lösel, Steffen. "Murder in the Cathedral: Hans Urs von Balthasar's New Dramatization of the Doctrine of the Trinity." Pro Ecclesia: A Journal of Catholic and Evangelical Theology 5, no. 4 (November 1996): 427–39. http://dx.doi.org/10.1177/106385129600500404.

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Hamilton, Sarah. "RESPONDING TO VIOLENCE: LITURGY, AUTHORITY AND SACRED PLACES, c. 900–c. 1150." Transactions of the Royal Historical Society 31 (November 8, 2021): 23–47. http://dx.doi.org/10.1017/s0080440121000025.

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ABSTRACTThe principle that church buildings constitute sacred spaces, set apart from the secular world and its laws, is one of the most enduring legacies of medieval Christianity in the present day. When and how church buildings came to be defined as sacred has consequently received a good deal of attention from modern scholars. What happened when that status was compromised, and ecclesiastical spaces were polluted by acts of violence, like the murder of Archbishop Thomas Becket in Canterbury Cathedral? This paper investigates the history of rites for the reconciliation of holy places violated by the shedding of blood, homicide or other public acts of ‘filthiness’ which followed instances such as Becket's murder. I first identify the late tenth and early eleventh centuries in England as crucial to the development of this rite, before asking why English bishops began to pay attention to rites of reconciliation in the years around 1000 ce. This paper thus offers a fresh perspective on current understandings of ecclesiastical responses to violence in these years, the history of which has long been dominated by monastic evidence from west Frankia and Flanders. At the same time, it reveals the potential of liturgical rites to offer new insights into medieval society.

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Han Kim. "Beyond Words and Sounds: A Study on the Language of T. S. Eliot’s Murder in the Cathedral." Journal of English Language and Literature 55, no. 4 (September 2009): 539–65. http://dx.doi.org/10.15794/jell.2009.55.4.002.

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Awadallah, Sahar. "Upsurges of Timelessness: The Becket Tale between History and Dramaturgy in Tennyson’s Becket, Eliot’s Murder in the Cathedral and Anouilh’s Becket, or the Honour of God." Arab World English Journal For Translation and Literary Studies 4, no. 4 (October 15, 2020): 84–96. http://dx.doi.org/10.24093/awejtls/vol4no4.7.

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The primary concern of this study is to explore the dramatization of the story of Archbishop Thomas a Becket, in three different plays by three prominent playwrights. These plays are Tennyson’s Becket, Eliot’s Murder in the Cathedral, and Anouilh’s Becket, or the Honour of God. The study examines the three plays in the light of their manipulation of the details of Thomas Becket’s contest with Henry II. The shifting relationship between the two men raised fascinating questions that were considered useful materials for playwrights. From the narrow confines of historical conflict, each of the three writers presented a unique artwork of a different dramatic vision. Through shedding light on the tale of the murder of Thomas Becket, this study highlights the significance of his fatal conflict with King Henry II to each of the three dramatists. First, it investigates how Tennyson’s primary purpose was to write a work of “documentary” authenticity. Then, this paper clarifies how Eliot’s interpretation of the play is a religious symbolic one. It also explores how Anouilh’s employed the Becket tale to present his perspective of the dilemma of twentieth-century man. Thus, the purpose of this paper is to demonstrate how the different interpretations of the story in the three plays are not only distinctive in themselves but are also, in varying degrees, relating the past to the present.

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Vericat. "Church Radio: The Sermon and the CBS Broadcast of T. S. Eliot's Murder in the Cathedral." Journal of Modern Literature 43, no. 1 (2019): 94. http://dx.doi.org/10.2979/jmodelite.43.1.06.

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Yang, Jae-yong. "Four Quartets and Murder in the Cathedral in the Light of Thomas Aquinas’s Summa Theology and the Tradition." Literature and Religion 22, no. 3 (September 30, 2017): 167–86. http://dx.doi.org/10.14376/lar.2017.22.3.167.

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Kim, Dae-Young. "The Study of T. S. Eliot’s Anglo-Catholic Religious Perspective with ‘Dies Irae’ in Murder in the Cathedral." Journal of the T. S. Eliot Society of Korea 25, no. 1 (April 25, 2015): 51–76. http://dx.doi.org/10.14364/t.s.eliot.2015.25.1.51-76.

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Чистякова, Марина Владимировна. "Архаичные черты в прологах Великого княжества Литовского." Slavistica Vilnensis 56, no. 2 (January 1, 2011): 23–34. http://dx.doi.org/10.15388/slavviln.2011.2.1454.

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Marina ChistiakovaArchaic Features in the Synaxaria of the Grand Duchy of Lithuania The article discusses some archaic features of Old Church Slavonic Synaxarion preserved in the relatively recent copies (15th–17th cc.) created and used in the Grand Duchy of Lithuania (University Library of the Catholic University of Lublin, nr. 198, 1584; Library of the Russian Academy of Sciences, 13.8.2, second half of the 16th c.; Vernadsky National Scientific Library of Ukraine, Kiev’s St. Sophia Cathedral collection, 273c/131, 1480’s; St. Michael’s Golden-Domed Monastery collection, nr. 529, 1480’s –1490’s et al.). These include the story about a transfer of relics (finger of the right arm) of John the Baptist from Constantinople to Kiev during the reign of Vladimir Monomakh (1113–1125); not expanded by didactic appeals patericon stories; a special version of the Tale of the murder of the Prince Gleb (4.IX) and some other features.

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Gargaillo, Florian. "“Past Echoes of Cruelty and Nonsense” in Stevie Smith." Modern Language Quarterly 79, no. 1 (March 1, 2018): 81–104. http://dx.doi.org/10.1215/00267929-4264276.

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Abstract In a review of T. S. Eliot’s Murder in the Cathedral, Stevie Smith lamented that “so many writers of these times, which need courage and the power of criticism, and coolness, should find their chief delight in terrifying themselves and their readers with past echoes of cruelty and nonsense.” Paradoxically, those twin nouns—“cruelty and nonsense”—have often been used to describe her own poetry. This essay examines Smith’s allusions to Eliot, Algernon Swinburne, and John Keats and demonstrates that such “past echoes” helped her weigh the risk of dwelling on cruelty to the point of morbidity against that of finding too much pleasure in the cruel and absurd. More broadly, Smith’s allusiveness presents a significant alternative to Harold Bloom’s anxiety of influence. Her attitude toward her predecessors is not agonistic but playful, elusive, and polyvalent. She writes through the poetry of the past to work out problems of ethics and aesthetics that were of great importance to her.

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Ali, Akbar, Abdul Hamid, and Mashhood Ahmad. "Death as Martyrdom: A Psychoanalytical Study of Robert Bolt’s a Man for all Seasons and T. S. Eliot’s Murder in the Cathedral." Liberal Arts and Social Sciences International Journal (LASSIJ) 4, no. 2 (December 31, 2020): 272–382. http://dx.doi.org/10.47264/idea.lassij/4.2.29.

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This paper focuses on the protagonists of two dramas A Man for All Seasons and Murder in the Cathedral to be studied through the critical prospective of psychoanalysis. The protagonists of the dramas meet their death at the end of the play and their death is appreciated as martyrdom by the readers of the plays without seeing critically their mottos behind their death. Challenging that, this paper varies in the stance that Beckett’s death is a suicide rather than martyrdom, thus questioning the traits of the personalities of the protagonists and their mottos behind their deaths. Taking Freud’s Psychoanalytical theory as a theoretical framework; Jung model of Psychoanalysis for conceptual terminologies and conducting close textual analysis, this study aims to conclude with references. The study is significant in a sense that it widens the dimensions of comparative studies of the modern literary works through contemporary critical theories. It also highlights the application of psychology in the literature in general and the English literature in specific.

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Lee, Hong-Seop. "Question of Redemption and Otherness in Murder in the Cathedra." Journal of the T. S. Eliot Society of Korea 25, no. 2 (August 30, 2015): 87–122. http://dx.doi.org/10.14364/t.s.eliot.2015.25.2.87-122.

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Dickey, Frances. "May the Record Speak." Twentieth-Century Literature 66, no. 4 (December 1, 2020): 431–62. http://dx.doi.org/10.1215/0041462x-8770684.

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The over one thousand letters from T. S. Eliot to Emily Hale, opened to the public on January 2, 2020, reveal the poet’s emotional and creative dependence on Hale and illuminate the meanings of “Gerontion,” The Waste Land, Ash-Wednesday, “Landscapes,” Murder in the Cathedral, Four Quartets, The Family Reunion, and other works. This article surveys the contents of the long-awaited Eliot letters archived at Princeton University, focusing on Hale’s role in the poet’s personal and imaginative life. In addition to clarifying long-standing questions about their relationship, from their first encounters in Cambridge to their many clandestine meetings across decades, his letters explain personal references in his poems (Hale is the “Hyacinth girl”) and describe “moments” they shared together that he later worked into “Burnt Norton” and “The Dry Salvages.” The record of his letters shows that not marrying Hale fed Eliot’s imagination and inspired some of the most significant passages of his poetry. Eliot’s art reflected his life, but he also shaped his life to follow art, taking Dante’s Vita Nuova as the pattern for a renunciation of worldly love that he also imposed on Hale.

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Carbajosa Palmero, Natalia. "The Family Reunion as a turning point in T. S. Eliot’s Verse Drama: Analysis and Suggestions for Translation." Revista Alicantina de Estudios Ingleses, no. 36 (January 31, 2022): 7. http://dx.doi.org/10.14198/raei.2022.36.01.

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T. S. Eliot wrote The Family Reunion (1939) while he composed the Four Quartets, twelve years after his conversion to Anglo-Catholicism in 1927. The play erects a bridge between the author’s early stage productions (Sweeney Agonistes, The Rock and Murder in the Cathedral) and the later society plays (The Cocktail Party, The Confidential Clerk and The Elder Statesman). Moreover, in his 1951 essay “Poetry and Drama,” Eliot delves into the strengths and weaknesses of The Family Reunion and links this play with his own experiments with a “conversational line” which introduces popular theatrical conventions wrapped in the patterns of poetry that may appeal to theatre-goers. This paper deals with Eliot’s proposals for verse drama present in an incipient form in The Family Reunion, and explores the possible ways of translating these resources into Spanish. It focuses on Eliot’s own explanations in “Poetry and Drama” about the way in which to adapt blank verse to the stage. Furthermore, this essay explores metrical concepts such as stress and caesura and applies them to wider aspects concerning dramatic patterns and inner/outer voice in characters.

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Gippius, Alexey A., and Savva M. Mikheev. "“Assassins of the Great Prince Andrey”: An Inscription about the Murder of Andrey Bogolyubsky from Pereslavl-Zalessky." Slovene 9, no. 2 (2020): 63–102. http://dx.doi.org/10.31168/2305-6754.2020.9.2.3.

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The present paper deals with a long inscription which was uncovered in the autumn of 2015 on the external wall of the southern apse of the 12th century Transfiguration Cathedral in Pereslavl-Zalessky. It contains an almost fully legible list of assassins of the Vladimir-Suzdal prince Andrey Yuryevich, who was murdered in Bogolyubovo on June 29th, 1174. The writer places a curse on the murderers and wishes eternal memory to the prince. The graffito probably dates from 1175–1176 when Andrey’s younger brother Vsevolod Yuryevich ruled in Pereyaslavl. It is the oldest inscription from the North-Eastern Rus’ to have a fairly precise dating. The discovery corroborates the general accuracy of the chronicles in respect to the murder and serves as a source for the study of Old Russian princely titles and other terms of social hierarchy. Andrey Yuryevich is called the grand prince and his murderers are collectively given the pejorative name of parobki (servants) despite the high social status of at least some of them. As the first example of anathematising state criminals in Rus’, the inscription has relevance for church history as well. Valuable new information is provided by the list of assassins. It includes the names of 11–13 individuals. The list indicates that the main conspirator, the boyar Kuchcko's son-in-law named Peter was the son of someone named Frol. That Frol may have been the founder of the Church of Saints Florus and Laurus in the Moscow Kremlin. The patronymic of the third of the murderers Yakim Kuckovičь is spelled with a c., which may be an indication of Kuchko's Novgorodian origin. The fourth on the list is Ofrem Moizich. The authors accept the Arabic origins of Ofrem’s patronymic suggested by V. S. Kuleshov. The latter traces it back to the name Muʕizz which could have belonged to a Muslim from Volga Bulgaria. The fifth conspirator Dobryna Mikitich is tentatively identified as the Rostov boyar Dobryna the Tall. He played a prominent role in the feud triggered by the assassination of Andrey Yuryevich and perished in the Battle of Yuryev Field on June 27th, 1176. The last person on the list bears the rare Slavic name Styrjata which elsewhere is attested only in the 12th century graffiti inscriptions from the Annunciation Church at Gorodische near Novgorod. From the standpoint of linguistics the inscription demonstrates an advanced stage of the yer-shift. In this respect it is similar to the Novgorod birchbark letter No. 724 which dates from the same period. The inscription was read with the help of a three-dimensional model created by the RSSDA Lab. (https://rssda.su/ep-rus).

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Bhatta, Damaru Chandra. "The Essence of the Upanishad in T. S. Eliot's Poems and Plays." Literary Studies 34, no. 01 (September 2, 2021): 11–24. http://dx.doi.org/10.3126/litstud.v34i01.39520.

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This paper attempts to explore the essence of the principal Upanishads of the Hindu philosophy in T. S. Eliot’s selected seminal poems and plays. The principal Upanishads are the Ishavasya, Kena, Katha, Prashna, Mundaka, Mandukya, Taittiriya, Aitareya, Chhandogya, Brihadaranyaka and Shvetashvatara. The famous poems are “Ash-Wednesday” and Four Quartets, and the famous plays are Murder in the Cathedral, The Family Reunion, and The Cocktail Party under scrutiny in this paper. The essence of the principal eleven Upanishads is that Brahman is source of all creations including the human beings, who get results according to their karma and are born again and again until they get moksha (liberation) through the self-realization of Brahman; therefore, our goal should be to attain moksha or Brahman, only through which we can experience perpetual peace and unbound bliss. Likewise, Eliot suggests that we should attempt to go back to our “Home” (Brahman, also a symbol of peace and bliss), for which we must attempt several times until we become qualified through the non-dual knowledge of “the still point” (Brahman) and its self-realization along with the spiritual practices of renunciation and asceticism. The practice of unattached action done without the hope of its fruit (nishkam karma) and unselfish devotion (Bhakti) are secondary paths to attain liberation. Since the path of spiritual knowledge can make us realize Brahman immediately, Eliot prefers this path of knowledge to the progressive or indirect paths of action and devotion. Thus, his texts reflect the essence of the Upanishads. The significance of this paper within the context of existing scholarship lies in its introduction to the new knowledge that Eliot’s poems and plays could be extensively interpreted by finding the essence of the Upanishads in his texts. Practically, the knowledge of the essence of the Upanishads can help us know the mystery of life and death, and Atman and Brahman, and get liberation from all kinds of suffering and misery, and the cycle of life and death as well before death.

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Butler, Richard J. "The afterlives of Galway jail, ‘difficult’ heritage, and the Maamtrasna murders: representations of an Irish urban space, 1882–2018." Irish Historical Studies 44, no. 166 (November 2020): 295–325. http://dx.doi.org/10.1017/ihs.2020.38.

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AbstractThis article explores the spatial history and ‘afterlives’ of Galway jail, where an innocent man, Myles Joyce, was executed in 1882 following his conviction for the Maamtrasna murders; in 2018 he was formally pardoned by President Michael D. Higgins. The article traces how the political and cultural meanings of this incident were instrumentalised in the building of Ireland's last Catholic cathedral on the site of the former Galway jail. It analyses how the site was depicted – in different ways and at different moments – as one of justice, of injustice, of triumph, and of redemption. It investigates how these different legacies were instrumentalised – or at times ignored – by Irish nationalists and later by the Catholic bishop of Galway, Michael Browne. It uses Joyce's execution to explore the site's legacy, an incident that at times dominated its representations but at other moments faded from prominence. The article situates the former jail site within theoretical writings on memorialisation, ‘difficult’ heritage, and studies of architectural demolition, while also commenting on mid twentieth-century Irish Catholic politics and culture.

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Brooke, C. N. L. "The Monks of Canterbury and the Murder of Archbishop Becket. By R. W. Southern. Pp. 31. Canterbury: The Friends of Canterbury Cathedral and the William Urry Memorial Trust, 1985. £1.50. 0 9510503 0 3." Journal of Ecclesiastical History 37, no. 3 (July 1986): 489. http://dx.doi.org/10.1017/s002204690002176x.

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Mitrovic, Katarina. "Detestabile scelus Perastinorum - the psychological and social background of the murder of Pompejus de Pasqualibus, the abbot of the St George Abbey near Perast." Prilozi za knjizevnost, jezik, istoriju i folklor, no. 81 (2015): 19–33. http://dx.doi.org/10.2298/pkjif1581019m.

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The St George Abbey was founded on an island near Perast by the Benedictine Monastic Order by the beginning of the 11th century. From the mid-13th century, the community of Kotor had the right of patronage over the abbey, which allowed the patriciate of Kotor to elect abbots as well as have a say in numerous monastery affairs, including propriety rights. Therefore, on November the 2nd 1530, Minor Council of Kotor named Pompejus de Pasqualibus, a nobleman from Kotor, the abbot of the St George Abbey. After the official consent from Rome and Venice, father Pompejus took over the abbey. Soon after, a gruesome crime took place on the island, a crime unseen in the history of the Kotor church. On the Feast of the Invention of the Holy Cross, May 3rd 1535, a group of Perast locals, armed with sticks and daggers, broke into the abbey and killed abbot Pasqualibus at the altar as he was saying Pater Noster. Nikola Krosic, the chaplain of the St George Abbey, and a few others tried to stop the murderers, but to no avail. The killers went on to humiliate the body of the deceased by throwing it out of the church and dumping it into a nearby pit, which added to the resentment, especially among the patriciates of Kotor. Three days later, on the Feast of the Ascension, the bishop of Kotor, Luka Bizanti, publicly excommunicated the killers and their men in the cathedral, while Pope Paul III forbade all service at the church where the crime had been committed. The interdict wasn?t recalled until 1546. In the decree of excommunication, Bishop Luka Bizanti emphasized the fact that father Pompejus hadn?t said or done anything to provoke the killers. What are the reasons of such an outpour of mass anger among dozens of Perast locals? Around that time, for several decades, Perast, a village founded on St George?s fief, started to improve its economy as a result of the expansion of ship-building and trading. More and more inhabitants of Perast started to sail and take part in the trade, especially on the rye and salt market. They had the support of the Venetian authorities, which caused envy among the inhabitants of Kotor, who considered Perast a part of their district. The tendency to achieve a full emancipation from the community of Kotor included church interests as well. After a gradual weakening of church life on the island, the St George church took on the role of a parish church under the patronage of Kotor. Perast locals were evidently dissatisfied with the idea of their parish priest being a noble Pasqualibus of Kotor, whose descent and position were representative of everything they despised and fought against. The motive of the murder was a trivial one - father Pompejus refused to hold service at the St Church on the Feast of the Holy Cross, which deeply insulted the people of Perast. The exceedingly long process of turning the Benedictine abbey into a parish church and a sepulchral chapel of Perast reached its peak on November the 17th1634 with the edict of the Venetian Senate taking the right of patronage away from the community of Kotor. From then on, ius patronatus belonged to the Venetian Senate, while the choice of the abbot, the parish priest of Perast in fact, was left to the locals.

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Griffin, G. A. E. "Come, We Go Burn Down Babylon: A Report on the Cathedral Murders and the Force of Rastafari in the Eastern Caribbean." Small Axe: A Caribbean Journal of Criticism 10, no. 3 (January 1, 2006): 1–18. http://dx.doi.org/10.1215/-10-3-1.

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Beckwith, Sarah. "Reading for Our Lives." PMLA/Publications of the Modern Language Association of America 132, no. 2 (March 2017): 331–36. http://dx.doi.org/10.1632/pmla.2017.132.2.331.

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Jeanette Winterson's beautiful memoir Why Be Happy When You Could Be Normal? Is a biography of a reader, a book about reading—reading for your life. In addition to the Bible, there are six books in the Plymouth Brethren Winterson household, and they are all nonfiction. Jeanette's mother, Mrs. Winterson, bans the reading of fiction, so young Jeanette reads in secret, in the outside lavatory or under covers at night, carefully depositing each read book under her mattress until it floats so dangerously high that it threatens to reveal the habit considered so vicious by her mother but that is sustaining Jeanette. Mrs. Winterson reads the Bible; young Jeanette has a memory of Jane Eyre read aloud in her mother's good reading voice, but Mrs. Winterson doctors it (with the skill of a clever reader, an astute stylist) so that Jane marries St. John Rivers and goes off to the mission with him. T. S. Eliot makes her cry in Accrington Public Library because his lines “This is one moment / But know that another / Shall pierce you with a sudden painful joy” (from Murder in the Cathedral; qtd. in Winterson 39) give her hope that she will survive the moment she is in, and so does Gertrude Stein saying to Alice B. Toklas: “Right or wrong, this is the road and we are on it” (from The Autobiography of Alice B. Toklas; qtd. in Winterson 130). Jeanette Winterson claims that she “puts herself inside books for safe-keeping” and that “a tough life needs a tough language” (36, 40). The people around her have that tough language. She hears lines that she later locates in Shakespeare, a writer she regards as “not part of the alphabet, any more than black is a colour” (115). When she is homeless and living in her Mini, supporting herself at the local sixth-form college by working at the weekend market and the local library, she reads “English Literature A-Z,” in the order in which it is shelved at the Accrington Public Library (115–30). Books are home when she is homeless (61); they are doses of medicine (42), saving people from isolation and the suffering that comes from feeling that nothing about their life is recognizable to others or intelligible to themselves, from being castaways from the tribe of human.

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Davis. "Murders in the Cathedral and the Maze: The Case-Books of T. S. Eliot, J. J. Connington and Others in the Golden Age of Detective Fiction." Yearbook of English Studies 50 (2020): 116. http://dx.doi.org/10.5699/yearenglstud.50.2020.0116.

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Davis, Alex. "Murders in the Cathedral and the Maze: The Case-Books of T. S. Eliot, J. J. Connington and Others in the Golden Age of Detective Fiction." Yearbook of English Studies 50, no. 1 (2020): 116–31. http://dx.doi.org/10.1353/yes.2020.0006.

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Ndi Okalla, Joseph-Marie. "The Arts of Black Africa and the Project of a Cfmstian Art." Mission Studies 12, no. 1 (1995): 277–84. http://dx.doi.org/10.1163/157338395x00312.

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AbstractThis essay is in honour and in memory of the late Prof. Dr. Engelbert MVENG Sf. Born in Cameroon on May 9, 1930, Fr. Mveng has been found murdered in Yaoundé on April 23, 1995 before he would turn 65 years old. In the last thirty years, he was professor at the University of Yaoundé/Cameroon, Department of History. As a historian and theologian, he has enormous contributions to African culture and history, especially in the realm of cultural and religious anthropology as well as in iconology, which have won a wide acclaim. The internationally renowned artistic work of Fr. Mveng which can be found in different churches, chapels and educational centers the world over, underlines the iconographic contribution of Africa to the world and to Christianity. See, for example: Our Lady of Africa in the Basilica of the Annunciation in Nazareth/Israel; the Jesuit Hekima College in Nairobi/Kenya; Uganda Martyrs Altar at Libermann, Douala/Cameroon; Our Lady of the Yaoundé Cathedral/Cameroon; the decoration of the chapel of the Catholic University of Central Africa, Yaoundé/Cameroon ... and various centers in Africa and in the United States ... I have presented the first version of this essay on the occasion of a visit of John Paul II to Cameroon. I enclose a selected bibliography of the writings of Fr. Engelbert Mveng.

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Kokot, Joanna. "Zbrodnicze umysły i muzyczne harmonie. „Tajemnica Edwina Drooda” Charlesa Dickensa jako utwór protodetektywistyczny." Literatura i Kultura Popularna 27 (December 29, 2021): 139–53. http://dx.doi.org/10.19195/0867-7441.27.11.

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The paper analyses the role of music in Dickens’ last, unfinished novel and its relation to the criminal puzzle which — for obvious reason — was left unsolved. Contrary to the traditional cultural associations (harmony, beauty, order), music in The Mystery of Edwin Drood is related to darkness, which shrouds the places where it is performed (the cathedral, Jasper’s room); it also functions as the background of various disharmonies (physical indisposition, quarrel, signs of hatred, fear). The theme of the only two religious songs that are referred to is sin and wickedness. On the one hand, considering the fact that music is John Jasper’s domain, the discordance not only functions as an “ethical metaphor” and externalization of the man’s character, but also points to him as the murderer of his nephew. On the other hand, the aforementioned songs foreground the motif of repentance or turning away from sin, which undermines the ostensibly obvious conclusions concerning Jasper’s guilt. Similarly to the detective novel of the (much later) Golden Age period, the hints prompting the puzzle’s solution are provided here, though they are not univocal, leaving a shadow of doubt as to the guilt of the most obvious suspect. Yet, contrary to the genre conventions, the clues appear mainly on the implied level of communication, available to the implied reader deciphering textual patterns and not merely “observing” the presented reality.

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Oleg, Leybovich. "“The Praying People were Quite Distressed...”. Towards the Results of the Cultural Revolution in the Kama Countryside." TECHNOLOGOS, no. 1 (2021): 36–45. http://dx.doi.org/10.15593/perm.kipf/2021.1.03.

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By means of the case study method the problem of revealing the results of the 1930’s Cultural Revolution in the leisure-time behavior of the rural youth has been posed in the article. The Cultural Revolution is understood by the author as a large Soviet project which was started in the 1920s and finished in the post-war decade with the formation of the Soviet man, who mastered the Bolshevik journalese and the necessary public ritual practices along with the symbols of the Soviet system. Antireligious agitation was an integral component of the Cultural Revolution; in fact it was its core. As the subject of the historical reconstruction it was chosen an incident in the Cathedral of the Transfiguration of the Savior in Gamovo village during the Easter holiday 1953. A document with the description of the incident compiled by P.S. Gorbunov, plenipotentiary for the Russian Orthodox Church in Molotov Region has been analyzed in detail. For the solution of this problem the author applied the resources which hadn’t been introduced for the scientific use earlier: materials from Party conferences and meetings; information from the Administration of the MGB in the Molotov region, letters and written requests to the Regional Committee of the CPSU. The original thesis of the article is stated as follows. As a result of the Cultural Revolution it was formed a new type of the Soviet person who according to the basic characteristics was divided into two types: the urban inhabitant living by his on private interests, and the hooligan from the workers' suburb, a violent and disruptive troublemaker. In the article it is reconstructed the events which took place in the village church on the night from the third to the fourth of April, 1953: intrusion of the drunken young men, their outrage on the porch and in the church fence, a knife-fight and, finally, a murder. The author has offered a hypothesis making possible to explain their licentious behavior by the fact that in the culture of working (rural) youth the boundaries between different kinds of space were erased. The Orthodox Church and the village club were identical for them in their leisure value. The norms of street and courtyard culture were applied to them equally. The status of the temple was lower than that of the club. Young people equated the church with something backward, boring, and old. The party and punitive agencies did all they could to alienate the new generation from any form of religious life. As a result, young people either stood aside the Orthodox Church or treated it with contempt, or, in exceptional cases, outraged within its bounds.

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Schmitz, Max. "The fish section in Engelbert of Admont’s Tractatus de naturis animalium (ca. 1250–1331)." Reinardus / Yearbook of the International Reynard Society 21 (December 17, 2009): 158–72. http://dx.doi.org/10.1075/rein.21.11sch.

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Engelbert’s unedited work on animals is delivered to posterity in a limited number of manuscripts. The second part of the treatise that is discussed here closely follows the structure of Isidore of Seville’s encyclopaedia. In order to illustrate Engelbert’s work method and the emphasis of this part, the article focuses on the fourth category (de piscibus) which is an interesting section for a number of reasons. The main sources are specified and the text is compared to similar writings. Finally the edition of ten chapters out of 53 from this section completes the study. Born in Styria in the middle of the 13th century, Engelbert entered the Benedictine abbey of Admont as a teenager. Most facts of his life are related in his autobiographical letter written to his friend Ulric of Vienna. According to the letter he left the abbey for Prague in 1271, where he studied grammar and logic at the cathedral school. Political troubles caused by the election of Rudolph I for Roman king in October 1273, forced him to leave Bohemia one year later. Engelbert then returned to Admont for a short time; then decided to complete his education in Padua. There, he studied the liberal arts for five years (around 1276–1281) followed by theology for four more years at the Dominican monastery of St. Augustine. He then returned to Admont before being elected abbot of St. Peter in Salzbourg. He remained the head of the mother abbey of Admont for eleven years. In 1297, the abbot of Admont, Henri II, was murdered and Engelbert was chosen to replace him. He ruled the abbey for 30 years until 1327, when he resigned and retired. Four years later he died.

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Carver, Raymond. "Cathedral." Religion and the Arts 2, no. 3 (1998): 279–98. http://dx.doi.org/10.1163/156852998x00197.

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Stone, Michael H. "Murder." Psychiatric Clinics of North America 12, no. 3 (September 1989): 643–51. http://dx.doi.org/10.1016/s0193-953x(18)30419-2.

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Gordon, Mary. "Murder." Antioch Review 50, no. 1/2 (1992): 255. http://dx.doi.org/10.2307/4612516.

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Morrall, Peter. "Murder and society: why commit murder?" Criminal Justice Matters 66, no. 1 (December 2006): 36–37. http://dx.doi.org/10.1080/09627250608553401.

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Maguire, Muireann. "Ardfert Cathedral." Books Ireland, no. 208 (1997): 304. http://dx.doi.org/10.2307/20623472.

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Journal articles on the topic 'Murder in the Cathedral'

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