Journal articles: 'Thomas à Becket'

1

Cantor, Norman F., and Frank Barlow. "Thomas Becket." American Historical Review 94, no. 2 (1989): 421. http://dx.doi.org/10.2307/1866854.

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Barlow, Frank. "Thomas Becket." English Historical Review 120, no. 488 (2005): 1074–76. http://dx.doi.org/10.1093/ehr/cei358.

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Daly, Lowrie J. "Thomas Becket." Manuscripta 31, no. 1 (1987): 42–43. http://dx.doi.org/10.1484/j.mss.3.1219.

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4

Duggan, Anne. "John of Salisbury and Thomas Becket." Studies in Church History. Subsidia 3 (1994): 427–38. http://dx.doi.org/10.1017/s0143045900003422.

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Johannes Sarebiriensis, quondam clericus beati Thomae martiris, diuina dignatione et meritis beati Thomae martiris, Carnotensis ecclesiae minister humilis’. This protocol from the last known letter to come from John of Salisbury’s hand attests his continuing devotion to the memory of the blessed martyr of Canterbury and his pride in having once belonged to his household. John had made an important contribution to the beginning of the cult of Saint Thomas the Martyr.

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5

Fraher, Richard. "Thomas Becket. Frank Barlow." Speculum 63, no. 3 (1988): 618–20. http://dx.doi.org/10.2307/2852639.

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Sprey, Ilicia J. "Thomas Becket. Anne Duggan." Speculum 81, no. 1 (2006): 179–80. http://dx.doi.org/10.1017/s0038713400019667.

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7

Foley, W. Trent. "Thomas Becket. Frank Barlow." Journal of Religion 68, no. 1 (1988): 180. http://dx.doi.org/10.1086/487791.

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MUTAYOMBA, Elie NZAKIZWA. "HEROISM IN THOMAS STEANS ELIOT ’S 'MURDER IN THE CATHEDRAL'." IJRDO - Journal of Social Science and Humanities Research 9, no. 1 (2023): 57–61. http://dx.doi.org/10.53555/sshr.v9i1.5528.

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Cet article décrit les éléments dramatiques qui montrent l’héroïsme de Thomas Becket, comme le montre le théâtre ‘ Le Meurtre dans la Cathédrale.’ Le meurtre dans la cathédral, un théâtre écrit par Thomas Stearns Eliot à propos de Becket le Britannique qui est assassiné à cause de sa détermination de ne pas violer les règlements de l’église catholique et ne pas avoir mis en pratique ce que le roi Henry II lui avait demandé de faire. C’est en excommuniant les amis et les alliés du roi que le conflit a commencé entre le roi et Thomas Becket. Cet article montre les éléments dramatiques comme les tentations que prouve le martyr, les compromis, l’altruisme sont décrits et analysent sur l’héroïsme de Becket. Par conséquent, le conflit va se terminer par la manière dont l’archevêque a été assassiné dans la cathédrale.

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9

Lee, Sang-Dong. "The Cult of St. Thomas Becket and Becket’s Water." Korean Historical Review 232 (December 31, 2016): 387–412. http://dx.doi.org/10.16912/tkhr.2016.12.232.387.

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10

Löfstedt, Leena. "Une lettre de Thomas Becket." Romanica Cracoviensia 18, no. 3 (2018): 147–57. http://dx.doi.org/10.4467/20843917rc.18.016.9588.

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11

Barlow, F. "The Lives of Thomas Becket." English Historical Review 117, no. 471 (2002): 448–50. http://dx.doi.org/10.1093/ehr/117.471.448-a.

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12

Slocum, Kay Brainerd. "Prosas for Saint Thomas Becket." Plainsong and Medieval Music 8, no. 1 (1999): 39–54. http://dx.doi.org/10.1017/s0961137100001583.

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Two decades ago Thomas Forrest Kelly remarked in a footnote to an article concerning responsory prosas that the extent of the repertoire of these additions to the Office can be seen only by surveying large numbers of medieval Office books. In the haystack of a faded thousand-page breviary, he remarked, the needle of a single small prosula can be a real joy! The foundation of this essay is just such a needle, and I hope to employ it to add a few threads to the ever-developing tapestry woven by practitioners of the sister disciplines of history and musicology. My purpose is to present an analysis of a liturgical portrait of Thomas Becket, focusing upon the texts and musical settings of two prosas unique to the British Library manuscript Add.

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13

Jordan, Alyce A. "Remembering Thomas Becket in Saint-Lô." Arts 10, no. 3 (2021): 67. http://dx.doi.org/10.3390/arts10030067.

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France numbered second only to England in its veneration of the martyred archbishop of Canterbury. Nowhere in France was that veneration more widespread than Normandy, where churches and chapels devoted to Saint Thomas, many embellished with sculptures, paintings, and stained-glass windows, appeared throughout the Middle Ages. A nineteenth-century resurgence of interest in the martyred archbishop of Canterbury gave rise to a new wave of artistic production dedicated to him. A number of these modern commissions appear in the same sites and thus in direct visual dialogue with their medieval counterparts. This essay examines the long legacy of artistic dedications to Saint-Thomas in the town of Saint-Lô. It considers the medieval and modern contexts underpinning the creation of these works and what they reveal about Thomas Becket’s enduring import across nine centuries of Saint-Lô’s history.

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14

Barlow, Frank. "The Correspondence of Thomas Becket, Archbishop of Canterbury, 1162-1170. Anne J. Duggan , Thomas Becket." Speculum 78, no. 3 (2003): 874–75. http://dx.doi.org/10.1017/s003871340013177x.

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15

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 (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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16

JENKINS, JOHN. "St Thomas Becket and Medieval London." History 105, no. 367 (2020): 652–72. http://dx.doi.org/10.1111/1468-229x.13030.

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17

Barlow, Frank. "Review: Thomas Becket, Höfling und Heiliger." English Historical Review 120, no. 486 (2005): 500. http://dx.doi.org/10.1093/ehr/cei170.

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18

Willink, David. "Re St Thomas à Becket, Lovington." Ecclesiastical Law Journal 22, no. 3 (2020): 394–95. http://dx.doi.org/10.1017/s0956618x20000551.

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19

Willink, David. "Re St Thomas a Becket, Salisbury." Ecclesiastical Law Journal 25, no. 3 (2023): 400–401. http://dx.doi.org/10.1017/s0956618x2300039x.

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20

Duggan, Anne J. "The Deposition of Abbot Ernis of Saint- Victor: A New Letter?" Journal of Ecclesiastical History 45, no. 4 (1994): 642–60. http://dx.doi.org/10.1017/s0022046900010800.

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The letter Benedictus Deus, which forms the basis of this study, was first printed by J. A. Giles in his 1845 edition of the letters of Thomas Becket, and the Abbé Migne later reproduced it in the same context in Patrologia Latina, without comment. Neither ventured identification of the author or recipients, although some connexion with the Becket controversy must have been presumed, since they included the text with his correspondence. In fact, it has no connexion with Thomas Becket, despite its inclusion in one of the large manuscript collections of Becket correspondence assembled in the late twelfth century. It was neither written nor received by any of the participants, nor is it concerned with the matters at issue in the controversy. It concerns the removal of the unnamed superior of a religious house, and the circumstances of its composition are obscure. The heading and protocol are damaged, and although the author's name can be clearly read as Frater R., and the recipients' initials as G. and R., the address is incomplete, and there are no internal clues to date and context.

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21

Barker, Lynn K. "MS Bodl. Canon. Pat. Lat. 131 and a Lost Lactantius of John of Salisbury: Evidence in Search of a French Critic of Thomas Becket." Albion 22, no. 1 (1990): 21–37. http://dx.doi.org/10.2307/4050255.

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The English Historical Review for 1974 published an intriguing proposal by Braxton Ross concerning the early history of Bodleian MS Canon. Pat. Lat. 131, a twelfth-century copy of Lactantius' Divine Institutes. Ross noticed several marginalia that read “Audi Thoma” or “Henriciani Nota,” and he suggested that these might have been penned by an unknown French cleric who wished to criticize Henry II's chancellor, Thomas Becket. From fourteenth-century writings contained on the manuscript's fly-leaves, scholars have long recognized the Bodleian Lactantius as once having been the property of Landolfo Colonna, a canon at Chartres in the years 1298–1328. On paleographical grounds, Ross assigns the manuscript's provenance to central France in the twelfth century. Noting that the Istitutiones Divinae was a rare text at the time — apparently unknown in England from Alcuin's day until the fourteenth century — and that this “utilitarian” yet “handsome” manuscript was made using two exemplars, Ross concludes that the Bodleian Lactantius originated in “a centre of intellectual vigour and wide-ranging connections.” Three hands corrected the text, all at the site of production. One of these hands has left many remarks that (Ross felt) display the annotator's wide classical and patristic reading and, as the “Audi Thoma” notes seem to suggest, an interest in Thomas Becket and the “Henricians.”

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22

Cormack, Margaret. "The cult of Thomas Becket in Iceland." International Journal for the Study of the Christian Church 20, no. 3-4 (2020): 180–93. http://dx.doi.org/10.1080/1474225x.2020.1868194.

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23

Duggan, Anne J. "Thomas Becket: His Last Days, William Urry." English Historical Review 116, no. 465 (2001): 185–86. http://dx.doi.org/10.1093/enghis/116.465.185.

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24

Huglo, Michel. "Les reliques de Thomas Becket à Royaumont." Revue Bénédictine 115, no. 2 (2005): 430–38. http://dx.doi.org/10.1484/j.rb.5.100603.

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25

Williams, Donald T. "The Shrine of St. Thomas à Becket." Christianity & Literature 48, no. 1 (1998): 131. http://dx.doi.org/10.1177/014833319804800124.

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26

Duggan, A. J. "Thomas Becket: His Last Days, William Urry." English Historical Review 116, no. 465 (2001): 185–86. http://dx.doi.org/10.1093/ehr/116.465.185.

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27

Thomas, Hugh. "Thomas Becket and His Biographers. Michael Staunton." Speculum 83, no. 3 (2008): 760–62. http://dx.doi.org/10.1017/s003871340001527x.

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28

Luxford, Julian. "The Relics of Thomas Becket in England." Journal of the British Archaeological Association 173, no. 1 (2020): 124–42. http://dx.doi.org/10.1080/00681288.2020.1787633.

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29

KOOPMANS. "BENEDICT OF PETERBOROUGH'S COMPOSITIONS FOR THOMAS BECKET." Medium Ævum 90, no. 2 (2021): 247. http://dx.doi.org/10.2307/27113990.

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30

Nickson, Tom. "Thomas Becket: Murder and the Making of a Saint, British Museum, 20 May–22 August 2021." Arts 10, no. 3 (2021): 54. http://dx.doi.org/10.3390/arts10030054.

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This review considers the British Museum’s exhibition, Thomas Becket: Murder and the Making of a Saint, curated by Lloyd de Beer and Naomi Speakman. Following a brief description of the show and its relationship to current art-historical scholarship, I offer a detailed study of one exhibit, a late-twelfth-century font from Lyngsjö in Sweden, and briefly sketch the significance of Becket for the historiography of medieval art in Britain.

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31

Joubert, Estelle. "New music in the Office of Thomas Becket from the Diocese of Trier." Plainsong and Medieval Music 18, no. 1 (2009): 33–52. http://dx.doi.org/10.1017/s0961137109000953.

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ABSTRACTThis article examines aspects of variation and transmission in the Office of Thomas Becket in the Diocese of Trier, Germany. Palaeographic evidence suggests that by the mid-fifteenth century, liturgical sources in Trier exhibited numerous transmission errors and disruptions in the modal scheme of the Thomas Office. However, a subset of late fifteenth- and early sixteenth-century manuscripts from St Florin and St Castor in Koblenz displays efforts to restore the theoretical modal scheme of the Office by composing new melodies for four items; the uniqueness of these items has been confirmed with the assistance of a large-scale electronic project cataloguing the Office of Thomas Becket across Europe, headed by Andrew Hughes at the University of Toronto. The present study provides a detailed melodic and modal analysis of the four newly composed items: the invitatory, Adsunt Thome martyris; the fourth responsory for Matins, Post sex annos; the ninth responsory for Matins, Iesu bone per Thome; and the fourth antiphon for Lauds, Ad Thome memoriam. Numerous melodic allusions to the Office of St Gorgonius – a martyr also venerated in Koblenz from the turn of the fifteenth century – have been uncovered in the four newly composed items. The re-ordering of the modal schemes of the Thomas Office and the colourful array of musical and theological echoes and allusions between the Becket and Gorgonius Offices suggests a desire to establish, reflect and cultivate a local liturgical identity within the community in Koblenz.

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32

Mazzocchio, Cecilia. "Civic Pride and Political Devotion: The Relics of Thomas Becket in Siena." Religions 13, no. 11 (2022): 1010. http://dx.doi.org/10.3390/rel13111010.

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Through a survey of archival and primary source material, this article discusses the existence of St. Thomas Becket’s relics in Siena cathedral. The institution’s inventories indicate that, from 1482 until ca. 1529, the relics were housed in an ostensory kept in the sacristy. Today, this object is displayed in the Sala del Tesoro, in the Museum of the Opera del Duomo in Siena. Although the ostensory has been examined in previous scholarship concerned with mapping the cathedral’s heritage, its function as a vessel for the relics of Thomas Becket, and indeed the very presence of these relics in Siena, remain unexplored. Thus, seeking to understand the nature of Becket’s reception in Siena, I examine the whereabouts of his relics within the cathedral, to then widen the investigation to the city at large. The evidence shows that although there were no chapels, altars or churches dedicated to Thomas Becket within the city walls, Siena still engaged with Becket’s sainthood and legacy on multiple levels.

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33

Márquez, Carles Sánchez, and Joan Soler Jiménez. "The Anglo-Catalan Connection: The Cult of Thomas Becket at Terrassa—New Approaches." Arts 10, no. 4 (2021): 82. http://dx.doi.org/10.3390/arts10040082.

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The wall paintings adorning the south transept apse of Santa Maria at Terrassa are among the most notable surviving items pertaining to the iconography of St. Thomas Becket. Recently found documents in which diplomatic archives reveal English connections are essential for understanding the quick reception of the Becket cult in the Crown of Aragon. The presence of an Anglo-Norman canon—Arveus or Harveus (Harvey)—and his position of scribe during the second half of the twelfth century when Reginald, probably also of English origin, was prior there—seem to be the likely source of inspiration for this project. These English connections, which are essential for understanding the quick reception of the Becket cult in the Crown of Aragon, stemmed from the endeavours undertaken some years earlier south of the Pyrenees by the abbot of Saint-Ruf at Avignon, Nicholas Breakspear, who subsequently became Pope Adrian IV.

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34

Nederman, Cary J. "Why Can’t We Be Friends? John of Salisbury, Thomas Becket and the Discourse of Amicitia." Medieval History Journal 25, no. 2 (2022): 179–200. http://dx.doi.org/10.1177/09719458211047405.

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There has been an almost universal tendency to treat Thomas Becket as a personal—even close and intimate—friend of John of Salisbury, based on their decades-long association. Evidence for this position has rested, for example, on the fact that the two writings that have primarily sustained John’s intellectual reputation through the centuries—the Policraticus and the Metalogicon—he chose to dedicate to Becket. During the Middle Ages, however, addressing a book to powerful and well-placed people did not necessarily suggest endorsement of their behaviour. Indeed, a dedication might indicate criticism or rebuke rather than affection or gratitude, as it does today. John’s actual attitude towards Becket cannot be separated from appreciation of the relationship between friends as understood in the twelfth century. John stood at or near the centre of a large friendship circle that encompassed mainly monks and secular clergy—a network held together by copious correspondence as well as face-to-face interaction. Such circles functioned as important means of constructing common intellectual and political agendas among literate but otherwise far-flung figures. Becket received no such expressions of friendship status from John of Salisbury.

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35

Williams, Rowan. "‘Saving Our Order’: Becket and the Law." Ecclesiastical Law Journal 23, no. 2 (2021): 127–39. http://dx.doi.org/10.1017/s0956618x21000028.

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The conflict between Henry II and Thomas Becket was often seen in the past as a collision between the first stirrings of real legal universalism (the same law for all) and claims to exemptions and immunities. Recent scholarship has seriously qualified this picture, recognising the degree to which Henry sought an unfettered authority for the Crown, overriding traditional patterns of obligation and mutuality. Becket's resistance to this was intelligible, but he was increasingly driven to oppose to it a controversial account of clerical immunity, in which the person of the cleric was sacrosanct and all punishment meted out to the cleric must be essentially reformatory in purpose. The origins of this are explored, and contemporary implications in regard to conscientious religious liberties and also to persisting high-risk cultures of clerical immunity are discussed.

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36

Kucharuk, Sylwia. "Quelques réflexions sur l’amitié sur l’exemple de „Becket ou l’honneur de Dieu” de Jean Anouilh." Romanica Wratislaviensia 64 (October 27, 2017): 97–106. http://dx.doi.org/10.19195/0557-2665.64.9.

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A FEW REFLEXIONS ON THE FRIENDSHIP IN BECKET OR THE HONOUR OF GOD BY JEAN ANOUILHThe above work is a conjecture on a new interpretation of the complicated friendship between Henry II, King of England, and Thomas Becket, saint martyr, as characters in Jean Anouilh’s play Becket or The Honour of God. They have little in common, and it seems that everything divides them. An analysis of this opus is used as a starting point to a general reflection on the influence of external factors such as social status and political framework, as well as internal factors such as personality traits, value system, and propriety on particular stages of friendship. The analysis is also an attempt at defining the concept of friendship presented in the play.

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37

SHORT. "THE PATRONAGE OF BENEIT'S "VIE DE THOMAS BECKET"." Medium Ævum 56, no. 2 (1987): 239. http://dx.doi.org/10.2307/43629107.

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38

Koopmans, Rachel. "Thomas Becket and the Royal Abbey of Reading." English Historical Review 131, no. 548 (2016): 1–30. http://dx.doi.org/10.1093/ehr/cew063.

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39

Thomas, Hugh M. "Shame, Masculinity, and the Death of Thomas Becket." Speculum 87, no. 4 (2012): 1050–88. http://dx.doi.org/10.1017/s0038713412004186.

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40

COBBAN, ALAN B. "Thomas Becket and his Biographers - By Michael Staunton." History 92, no. 308 (2007): 563. http://dx.doi.org/10.1111/j.1468-229x.2007.410_32.x.

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41

Edmund King. "Thomas Becket and His Biographers (review)." Catholic Historical Review 94, no. 4 (2008): 797–98. http://dx.doi.org/10.1353/cat.0.0252.

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42

Quattrocchi, Claudia. "“Pro Honore et Libertate Ecclesiae Invicta Fortitude Sustinuit”—The Oratory of St Thomas Becket in the Cathedral of Anagni." Arts 10, no. 4 (2021): 69. http://dx.doi.org/10.3390/arts10040069.

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On the 9th of October, 1170 Pope Alexander III resided in Anagni, which had been the ancient residence of the court of the Popes for at least two centuries. He wrote to two influential local archbishops for help in pacifying King Henry II and Archbishop Thomas Becket, who had been in dispute for six years. Sensing Becket’s looming tragic fate, Alexander III began slowly to encircle the archbishop with rhetoric of the new martyr of Libertas Ecclesiae. When he had to flee from Rome besieged by factions led by Frederick I, the pope found refuge in Segni, where he canonised Thomas Becket on 21 February 1173. However, it was in faithful Anagni that he settled on and off from March 1173 through the following years (November 1176; December 1177–March 1178; September 1179). It was here that he decided to elaborate a powerful speech in images. In an oratory in the crypt of the grandiose cathedral, Alexander III had the last painful moments of the Archbishop’s death painted in a program imitating that of St. Peter’s in the Vatican. Becket thus became the new imitator of Christ, the new Peter, the new martyr on the altar of the Church of Rome.

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43

Oppitz-Trotman, Gesine. "Birds, Beasts and Becket: Falconry and Hawking in the Lives And Miracles of St Thomas Becket." Studies in Church History 46 (2010): 78–88. http://dx.doi.org/10.1017/s0424208400000516.

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In the late twelfth century, the practice of hawking and falconry was symbolically ambiguous, associated powerfully with the secular life yet also open to mystical interpretation. This paper suggests that the authors of St Thomas Becket’s miracle collections, as well as his contemporary biographers, appropriated this ambiguity as a means of reconciling some of the contradictions of Becket’s career. Henry II was himself an avid enthusiast for hunting with birds, and records show a marked increase in the number of transactions involving birds of prey, and the number of falconers employed to handle them, during his reign (1154–1189).

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44

SHEILS, WILLIAM. "Polemic as Piety: Thomas Stapleton's Tres Thomae and Catholic Controversy in the 1580s." Journal of Ecclesiastical History 60, no. 1 (2009): 74–94. http://dx.doi.org/10.1017/s0022046907002485.

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This article examines the triple biography of Thomas the Apostle, Thomas Becket and Thomas More, published by Thomas Stapleton in 1588 and generally regarded as a work of pious hagiography. By focusing on the circumstances in which the book was written and published, the article demonstrates its polemical significance at a time of rapid political change in Catholic/Protestant relations in both England and Europe. Conceived as a Catholic alternative to the history of the Christian past produced by Foxe, Stapleton's book also addressed contested issues within Catholicism: how to deal with the Elizabethan regime, and the status to be accorded to recent martyrs. In answering these questions, Stapleton's views reflect the complexity of Catholic thought at this time, and its fluidity in response to the shifting political circumstances of the late 1580s.

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45

MARSHALL, PETER. "Thomas Becket, William Warham and the Crisis of the Early Tudor Church." Journal of Ecclesiastical History 71, no. 2 (2019): 293–315. http://dx.doi.org/10.1017/s002204691800266x.

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England's first Tudor monarchs were formally devoted to the cult of St Thomas of Canterbury. In popular memory, however, Thomas was a champion of law and custom, an opponent of untrammelled royal power, and – especially among the clergy – a martyr for ecclesiastical ‘liberties’. This suggests that the pre-Reformation Church was considerably less ‘monarchical’ than is sometimes supposed. In the 1530s Thomas became a powerful symbol of resistance to Henry VIII's royal supremacy. However, the fact that he could be portrayed as a patron of the clergy's sectional interests helps to explain how opposition was weakened and divided.

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46

Smith, Jeremy J. "Thomas becket: Damnatio Memoriae and the marking of books." International Journal for the Study of the Christian Church 20, no. 3-4 (2020): 264–74. http://dx.doi.org/10.1080/1474225x.2020.1863690.

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47

Budd, Ryan P. "Devotions to St. Thomas Becket by John S. Hogan." Antiphon: A Journal for Liturgical Renewal 24, no. 1 (2020): 69–70. http://dx.doi.org/10.1353/atp.2020.0005.

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48

Blick, Sarah. "Reconstructing the Shrine of St. Thomas Becket, Canterbury Cathedral." Konsthistorisk Tidskrift/Journal of Art History 72, no. 4 (2003): 256–86. http://dx.doi.org/10.1080/00233600310019327.

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49

Dobszay, László. "Liturgies in Honour of Thomas Becket. Kay Brainerd Slocum." Speculum 82, no. 1 (2007): 238–40. http://dx.doi.org/10.1017/s0038713400006199.

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50

Jenkins, John. "Modelling the Cult of Thomas Becket in Canterbury Cathedral." Journal of the British Archaeological Association 173, no. 1 (2020): 100–123. http://dx.doi.org/10.1080/00681288.2020.1771897.

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Journal articles on the topic 'Thomas à Becket'

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