Band 18, Heft 1 - Heilige Bücher. Hrsg. von Carmen Cardelle de Hartmann und Susanne Uhl

Starting with the observation that the canon of the Bible differs among the Christian denominations (Lutheran, Reformed, Roman Catholic), and that definitive decisions on the canon were not made before the 16th century, the author gives a brief account of the process of the development of both the Jewish and the bipartite Christian canon. Due to more recent textual discoveries, earlier views of the making of the Jewish or the Christian canon have undergone significant changes. For the Jewish canon, the discovery of the Dead Sea Scrolls (Qumran texts) provided the opportunity to study the making of the canon from manuscript evidence, and to alter the overall view from the pattern of a three stage canonization to the pattern of a “canonical process”, leading to the Hebrew canon and, later and in Christian circles, to the canon of the Septuagint. This pattern is also useful for studying the making of the bipartite Christian canon or the New Testament canon. Here, the author focuses on the challenge provided by Marcion’s “canon”, the early beginning of the canonical process and its late closure, and the various factors in the process, which can be studied by including the manuscript evidence and taking into account the character of several apocryphal texts and the context and intention of the various lists of canonical texts. The biblical canon as presupposed throughout the Middle Ages is the result of a complicated and variegated canonical process. But in spite of the problems of the criteria and factors involved, the biblical canon is theologically valuable and “well-chosen”.

The focus of this paper lies on the Islamic approach to the Qurʾān, the exegesis of the text, and the significance of Qurʾānic revelation for Muslim societies (“Sitz im Leben”) for centuries up to the present day, paying also some attention to the history of the European perception of the Qurʾān, from which ultimately modern Western Qurʾānic research emerged. As an introduction, the specific formal and thematic features of the Qurʾān, Islam’s Holy Scripture, are explained and the history of the Qurʾānic text is summarized. The last topic is the historic, social, and literary contextualisation of the Qurʾān as well as its aesthetic dimension (e.g. the “audible” and the “visible” Qurʾān as artistic manifestations). The discussion includes a review of recent scholarship, which has developed some pioneering new concepts about early Qurʾānic textual history and the (re)location of the Qurʾān in its historical context in Late Antiquity.

There is scarcely a sentence in the New Testament that could have unleashed a wider reception history than Paul‘s comparison of the letter and the spirit in the third chapter of the Second Epistle to the Corinthians: “For the letter killeth, but the spirit giveth life.” In Patristics two diverging lines of reception can be identified, which, depending on the perspective, emphasise the hermeneutic or the soteriological side of the formula more strongly. This paper investigates the antithesis of spirit and letter at various stations of its reception history from Late Antiquity to the late Middle Ages and ventures to profile the contrast primarily as the hermeneutic relationship between the object and the reading event.

In the last decade of the 13th century Guyart Desmoulins composed a French-language version of the Bible, the ‘Bible historiale’, based on the ‘Historia Scholastica’. In the course of the 14th century this was completed to become a full bible, and a pictorial repertoire emerged that corresponded to the work’s novel requirements. Soaring demand and the efficient production on the part of the Paris workshops resulted in a standardization of some of the pictorial elements in the times of John the Good and Charles V; the usual choice of motif for the frontispiece, for example, came to be some variant of the Maiestas Domini . In complete contrast to this, miniatures were created around the year 1400 that stood out due to their iconographic originality, testifying to a more nuanced perception of the ‘Bible historiale’ and its tradition. Five examples will be presented in an examination of the interrelationship of text and image.

Divine inspiration through the Holy Ghost is topical in the portraits of Gregory the Great: A dove brings him the divine words, which he writes himself or dictates to his deacon Petrus. Thus the charismatic Father of the Church became, like the Evangelists, a divinely inspired medium who transmitted the mandate of spreading the gospel and guaranteed the heavenly origin of the texts that were recited and sung in the liturgy. The preface ‘Gregorius presul’, which is to be found in variant forms introducing antiphonaries and cantatories, states that Gregory, the “powerful teacher” of church chant, composed the songbooks ( composuit hunc libellum musicae artis ), thereby sanctifying them. Scholars see in this preface a Carolingian strategy of legitimation based on this dynasty’s theocratic concept of power. Gregorian chant, the quintessence of medieval monophonic tradition, has his origins in the Frankish church adopting the “authentic” Roman rite, which was declared canonical liturgy in all churches of the Frankish empire because of Gregory’s authorship. But the consolidation of Gregory’s myth unintentionally legitimated the process of composition, too, because the connection between the concepts of authorship and inspiration justified the composer’s claim to the ministry of spreading the gospel and of attaining the highest knowledge.

The so called ‘Prose Edda’ or ‘Snorra Edda’, usually dated to the third decade of the 13 th century, contains after a short prologue two substantial sections dealing mainly with mythography and poetics and a long concluding skaldic poem. In the extant medieval manuscripts from around 1300 and the beginning of the 14 th century, additional material like genealogies, grammatical treatises, etc. is included. The present paper focuses on one of the earliest of these manuscripts, codex DG 11 4to, University Library Uppsala, and analyses some central features of the specific way in which it presents different narrative layers. For the first time, this analysis combines a study of textual and visual aspects of the manuscript, and special attention is given to two of the many illustrations in this codex. Together with later scribal notes, the drawings contribute heavily to the process of framing, which is one of the main features of the ‘Prose Edda’. This process of creating potentially endless narrative and visual frames is part of the text‘s ambition to establish a distance to the traditional pagan myths and to facilitate new fictional possibilities.

Throughout the Middle Ages, documents commemorating the names of dignitaries and benefactors in monasteries and churches were characterized as liber vitae , just as the heavenly book mentioned in the Bible. Those whose names were inscribed in such a list were promised eternal life through commemoration. The paper discusses material and medial aspects of the mediation of salvation within such documents as well as the shifts between different sorts of bookkeeping arising between the 9th and the 15th century by focusing on writing strategies, document organization, and layout in Carolingian confraternity books, monastic necrologies, and late medieval obituaries or anniversary books from collegiate and parish churches. Their differing structures show how concepts and places of liturgical commemoration changed over the centuries.