in both scriptural and dramatic representations of the resurrection). She highlights a particularly English anxiety around the right to preach in the early fifteenth century that circumscribes the dramatic material in extant plays featuring John the Baptist, drawing tantalizing attention to the phenomenology of performed preaching. Elisabeth Dutton and Stephanie Allen consider the only Latin drama in the collection, demonstrating Nicholas Grimald’s synthesis of scriptural and classical sources and models. This engaging discussion reveals Grimald’s expert manipulation of reception as he leads audiences to consider how we know and manipulate truth. Also noteworthy is Katie Normington’s demonstration of a temptation motif in a range of cycle pageants which helps to address perceived flaws in the often overlooked Newcastle Noah, although she misses the opportunity to discuss important distinctions between Eve’s temptation in the Fall and later scriptural episodes that demonstrate the motif. Overall, this compilation gives a good overview of current scholarship, reflecting the continued priority given to English cycle drama in medieval drama studies; at the same time, select contributions demonstrate the fruitful results we can gain by applying theoretical lenses to familiar texts and turning our scholarly attention to material outside of the familiar English context.

中文翻译：

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玛格丽特·阿斯顿（Margaret Aston），《英语改革的残破偶像》，剑桥：剑桥大学出版社，2015年，第1136页，£120，ISBN：9780521770187

在复活的经文和戏剧性表达中）。她着重指出了在15世纪初期英国人对传教权利的焦虑，这种焦虑限制了现存以施洗约翰为题材的戏剧的戏剧性内容，引起了人们对表演宣讲现象的关注。伊丽莎白·达顿（Elisabeth Dutton）和斯蒂芬妮·艾伦（Stephanie Allen）认为这是该系列中唯一的拉丁戏剧，展示了尼古拉斯·格里马尔（Nicholas Grimald）对经典和经典资源与模型的综合。这场引人入胜的讨论揭示了格里马尔德在带领听众考虑我们如何了解和操纵真理时的接收技巧。同样值得注意的是，凯蒂·诺明顿（Katie Normington）在一系列自行车比赛中展示了一种诱惑图案，这有助于解决人们经常忽略的纽卡斯尔·诺亚（Newcastle Noah）的感知缺陷，尽管她错过了讨论秋天夏娃的诱惑与后来的证明这一主题的圣经情节之间重要区别的机会。总的来说，这份汇编很好地概述了当前的奖学金，反映出中世纪戏剧研究中继续优先考虑英语自行车戏剧。同时，精选的论文展示了我们的成果，我们可以通过将理论上的镜头应用于熟悉的文本并将我们的学术注意力转向熟悉的英语环境之外的材料来获得丰硕的成果。