William Langland's Piers Plowman was written and read during a "golden age" of English preaching. The poem describes a world where sermons took many different forms and were delivered in many different contexts, from public events in the life of the realm to pastoral instruction in the parish. It dramatises preaching as part of its allegorical action, showing how sermons shaped their listeners' understanding of the world; it also includes polemical critique of corrupt, self-interested preaching, and offers radical prescriptions for its reform. This book argues that Langland's central insight into the way that sermons moved and engaged their audiences had to do with their characteristic use of narrative. Preachers in the poem address listeners who are absorbed in the concerns of their present moment, and encourage them to new forms of social and spiritual endeavour by locating that moment in a larger, interpreted plot: the story of an individual life, or an emergent community, or of salvation history as a whole. The book employs a critical vocabulary derived from Paul Ricoeur to describe the process by which these narratives are composed, and to show how they mediate and reconfigure their listeners' experiences.

William Langland's Piers Plowman was written and read during a “golden age” of English preaching. The poem describes a world where sermons took many different forms and were delivered in many different contexts, from public events in the life of the realm to pastoral instruction in the parish. It dramatises preaching as part of its allegorical action, showing how sermons shaped their listeners' understanding of the world; it also includes polemical critique of corrupt, self-interested preaching, and offers radical prescriptions for its reform. This book argues that Langland's central insight into the way that sermons moved and engaged their audiences had to do with their characteristic use of narrative. Preachers in the poem address listeners who are absorbed in the concerns of their present moment, and encourage them to new forms of social and spiritual endeavour by locating that moment in a larger, interpreted plot: the story of an individual life, or an emergent community, or of salvation history as a whole. The book employs a critical vocabulary derived from Paul Ricoeur to describe the process by which these narratives are composed, and to show how they mediate and reconfigure their listeners' experiences.

They are there after an urgent need, a moment of desperation. Like Ellen Cardwell?s telling of a highway angel who helped Ellen and her husband resume their trip after car trouble on California?s desolate Highway 1. Or Delores Topliff?s memory from her childhood, when on the brink of starvation, an angel on a bicycle dropped off bags of groceries. These stories will challenge and reward your faith in God?a God Who tells us to entertain strangers and, possibly, Heavenly Company. Contained within this book is an exclusive collection of real-life encounters with God?s angels and mysterious helpful strangers. Best-selling author Cecil Murphey (coauthor of 90 Minutes in Heaven and more than one hundred other books) and his cowriter Twila Belk masterfully bring together brand-new reports from all over the world that share one thing in common: the way in which God uses messengers to touch our lives. Filled with hundreds of pages of stories that will excite your spirit and touch your heart, you?ll travel from Africa to Texas to Russia and back again. Curl up with this powerful book and read amazing true accounts of individuals who have encountered angels, both seen and unseen.

Many clergy receive little training in the arts of preaching and it is assumed that they will learn by gaining experience. The renowned American preacher Herbert O’Driscoll suggests that congregations do not want to be given a map showing them how to get to the coast, they want to be drenched in the spray. Narrative preaching is a means of achieving such immediacy. By dramatic story-telling, it invites listeners into enter the text imaginatively and enables them to experience sermons as transformative events. This book aims to provide not just a theoretical introduction, but a resource that uses sermons in the narrative style to reflect on how to prepare and construct them and how to deliver them effectively in the context of worship.

The first full survey of crucial witnesses to the reception of Piers Plowman.

Preacher, Sermon and Audience in the Middle Ages presents research by specialists of preaching history and literature. This volume fills some of the lacunae which exists in medieval sermon studies. The topics include: an analysis of how oral and written cultures meet in sermon literature, the function of vernacular sermons, an examination of the usefulness of non-sermon sources such as art in the study of preaching history, sermon genres, the significance of heretical preaching, audience composition and its influence on sermon content, and the use of rhetoric in sermon construction. The study looks at preaching history and literature from a wide geographical and chronological area which includes examples from Anglo-Saxon England to late medieval Italy. While doing so, it outlines the state of sermon studies research and points to new areas of investigation.

Probing spatial questions about God posed by Piers Plowman, the author of this interdisciplinary study turns to pictorial evidence-the use of religious space and relationships within such space in English art of the same period. The Place of God in Piers Plowman and Medieval Art is not only a study of the sense of God and of the relationship between God and creatures in the great religious poem, but also an analysis of art works of the high Middle Ages, especially English manuscript illuminations, in their placement of God. Such interdisciplinary analysis historicizes both literature and art, uncovering ways that medieval people imagined God and the understandings that they would have been able to bring to reading and viewing religious art.