Thomas
O'Loughlin s. xx–xxi
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In his account of events in Tara on Easter Sunday 432, Muirchú has Patrick involved in a miracle, whereby Patrick is unharmed by a poisoned cup of wine. While the ultimate source of this miracle is biblical, it has many variants in the tradition of hagiography. Muirchú knew this tradition and adapted it to his purposes in the Vita Patricii. His usage of this tale of the poisoned cup demonstrates both part of his library and his method of composition. Furthermore, the way that he portrays Patrick's reaction to the attempted poisoning illustrates particular qualities that Muirchú wished to associate with his subject.
In his account of events in Tara on Easter Sunday 432, Muirchú has Patrick involved in a miracle, whereby Patrick is unharmed by a poisoned cup of wine. While the ultimate source of this miracle is biblical, it has many variants in the tradition of hagiography. Muirchú knew this tradition and adapted it to his purposes in the Vita Patricii. His usage of this tale of the poisoned cup demonstrates both part of his library and his method of composition. Furthermore, the way that he portrays Patrick's reaction to the attempted poisoning illustrates particular qualities that Muirchú wished to associate with his subject.
2005
2004
Adomnán's De locis sanctis provided to its readers in the late seventh century a landscape of Palestine and other eastern Mediterranean lands. This landscape's structure was determined by readers' own expectations of those places based in their religious culture as Latin Christians. The text appears to use four categories in its exploration of what can be seen as particularly significant in those places; as such it is less a portrait of locations in its period of composition, and more a description of an icon.
Adomnán's De locis sanctis provided to its readers in the late seventh century a landscape of Palestine and other eastern Mediterranean lands. This landscape's structure was determined by readers' own expectations of those places based in their religious culture as Latin Christians. The text appears to use four categories in its exploration of what can be seen as particularly significant in those places; as such it is less a portrait of locations in its period of composition, and more a description of an icon.