The central regulatory document of the tenth-century English Benedictine Reform, Æthelwold of Winchester’s Regularis concordia, contains an important performance piece: the Visitatio sepulchri, which standard theater histories understand as an anomalous originary text that marks the reemergence of drama in the European Middle Ages. This article resituates it alongside the schoolroom colloquies of Æthelwold’s student Ælfric of Eynsham and his student and editor Ælfric Bata to argue that these texts together cultivated monastic self-possession by means of self-conscious performances of its absence. By staging (in)attention, they thereby modeled extended engagement in moments and spaces that could otherwise seem too quiet or empty to hold concentration for long, from the classroom to the sepulcher to the page, while also exposing the limits of “distraction” and “attention” as analytical terms.
Performing (In)Attention: Ælfric, Ælfric Bata, and the Visitatio sepulchri
Erica Weaver is Assistant Professor of English at the University of California, Los Angeles, where she is currently working on a book about the role of distraction in the development of early medieval literature and literary theory, particularly during the tenth-century monastic “correction” movement traditionally known as the English Benedictine Reform. She is also co-editor, with A. Joseph McMullen, of The Legacy of Boethius in Medieval England: The Consolation and Its Afterlives (Arizona Center for Medieval and Renaissance Studies, 2018) and, with Daniel C. Remein, of Dating Beowulf: Studies in Intimacy (Manchester University Press, 2020).
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Erica Weaver; Performing (In)Attention: Ælfric, Ælfric Bata, and the Visitatio sepulchri. Representations 21 October 2020; 152 (1): 1–24. doi: https://doi.org/10.1525/rep.2020.152.1.1
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