Puppets, Manuscripts, and Gendered Reading in the Hortus deliciarum

IF 0.8 1区 艺术学 0 ART GESTA-INTERNATIONAL CENTER OF MEDIEVAL ART Pub Date : 2021-09-01 DOI:10.1086/715454
A. Sand
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Abstract

An oft-referenced but little scrutinized depiction of a puppet performance in Herrad of Hohenbourg’s Hortus deliciarum (ca. 1185, destroyed 1870) provides an opening into the study of the relationship between two types of performative objects—books and puppets. From the twelfth century onward, puppetry was an increasingly popular and widely practiced public art in Western Europe, associated with the lowest class of entertainer but present in settings from the urban marketplace to the courts of both secular and ecclesiastical princes, and in the case of Hohenbourg Germany, princesses. Puppetry intersected with both secular literature and the liturgy in the form of enactments of chansons de geste and liturgical drama. The puppet show in the Hortus deliciarum has often been cited as a literal illustration of medieval puppetry, but here I am concerned rather with its moral dimensions and the way it participates in the framing of gender and performance within the trope of vanitas vanitatum (vanity of vanities). The collective reading, viewing, and singing, in short, the performance of the Hortus deliciarum as a book is imagined in contrast to the worldly undertakings of the canonesses’ male relations, namely knights and nobles, framing the monastic life of the women as the more spiritually worthy. Valuable as early evidence of puppetry in Western Europe, the Hortus deliciarum’s representation of a puppet show is yet more significant as an indicator of the sophisticated interpretive skills of its original audience of female monastics.
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木偶剧、手稿与《美味树》中的性别阅读
Herrad of Hohenbourg的《Hortus deliciarum》(约1185年,1870年销毁)中对木偶表演的描述经常被提及,但很少被仔细研究,这为研究两种表演对象——书籍和木偶之间的关系提供了一个机会。从12世纪开始,木偶戏在西欧成为一种越来越受欢迎和广泛实践的公共艺术,与最低阶层的艺人有关,但从城市市场到世俗和教会王子的宫廷,以及在德国霍恩堡的情况下,公主。木偶戏与世俗文学和礼拜仪式以圣歌和礼拜戏剧的形式相交。Hortus deliciarum中的木偶戏经常被引用为中世纪木偶戏的字面例证,但在这里,我更关心的是它的道德维度,以及它在“虚荣的虚荣”(vanitas vanitatum)的比喻中参与性别框架和表演的方式。集体阅读,观看和歌唱,简而言之,将《美食》作为一本书的表演被想象成与女圣徒的男性关系,即骑士和贵族的世俗事业形成对比,将女性的修道生活框定为更有精神价值的生活。作为西欧木偶戏的早期证据,Hortus deliciarum对木偶戏的表现更为重要,因为它表明了原始观众女修道院的复杂解释技巧。
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来源期刊
CiteScore
0.50
自引率
25.00%
发文量
8
期刊介绍: The Newsletter, published three times a year, includes notices of ICMA elections and other important votes of the membership, notices of ICMA meetings, conference and exhibition announcements, some employment and fellowship listings, and topical news items related to the discovery, conservation, research, teaching, publication, and exhibition of medieval art and architecture. The movement of some material traditionally included in the newsletter to the ICMA website, such as the Census of Dissertations in Medieval Art, has provided the opportunity for new features in the Newsletter, such as reports on issues of broad concern to our membership.
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