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Scripta Mediaevalia最新文献

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“Pleasure in Foreign Things”: Global Entanglement in the Livre des merveilles du monde (Paris, Bibliothèque nationale de France, fr. 2810) “外国事物的乐趣”:世界merveilles生活中的全球纠缠(巴黎,法国国家图书馆,第2810页)
Q4 Arts and Humanities Pub Date : 2020-09-02 DOI: 10.1353/mdi.2020.0008
M. Cruse
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引用次数: 1
The Matter of Pseudo-History: Textuality, Aurality, and Visuality in the Arthurian Vulgate Cycle 伪历史的问题:亚瑟王Vulgate循环中的文本性、听觉性和视觉性
Q4 Arts and Humanities Pub Date : 2020-09-02 DOI: 10.1353/mdi.2020.0003
Joyce Coleman
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引用次数: 0
Printing and Publishing in East Asia through circa 1600: An Extremely Brief Survey 1600年前后东亚的印刷和出版:一个极其简短的调查
Q4 Arts and Humanities Pub Date : 2020-09-02 DOI: 10.1353/mdi.2020.0005
L. Chia
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引用次数: 1
Textual Bodies and Manuscript Matters: The Case of Turin State Archives, MS J.b.IX.10 文本主体和手稿事项:都灵国家档案馆的案例,MS J.b.IX.10
Q4 Arts and Humanities Pub Date : 2020-09-02 DOI: 10.1353/mdi.2020.0004
Deborah L. McGrady
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引用次数: 0
The Matter of the Premodern Book 前现代书籍的问题
Q4 Arts and Humanities Pub Date : 2020-09-02 DOI: 10.1353/mdi.2020.0000
M. Desmond
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引用次数: 0
Dante’s Convivio between Manuscript and Print 但丁的手稿与印刷之间的对话
Q4 Arts and Humanities Pub Date : 2020-09-02 DOI: 10.1353/mdi.2020.0006
B. Arduini
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引用次数: 0
William Thorpe’s Other Books: “Second Generation” Wycliffism and the Glossed Gospels 威廉·索普的其他著作:“第二代”威克里夫主义和粉饰福音
Q4 Arts and Humanities Pub Date : 2020-09-02 DOI: 10.1353/mdi.2020.0007
David Lavinsky
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引用次数: 0
Honeyed Words and Waxen Tablets: Aldhelm’s Bees and the Materiality of Anglo-Saxon Literacy 蜜语与蜡片:阿尔德赫尔姆的蜜蜂与盎格鲁-撒克逊文化的物质性
Q4 Arts and Humanities Pub Date : 2020-09-02 DOI: 10.1353/mdi.2020.0002
L. Weston
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引用次数: 0
Eye Beams and Boethian Sufficiency in Chaucer's Troilus and Criseyde 乔叟《特洛伊罗斯与克里塞德》中的光束与波提西亚充分性
Q4 Arts and Humanities Pub Date : 2019-06-11 DOI: 10.1353/MDI.2019.0006
Sarah B. Rude
Abstract:This essay explores the relationship between vision, reason, and tragedy in Geoffrey Chaucer's Troilus and Criseyde and Boece, his translation of Boethius's Consolation of Philosophy. In Boece, Chaucer defines the sense of sight as an important first step toward gaining knowledge and differentiating earthly, temporal pleasures from true, eternal goods. Following an examination of how vision and reason appear in Boece, this essay shows how Chaucer dramatizes these principles in Troilus and Criseyde, focusing especially on the lines of sight between Troilus and Criseyde as they experience "love at first sight" and develop an earthly, romantic relationship. Criseyde in particular reasons her way through falling in love, and her progress through the mental faculties of sense, imagination, reason, and intellect closely parallels these faculties as they appear in Boece. At the climax of the narrative, when Troilus and Criseyde consummate their love, Criseyde demonstrates faulty reasoning in labeling Troilus her suffisaunce, the term that Chaucer uses repeatedly in Boece to indicate a good that is true and eternal. With Troilus and Criseyde's errant application of vision and reason, it comes as no surprise that their love is doomed to fail and that their narrative is doomed to be a tragedy.
摘要:本文探讨了乔叟译自波伊提乌《哲学的慰藉》的《特洛伊罗斯与克里塞德与波伊提乌》中视觉、理性与悲剧之间的关系。在伯斯的作品中,乔叟将视觉定义为获得知识的重要第一步,并将世俗的、暂时的快乐与真正的、永恒的快乐区分开来。在考察了视觉和理性如何出现在伯斯的作品之后,本文将展示乔叟如何在《特洛伊罗斯和克里塞德》中戏剧化这些原则,尤其关注特洛伊罗斯和克里塞德之间的视线,因为他们经历了“一见钟情”,并发展了一段世俗的浪漫关系。尤其是克里塞德,她在坠入爱河的过程中有自己的原因,她通过感觉、想象、理性和智力等心理能力的进步与这些能力在伯斯身上的表现非常相似。在故事的高潮,当Troilus和Criseyde完成他们的爱情时,Criseyde证明了错误的推理,将Troilus标记为她的“足够”,乔塞在Boece中反复使用这个词来表示真实而永恒的善。由于Troilus和Criseyde对视觉和理性的错误运用,他们的爱情注定要失败,他们的故事注定要成为悲剧也就不足为奇了。
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引用次数: 0
Alabaster and Agency: The Tomb of Edward II in Gloucester Cathedral 雪花石膏和代理:格洛斯特大教堂的爱德华二世墓
Q4 Arts and Humanities Pub Date : 2019-06-11 DOI: 10.1353/MDI.2019.0004
Rachel Dressler
Abstract:The Tomb of Edward II is an imposing monument with a striking tiered, gabled superstructure and an alabaster effigy of the king. The elaborate nature of this memorial is unexpected when one contemplates the difficult course of Edward's reign and, especially, its termination in his deposition and death. Equally surprising is the use of alabaster for his figure, as this material had never previously been used for an effigy and was not at the time a particularly valued stone. This essay considers what might have been the response to this tomb and to the alabaster figure of the king within the context of his grim end. Alabaster had a longstanding lapidary tradition that associated it with preserving the dead, and was mentioned in the Bible in relation to the life of Christ. These associations, when coupled with alabaster's whiteness and luminosity, may have worked to sanctify the former ruler, thus camouflaging the turbulence at the end of his life and legitimating the succession of his son Edward III to the throne.
摘要:爱德华二世墓是一座雄伟的纪念碑,其上层建筑有引人注目的阶梯式山墙结构和国王的雪花石膏雕像。考虑到爱德华统治的艰难历程,尤其是他的被废黜和死亡,这个纪念碑的精心设计是出乎意料的。同样令人惊讶的是,他的雕像使用了雪花石膏,因为这种材料以前从未用于雕像,当时也不是特别有价值的石头。这篇文章考虑了在国王悲惨结局的背景下,人们对这座坟墓和他的雪花石膏雕像的反应。雪花石膏有着悠久的宝石传统,将其与保存死者联系在一起,并在圣经中提到与基督的生活有关。这些联想,再加上雪花石膏的洁白和明亮,可能会使这位前统治者神圣化,从而掩盖了他生命末期的动荡,并使他的儿子爱德华三世继承王位合法化。
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引用次数: 0
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Scripta Mediaevalia
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