{"title":"The Documentary Archaeology of Late Medieval Europe (DALME) (review)","authors":"S. Bednarski","doi":"10.1353/dph.2022.0003","DOIUrl":"https://doi.org/10.1353/dph.2022.0003","url":null,"abstract":"","PeriodicalId":387346,"journal":{"name":"Digital Philology: A Journal of Medieval Cultures","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123400840","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Commissioned by the Parisian guild of carpenters and masons, Pierre Gringore’s 6,572-line hagiographical mystery play, La Vie Monseigneur sainct Loÿs par personnaiges (Paris, BnF Fr. 17511), celebrates the life and miracles of Saint Louis IX, king of France, as a community-building endeavor. Basing the work on the medieval genre known as the mirror of princes and the classical tradition of parallel lives, Gringore infused the play with historical allusions as a way to promote a glorious image of the current king, Louis XII, as a new Saint Louis. Yet instead of describing Louis XII as a heroic warrior, according to the paradigms of laudatory rhetoric, he fashioned a portrait of a wise, charitable, and pacifist prince, more inclined to use words than force when confronting his enemies. Rather than being a sign of weakness, pacifism here represents the highest moral value, a reflection of the king’s self-control and his steady reliance on the advice of his council, in contrast to his adversaries, whose actions were guided exclusively by unbridled emotional impulses. This essay uses a variety of political, moral, affective, and drama theories to examine Gringore’s adaptation of allegory as a performative strategy, offering new insight into the author’s choice to reshape the medieval mystery play into a historical and political drama while also seeking the charitable king’s financial support.
摘要:受巴黎木匠和泥瓦匠公会委托，皮埃尔·格林戈尔创作了6,572行的圣徒传记悬疑剧《圣路易九世》(La Vie Monseigneur sainsaint Loÿs par personnaiges，巴黎，BnF Fr. 17511)，以社区建设的方式颂扬了法国国王圣路易斯九世的一生和奇迹。这部作品以中世纪的“王子之镜”流派和平行生活的古典传统为基础，格林戈尔在剧中注入了历史典故，以宣传现任国王路易十二作为新圣路易斯的光辉形象。然而，根据赞美修辞的范例，他没有把路易十二描述成一个英勇的战士，而是塑造了一个明智、慈善、和平主义的王子的形象，在面对敌人时更倾向于使用语言而不是武力。和平主义并不是软弱的象征，而是代表了最高的道德价值，反映了国王的自我控制和他对议会建议的坚定依赖，而他的对手则完全被不受约束的情感冲动所引导。本文运用各种政治、道德、情感和戏剧理论来考察格林戈尔对寓言的改编作为一种表演策略，为作者在寻求慈善国王的财政支持的同时，将中世纪的神秘剧重塑为一部历史和政治剧的选择提供了新的见解。
{"title":"Political Propaganda, Morality, and Passions: Dramatic Expressions of Allegory in La Vie Monseigneur sainct Loÿs par personnaiges by Pierre Gringore, c. 1513","authors":"Olga Anna Duhl, S. C. Kaplan","doi":"10.1353/dph.2021.0026","DOIUrl":"https://doi.org/10.1353/dph.2021.0026","url":null,"abstract":"Abstract:Commissioned by the Parisian guild of carpenters and masons, Pierre Gringore’s 6,572-line hagiographical mystery play, La Vie Monseigneur sainct Loÿs par personnaiges (Paris, BnF Fr. 17511), celebrates the life and miracles of Saint Louis IX, king of France, as a community-building endeavor. Basing the work on the medieval genre known as the mirror of princes and the classical tradition of parallel lives, Gringore infused the play with historical allusions as a way to promote a glorious image of the current king, Louis XII, as a new Saint Louis. Yet instead of describing Louis XII as a heroic warrior, according to the paradigms of laudatory rhetoric, he fashioned a portrait of a wise, charitable, and pacifist prince, more inclined to use words than force when confronting his enemies. Rather than being a sign of weakness, pacifism here represents the highest moral value, a reflection of the king’s self-control and his steady reliance on the advice of his council, in contrast to his adversaries, whose actions were guided exclusively by unbridled emotional impulses. This essay uses a variety of political, moral, affective, and drama theories to examine Gringore’s adaptation of allegory as a performative strategy, offering new insight into the author’s choice to reshape the medieval mystery play into a historical and political drama while also seeking the charitable king’s financial support.","PeriodicalId":387346,"journal":{"name":"Digital Philology: A Journal of Medieval Cultures","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129357601","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:As Cynthia Brown’s Poets, Patrons, and Printers has demonstrated, Jean Bouchet’s Regnars traversant (The Foxes That Rove)—first published in Paris c. 1503 with a fraudulent attribution to Sebastian Brant— plays an important role in the development of author-publisher relations in France. It also poses edifying interpretive challenges to its readers. Its governing metaphor, the fox as an image of human vice and dishonesty, is developed through a set of enigmatic woodcuts that depict the narrator’s visions and that must be deciphered in conjunction with the accompanying text. Various motifs in the woodcuts derive from a 1497 broadside by Brant, published in German (and probably also in Latin). The Regnars’ distinctive illustrations, and its combination of prose and verse, were no obstacle to further publication across linguistic and sometimes confessional boundaries. In 1517 Thomas van der Noot printed a Dutch version, De loose vossen der werelt (The Treacherous Foxes of the World), which he had probably translated himself. The Loose vossen was itself translated into High German, as Von den losen füchsen dieser welt (The Treacherous Foxes of this World), and published in 1546 by the Frankfurt printer Hermann Gülfferich. Sixty years later an unlocalized edition appeared with copies of Gülfferich’s images, some of them reversed. Matthes Stöckel published a revised edition, with a more pronounced Lutheran orientation, in Dresden in 1585. The successive translations and revisions are illustrated by increasingly elaborate woodcuts and adopt different approaches to translating verse. I examine the ways in which text-image interactions evolve as the Regnars travels eastward as well as the shifting configurations of verse forms and their meanings. The interplay of conservation and intervention across Dutch and German versions encourages us to reflect on what analytical tools might best elucidate the cross-cultural transmission of complex multimodal texts in early modern Europe.
摘要:正如辛西娅·布朗的《诗人、赞助人与印刷商》所表明的那样，让·布歇的《流浪的狐狸》(1503年在巴黎首次出版，冒称作者是塞巴斯蒂安·布兰特)在法国作家与出版商关系的发展中发挥了重要作用。它也对读者提出了具有启发性的解释挑战。它的主导隐喻，狐狸作为人类邪恶和不诚实的形象，是通过一组神秘的木刻发展起来的，这些木刻描绘了叙述者的愿景，必须与随附的文本一起破译。木刻上的各种主题来源于1497年布兰特用德语出版的一幅侧面画(也可能是拉丁文)。Regnars的独特插图，散文和诗歌的结合，并没有阻碍进一步跨越语言和有时忏悔的界限出版。1517年，托马斯·范·德·努特(Thomas van der Noot)出版了荷兰语版《世界上狡猾的狐狸》(De loose vossen der werelt)，这本书可能是他自己翻译的。《放荡的狐狸》本身被翻译成高地德语，称为《这个世界上的奸狐》，并于1546年由法兰克福印刷商赫尔曼·格里希(Hermann gfferich)出版。60年后，一个未本地化的版本出现了，上面有g lfferich的图像副本，其中一些是颠倒的。马提斯Stöckel于1585年在德累斯顿出版了一个修订版，带有更明显的路德派倾向。连续的翻译和修订以越来越精致的木刻来说明，并采用不同的方法来翻译诗歌。我研究了文本-图像交互的方式，随着Regnars向东旅行，以及诗歌形式及其意义的变化配置。荷兰语和德语版本之间的保护和干预的相互作用鼓励我们反思哪些分析工具可能最好地阐明早期现代欧洲复杂的多模态文本的跨文化传播。
{"title":"When Foxes Rove: Jean Bouchet’s Regnars traversant, Basel–Paris–Brussels–Frankfurt–Dresden","authors":"A. Armstrong","doi":"10.1353/dph.2021.0022","DOIUrl":"https://doi.org/10.1353/dph.2021.0022","url":null,"abstract":"Abstract:As Cynthia Brown’s Poets, Patrons, and Printers has demonstrated, Jean Bouchet’s Regnars traversant (The Foxes That Rove)—first published in Paris c. 1503 with a fraudulent attribution to Sebastian Brant— plays an important role in the development of author-publisher relations in France. It also poses edifying interpretive challenges to its readers. Its governing metaphor, the fox as an image of human vice and dishonesty, is developed through a set of enigmatic woodcuts that depict the narrator’s visions and that must be deciphered in conjunction with the accompanying text. Various motifs in the woodcuts derive from a 1497 broadside by Brant, published in German (and probably also in Latin). The Regnars’ distinctive illustrations, and its combination of prose and verse, were no obstacle to further publication across linguistic and sometimes confessional boundaries. In 1517 Thomas van der Noot printed a Dutch version, De loose vossen der werelt (The Treacherous Foxes of the World), which he had probably translated himself. The Loose vossen was itself translated into High German, as Von den losen füchsen dieser welt (The Treacherous Foxes of this World), and published in 1546 by the Frankfurt printer Hermann Gülfferich. Sixty years later an unlocalized edition appeared with copies of Gülfferich’s images, some of them reversed. Matthes Stöckel published a revised edition, with a more pronounced Lutheran orientation, in Dresden in 1585. The successive translations and revisions are illustrated by increasingly elaborate woodcuts and adopt different approaches to translating verse. I examine the ways in which text-image interactions evolve as the Regnars travels eastward as well as the shifting configurations of verse forms and their meanings. The interplay of conservation and intervention across Dutch and German versions encourages us to reflect on what analytical tools might best elucidate the cross-cultural transmission of complex multimodal texts in early modern Europe.","PeriodicalId":387346,"journal":{"name":"Digital Philology: A Journal of Medieval Cultures","volume":"103 5","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120858582","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article examines the place of Passion devotion and, in particular, the metaphor of Christ’s blood as ink within the broader context of affective reading practices in late medieval France. Christ’s blood as ink crops up as a recurring theme in the later Middle Ages, especially for women mystics, as relating to the Passion and stigmata of Christ. Although the development of this motif in England—in terms of charters, for example—was not matched on the continent, it nevertheless obtained a place in the devotional experience of laywomen as a way to approach Christ and, more broadly, as a prominent technique of affective devotion. This essay explores these reading practices through a brief summary of English and continental usages of the metaphor and then through two manuscript case studies: BnF fr. 874 and Musée Dobrée XVII. BnF fr. 874, containing Octovien de Saint-Gelais’s translation of Ovid’s Heroides, presents primarily heroines writing fictional letters to their absent male lovers. Musée Dobrée XVII, a collection of biblical, antique, and contemporary female biographies, is a translation/adaptation of Boccaccio’s De mulieribus Claris and Giacomo Filipo Foresti da Bergamo’s De plurimis claris selectisque mulieribus made for Anne de Bretagne. These two manuscripts are examples of secular rather than devotional works that reference the metaphor of Christ’s blood as ink to encourage in their readers both an imagined participation in the narratives and a very real material interaction with the codices themselves.
{"title":"(Christ’s) Blood as Ink: Affective Secular Reading in Late Medieval France","authors":"Anneliese Pollock Renck","doi":"10.1353/dph.2021.0024","DOIUrl":"https://doi.org/10.1353/dph.2021.0024","url":null,"abstract":"Abstract:This article examines the place of Passion devotion and, in particular, the metaphor of Christ’s blood as ink within the broader context of affective reading practices in late medieval France. Christ’s blood as ink crops up as a recurring theme in the later Middle Ages, especially for women mystics, as relating to the Passion and stigmata of Christ. Although the development of this motif in England—in terms of charters, for example—was not matched on the continent, it nevertheless obtained a place in the devotional experience of laywomen as a way to approach Christ and, more broadly, as a prominent technique of affective devotion. This essay explores these reading practices through a brief summary of English and continental usages of the metaphor and then through two manuscript case studies: BnF fr. 874 and Musée Dobrée XVII. BnF fr. 874, containing Octovien de Saint-Gelais’s translation of Ovid’s Heroides, presents primarily heroines writing fictional letters to their absent male lovers. Musée Dobrée XVII, a collection of biblical, antique, and contemporary female biographies, is a translation/adaptation of Boccaccio’s De mulieribus Claris and Giacomo Filipo Foresti da Bergamo’s De plurimis claris selectisque mulieribus made for Anne de Bretagne. These two manuscripts are examples of secular rather than devotional works that reference the metaphor of Christ’s blood as ink to encourage in their readers both an imagined participation in the narratives and a very real material interaction with the codices themselves.","PeriodicalId":387346,"journal":{"name":"Digital Philology: A Journal of Medieval Cultures","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130082894","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"L’atelier de Christine de Pizan by Inès Villela-Petit (review)","authors":"Lori J. Walters","doi":"10.1353/dph.2021.0019","DOIUrl":"https://doi.org/10.1353/dph.2021.0019","url":null,"abstract":"","PeriodicalId":387346,"journal":{"name":"Digital Philology: A Journal of Medieval Cultures","volume":"65 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121925968","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Book as Cultural Actor: Introduction","authors":"A. Dal Molin, S. C. Kaplan, Deborah L. McGrady","doi":"10.1353/dph.2021.0021","DOIUrl":"https://doi.org/10.1353/dph.2021.0021","url":null,"abstract":"","PeriodicalId":387346,"journal":{"name":"Digital Philology: A Journal of Medieval Cultures","volume":"35 5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116620454","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:The renowned Parisian libraire Anthoine Vérard published more than 330 editions between 1485 and 1512. Among the most celebrated are the chivalric romances—Lancelot, Gyron le Courtois, and others—which were printed as large in-folio volumes, illustrated with full-page woodcuts. Vérard established his reputation primarily on the deluxe copies, printed on vellum, painted by the best artists of the day, and destined for his wealthy clients and patrons. Four such volumes are known of his second edition of Tristan, published c. 1496. All contain not only seven large woodcuts but also an astounding 180 small miniatures, painted in place of the printed chapter headings, which were erased and then written by hand in the margin. Vérard employed different artists to paint these copies; and by comparing their illustrations, one can examine how each interpreted the text while developing stylistic features that would attract purchasers or patrons, perhaps at Vérard’s command.
{"title":"Illustrating Tristan: Vérard and His Artists, c. 1496","authors":"M. Winn, Isabelle Delaunay","doi":"10.1353/dph.2021.0023","DOIUrl":"https://doi.org/10.1353/dph.2021.0023","url":null,"abstract":"Abstract:The renowned Parisian libraire Anthoine Vérard published more than 330 editions between 1485 and 1512. Among the most celebrated are the chivalric romances—Lancelot, Gyron le Courtois, and others—which were printed as large in-folio volumes, illustrated with full-page woodcuts. Vérard established his reputation primarily on the deluxe copies, printed on vellum, painted by the best artists of the day, and destined for his wealthy clients and patrons. Four such volumes are known of his second edition of Tristan, published c. 1496. All contain not only seven large woodcuts but also an astounding 180 small miniatures, painted in place of the printed chapter headings, which were erased and then written by hand in the margin. Vérard employed different artists to paint these copies; and by comparing their illustrations, one can examine how each interpreted the text while developing stylistic features that would attract purchasers or patrons, perhaps at Vérard’s command.","PeriodicalId":387346,"journal":{"name":"Digital Philology: A Journal of Medieval Cultures","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131757185","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Anglo-Saxon Manuscripts in Microfiche Facsimile ed. by A. N. Doane and Matthew T. Hussey (review)","authors":"Tiffany Beechy","doi":"10.1353/dph.2021.0015","DOIUrl":"https://doi.org/10.1353/dph.2021.0015","url":null,"abstract":"","PeriodicalId":387346,"journal":{"name":"Digital Philology: A Journal of Medieval Cultures","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123212376","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：