Pub Date : 2004-01-01DOI: 10.1484/J.VIATOR.2.300210
J. Jordan
This article investigates the various intellectual layers within which galley warfare was considered around the time of the battle of Lepanto (1571). Beyond the obvious military genre and immediate geopolitical implications, the cultural and aesthetic constructions of the galley battle consciously evoked the epic grandeur of ancient battles like Actium and Salamis with relevant political effects; evocations of galley battles also provided wildly popular contemporary “entertainment” at the same time by way of the staged naumachia and various literary treatments. Arguing that we must go beyond poetics in search of what galley battles signified, the author takes us to political speeches and pamphlets in which ancient and recent galley battles were discussed in fascinating comparison by contemporary elites for whom various galley battles had specific and powerful political and cultural import.
{"title":"Galley Warfare in Renaissance Intellectual Layering: Lepanto through Actium","authors":"J. Jordan","doi":"10.1484/J.VIATOR.2.300210","DOIUrl":"https://doi.org/10.1484/J.VIATOR.2.300210","url":null,"abstract":"This article investigates the various intellectual layers within which galley warfare was considered around the time of the battle of Lepanto (1571). Beyond the obvious military genre and immediate geopolitical implications, the cultural and aesthetic constructions of the galley battle consciously evoked the epic grandeur of ancient battles like Actium and Salamis with relevant political effects; evocations of galley battles also provided wildly popular contemporary “entertainment” at the same time by way of the staged naumachia and various literary treatments. Arguing that we must go beyond poetics in search of what galley battles signified, the author takes us to political speeches and pamphlets in which ancient and recent galley battles were discussed in fascinating comparison by contemporary elites for whom various galley battles had specific and powerful political and cultural import.","PeriodicalId":39588,"journal":{"name":"Viator - Medieval and Renaissance Studies","volume":"11 1","pages":"563-580"},"PeriodicalIF":0.1,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74579361","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2004-01-01DOI: 10.1484/J.VIATOR.2.300207
R. F. Yeager
John Gower’s Confessio Amantis exists in two translations of the fifteenth century—one in Portuguese and one in Castilian. Unique manuscripts of each have been discovered in the collections of the libraries of Escorial and the royal palace in Madrid, the latter only a few years ago. The assumption commonly held about the provenance of these translations connects them with the two daughters of John of Gaunt who married kings of Portugal and Castile: specifically, that Philippa of Portugal had a translation made for her husband, and then one for her sister, the translator working from the Portuguese into Castilian. (The evidence of the manuscripts is clear on this point—the Castilian was derived from a Portuguese original.) The manuscripts are, however, neither one a presentation copy, nor is either an original draft. The essay explores the significance of these facts, enlarging the field of possible patrons by looking more closely at the Lancastrian affinity in England and Iberia, and Gower’s long-running ...
{"title":"Gower’s Lancastrian Affinity: The Iberian Connection","authors":"R. F. Yeager","doi":"10.1484/J.VIATOR.2.300207","DOIUrl":"https://doi.org/10.1484/J.VIATOR.2.300207","url":null,"abstract":"John Gower’s Confessio Amantis exists in two translations of the fifteenth century—one in Portuguese and one in Castilian. Unique manuscripts of each have been discovered in the collections of the libraries of Escorial and the royal palace in Madrid, the latter only a few years ago. The assumption commonly held about the provenance of these translations connects them with the two daughters of John of Gaunt who married kings of Portugal and Castile: specifically, that Philippa of Portugal had a translation made for her husband, and then one for her sister, the translator working from the Portuguese into Castilian. (The evidence of the manuscripts is clear on this point—the Castilian was derived from a Portuguese original.) The manuscripts are, however, neither one a presentation copy, nor is either an original draft. The essay explores the significance of these facts, enlarging the field of possible patrons by looking more closely at the Lancastrian affinity in England and Iberia, and Gower’s long-running ...","PeriodicalId":39588,"journal":{"name":"Viator - Medieval and Renaissance Studies","volume":"60 1","pages":"483-516"},"PeriodicalIF":0.1,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73733786","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2004-01-01DOI: 10.1484/J.VIATOR.2.300203
B. Cassidy
Giotto’s Last Judgment in the Arena chapel in Padua, and particularly the scene of hell, has tended to be ignored in the considerable scholarly literature on the chapel. Yet, unusual emphases in Giotto’s infernal imagery are revealing of contemporary attitudes to the clergy in early fourteenth-century Padua, as well as providing further evidence of the artist’s acclaimed wit. The author examines the Paduan hell-scene in detail and relates its particulars to other visual and textual descriptions of the netherworld and to contemporary ideas of hell and the devil. Although the devil inspired fear he was also regarded as comic. The extravagant slapstick of Giotto’s demons and the fact that his sinners seem not to exhibit signs of undue suffering might suggest that, in part, the Paduan inferno was meant to be humorous. Not only is there an unusually large number of clerics in Giotto’s hell but several are punished by genital torture, suggesting that they have been guilty of sexual sins. Their unusual prominenc...
{"title":"Laughing with Giotto at Sinners in Hell","authors":"B. Cassidy","doi":"10.1484/J.VIATOR.2.300203","DOIUrl":"https://doi.org/10.1484/J.VIATOR.2.300203","url":null,"abstract":"Giotto’s Last Judgment in the Arena chapel in Padua, and particularly the scene of hell, has tended to be ignored in the considerable scholarly literature on the chapel. Yet, unusual emphases in Giotto’s infernal imagery are revealing of contemporary attitudes to the clergy in early fourteenth-century Padua, as well as providing further evidence of the artist’s acclaimed wit. The author examines the Paduan hell-scene in detail and relates its particulars to other visual and textual descriptions of the netherworld and to contemporary ideas of hell and the devil. Although the devil inspired fear he was also regarded as comic. The extravagant slapstick of Giotto’s demons and the fact that his sinners seem not to exhibit signs of undue suffering might suggest that, in part, the Paduan inferno was meant to be humorous. Not only is there an unusually large number of clerics in Giotto’s hell but several are punished by genital torture, suggesting that they have been guilty of sexual sins. Their unusual prominenc...","PeriodicalId":39588,"journal":{"name":"Viator - Medieval and Renaissance Studies","volume":"53 1","pages":"355-386"},"PeriodicalIF":0.1,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85396294","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2004-01-01DOI: 10.1484/J.VIATOR.2.300193
J. Freed
The Codex Falkensteinensis, which was commissioned by Count Sigiboto IV of Falkenstein in 1166, is the oldest extent European family archive. Among its unique treasures is the Urbar, the oldest register of the manorial income from a German secular lordship and one of the first pieces of evidence for the breakup of the bipartite manors into rent-paying peasant holdings in Bavaria. The Urbar indicates that there was extensive viticulture in the upper reaches of the Inn Valley and that unlike today Bavarians raised sheep rather than cows for meat and the cheese that could be produced from their milk but apparently not for their wool. The article examines why Sigiboto commissioned the codex, how the information was assembled, the completeness and accuracy of the information it contains, how Sigiboto’s estates were organized, and the renders the peasants paid.
{"title":"Bavarian Wine and Woolless Sheep: The Urbar of Count Sigiboto IV of Falkenstein (1126-ca. 1198)","authors":"J. Freed","doi":"10.1484/J.VIATOR.2.300193","DOIUrl":"https://doi.org/10.1484/J.VIATOR.2.300193","url":null,"abstract":"The Codex Falkensteinensis, which was commissioned by Count Sigiboto IV of Falkenstein in 1166, is the oldest extent European family archive. Among its unique treasures is the Urbar, the oldest register of the manorial income from a German secular lordship and one of the first pieces of evidence for the breakup of the bipartite manors into rent-paying peasant holdings in Bavaria. The Urbar indicates that there was extensive viticulture in the upper reaches of the Inn Valley and that unlike today Bavarians raised sheep rather than cows for meat and the cheese that could be produced from their milk but apparently not for their wool. The article examines why Sigiboto commissioned the codex, how the information was assembled, the completeness and accuracy of the information it contains, how Sigiboto’s estates were organized, and the renders the peasants paid.","PeriodicalId":39588,"journal":{"name":"Viator - Medieval and Renaissance Studies","volume":"37 1","pages":"71-112"},"PeriodicalIF":0.1,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81745122","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2004-01-01DOI: 10.1484/J.VIATOR.2.300199
Sarit Shalev-Eyni
The illustrations to the liturgical poem “Sign of this Month” in thirteenth- and fourteenth-century Hebrew prayer books from Germany present the joint appearance of the sun and the moon as a special sign of salvation of the month of Nissan, the time of the luminaries’ creation, the Exodus, and the messianic redemption. The similar size of the luminaries refers to the special phenomenon of the coincidence of the lunar and solar cycles once in 532 years during the most crucial events of the world. The pictorial similarity of the Jewish illustrations to the luminaries in Crucifixion iconography is related to contemporary Jewish sources that include the same phenomenon in the Christian event, and consider the date of the Crucifixion as a starting point for calculating the Jewish redemption.
{"title":"Cosmological Signs in Calculating the Time of Redemption: The Christian Crucifixion and the Jewish New Moon of Nissan","authors":"Sarit Shalev-Eyni","doi":"10.1484/J.VIATOR.2.300199","DOIUrl":"https://doi.org/10.1484/J.VIATOR.2.300199","url":null,"abstract":"The illustrations to the liturgical poem “Sign of this Month” in thirteenth- and fourteenth-century Hebrew prayer books from Germany present the joint appearance of the sun and the moon as a special sign of salvation of the month of Nissan, the time of the luminaries’ creation, the Exodus, and the messianic redemption. The similar size of the luminaries refers to the special phenomenon of the coincidence of the lunar and solar cycles once in 532 years during the most crucial events of the world. The pictorial similarity of the Jewish illustrations to the luminaries in Crucifixion iconography is related to contemporary Jewish sources that include the same phenomenon in the Christian event, and consider the date of the Crucifixion as a starting point for calculating the Jewish redemption.","PeriodicalId":39588,"journal":{"name":"Viator - Medieval and Renaissance Studies","volume":"68 1","pages":"265-288"},"PeriodicalIF":0.1,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83284059","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2004-01-01DOI: 10.1484/J.VIATOR.2.300209
Sherry Roush
This article analyzes the way Renaissance authors (including Cristoforo Landino, Girolamo Benivieni, and Jacopo Caviceo) use the ghosts of Dante and Boccaccio as mouthpieces for anachronistic civic polemics and ideological positions that are unpopular or even politically dangerous. The author argues that Florentine writers invoke the ghost of Dante in order to apologize for exiling the poet, to argue implicitly for the return of his body from Ravenna, and to suggest an unbroken literary line in the shared Florentine language and culture. Meanwhile, non-Florentine authors, especially those like Caviceo in Ferrara who write in a language other than the dominant Florentine vernacular and who foresee a new direction of literary development, emphasize the mobility of Florentine authors and even naturalize them as citizens of rival cultural courts.
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Pub Date : 2004-01-01DOI: 10.1484/J.VIATOR.2.300198
L. Candelaria
This essay centers on El Cavaller de Colunya (“The Knight of Cologne”), a Spanish miracle of the rosary that appears in the illuminations of choirbooks produced ca. 1490–1510 for the Dominican convent of San Pedro Martir, an important religious institution in Toledo, Spain, that housed a tribunal of the Inquisition. Following an exposition of the miracle, this article traces its rich history in the literature, music, and art of the thirteenth and fourteenth centuries. It concludes by arguing for its contemporary significance to the patrons who commissioned the choirbooks—a wealthy confraternity of the rosary whose membership was strictly limited to the silk weavers of Toledo.
这篇文章的中心是El Cavaller de Colunya(“科隆骑士”)，这是一个西班牙的玫瑰经奇迹，出现在大约1490-1510年为多米尼加圣佩德罗修道院制作的唱诗班的插图中，圣佩德罗修道院是西班牙托莱多的一个重要宗教机构，也是宗教裁判所的一个法庭。继奇迹的阐述，这篇文章追溯其丰富的历史，在文学，音乐和艺术的13和14世纪。最后，它论证了它对委托制作唱诗班的赞助人的当代意义——一个富有的念经协会，其成员严格限于托莱多的丝绸编织者。
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Pub Date : 2004-01-01DOI: 10.1484/J.VIATOR.2.300204
Joseph L. Grossi
Medieval European writers often created images of the Middle East, Asia, and Africa that disclose Western cultural assumptions rather than objective truths about the exotic “Other.” The same has been said, though less frequently, about representations of one Western European locale by another. In exploring the widespread interest in Genoa revealed in a variety of late medieval English writings, the present essay shows that the truth about this city and its merchants, mercenaries, and pirates often mattered less than the fear and distrust that pervade their depiction. Reactions varied, but generally while fourteenth-century English writing warns of a Genoese menace to England from afar, Lancastrian-era compositions identify a potential Genoese threat within England itself. Despite its frequent appearance, though, this danger always vanishes and seems rather to heighten English national self-awareness than to jeopardize English national security.
{"title":"Imaging Genoa in Late Medieval England","authors":"Joseph L. Grossi","doi":"10.1484/J.VIATOR.2.300204","DOIUrl":"https://doi.org/10.1484/J.VIATOR.2.300204","url":null,"abstract":"Medieval European writers often created images of the Middle East, Asia, and Africa that disclose Western cultural assumptions rather than objective truths about the exotic “Other.” The same has been said, though less frequently, about representations of one Western European locale by another. In exploring the widespread interest in Genoa revealed in a variety of late medieval English writings, the present essay shows that the truth about this city and its merchants, mercenaries, and pirates often mattered less than the fear and distrust that pervade their depiction. Reactions varied, but generally while fourteenth-century English writing warns of a Genoese menace to England from afar, Lancastrian-era compositions identify a potential Genoese threat within England itself. Despite its frequent appearance, though, this danger always vanishes and seems rather to heighten English national self-awareness than to jeopardize English national security.","PeriodicalId":39588,"journal":{"name":"Viator - Medieval and Renaissance Studies","volume":"65 1","pages":"387-434"},"PeriodicalIF":0.1,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86884391","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2004-01-01DOI: 10.1484/J.VIATOR.2.300208
N. Cartlidge
This essay is concerned with the ways in which medieval writers and artists depicted the imagined conflict between Carnival and Lent—a metaphorical contrast that, as it happens, has often been appropriated by modern critics writing about the Middle Ages, most notably by Mikhail Bakhtin. Such an appropriation is not entirely unjustified, for it is an idea prominent in medieval culture, and perhaps even more prominent than Bakhtin’s work actually demonstrates. Yet in a critical context the use of this imagery tends towards a rigid reductiveness that is sharply at odds with the richly complex and varied ways in which it appears in late medieval art and literature. In order to illustrate this point and to give an impression of the large field of texts at issue, the article provides a necessarily selective survey that briefly addresses in turn: a pair of letters attached to Guido Faba’s (Latin) Rota Nova; the Old French poem La Bataille de Caresme et de Charnage; some dramatic texts in both French and German; ...
这篇文章关注的是中世纪作家和艺术家描绘狂欢节和大斋节之间想象中的冲突的方式——一种隐喻性的对比，碰巧经常被现代评论家用来描写中世纪，最著名的是米哈伊尔·巴赫金。这样的挪用并非完全没有道理，因为这是中世纪文化中一个突出的观点，甚至可能比巴赫金的作品所展示的更为突出。然而，在一个关键的背景下，这种意象的使用倾向于一种严格的简化，这与它在中世纪晚期艺术和文学中出现的丰富复杂和多样化的方式大相径庭。为了说明这一点，并给人一种印象的文本的大领域的争议，文章提供了一个必要的选择性调查，简要地依次说明:一对信件附于圭多法巴的(拉丁)罗塔新星;古法语诗La Bataille de Caresme et de Charnage;一些法语和德语的戏剧文本;…
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Pub Date : 2004-01-01DOI: 10.1484/J.VIATOR.2.300201
Scott Kleinman
This article explores the complex stylistic dynamics of the description of Havelok’s first fight in the fourteenth-century Middle English romance Havelok the Dane. The episode is characterized by a mishmash of quasi-symbolic imagery and multiple (sometimes contradictory) re-narrations which past scholarship has connected to the poem’s distinctive oral mode of discourse. An examination of the episode’s sources and the diverse imagery of its multiple accounts of the fight reveals the poet’s consciousness of the role of the teller in transforming the tale. The poet makes use of diverse animal imagery (but especially that of the baited bear) to explore the complex ways in which we experience bondage. The poet’s diverse perspectives and dynamically changing imagery lead him to sacrifice any claim to be providing an authoritative historical account of Havelok’s life; instead, he recognizes the fallibility of oral discourse, marshalling it to unlock deeper truths about the social and spiritual nature of bondage ...
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