Pub Date : 2021-05-01DOI: 10.1215/10829636-8929059
Paroma Chatterjee
This article looks closely at the report of a miracle that occurred in eleventh-century Constantinople in which the veil covering an icon of the Theotokos (Virgin) at the Blachernae church lifted itself miraculously. The report, scripted by the Byzantine polymath Michael Psellos, focuses in intriguing ways on the actions and nonactions of the veil when the icon presided over a judicial trial. The article contends that Psellos insists on the theme of timing (with regard to the lifting and otherwise of the veil) and the Blachernae icon's role in determining a critical, decisive moment in the arbitration of human affairs. This emphasis, in turn, bespeaks a broader concern over the timing of sacred icons during significant moments in Byzantine history as understood by contemporary chroniclers: namely, their failure to act in appropriate ways at critical moments when the empire itself was at stake.
{"title":"The Byzantine Icon of the Virgin in the Church of the Blachernae: Michael Psellos on the Problem of Miraculous Timing","authors":"Paroma Chatterjee","doi":"10.1215/10829636-8929059","DOIUrl":"https://doi.org/10.1215/10829636-8929059","url":null,"abstract":"This article looks closely at the report of a miracle that occurred in eleventh-century Constantinople in which the veil covering an icon of the Theotokos (Virgin) at the Blachernae church lifted itself miraculously. The report, scripted by the Byzantine polymath Michael Psellos, focuses in intriguing ways on the actions and nonactions of the veil when the icon presided over a judicial trial. The article contends that Psellos insists on the theme of timing (with regard to the lifting and otherwise of the veil) and the Blachernae icon's role in determining a critical, decisive moment in the arbitration of human affairs. This emphasis, in turn, bespeaks a broader concern over the timing of sacred icons during significant moments in Byzantine history as understood by contemporary chroniclers: namely, their failure to act in appropriate ways at critical moments when the empire itself was at stake.","PeriodicalId":51901,"journal":{"name":"JOURNAL OF MEDIEVAL AND EARLY MODERN STUDIES","volume":"51 1","pages":"241-262"},"PeriodicalIF":0.2,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44456150","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-01DOI: 10.1215/10829636-8929080
Shira Brisman
The extant works of Hugo van der Goes frustrated attempts among early historians of Netherlandish painting to organize the artist's career according to a chronology. The survival of a biographical document attesting to his madness additionally troubled the expectation of artistic progression. Goes earned the reputation of the first modern artist whose genius was connected to his aberrant psychology. This essay critically examines the impulse in art history toward temporal sequencing, arguing that such a practice is most profitably applied in the case of Goes not to his oeuvre as a whole but to a study of his process within an individual work. The alterations over time to the surface of The Fall of Man, which has often (but not unanimously) been deemed the artist's “first work,” afford consideration of how Goes thought about revision and how historians of early Netherlandish painting might engage disciplinary change by rethinking the impulse toward prioritization.
Hugo van der Goes现存的作品挫败了早期荷兰绘画历史学家根据年表组织这位艺术家职业生涯的尝试。一份证明他疯狂的传记文件的幸存，进一步困扰了人们对艺术进步的期望。Goes赢得了第一位现代艺术家的声誉，他的天才与他异常的心理有关。本文批判性地考察了艺术史上对时间顺序的冲动，认为这种做法在Goes的案例中最有益的不是应用于他的全部作品，而是应用于对他在单个作品中的过程的研究。随着时间的推移，《人的堕落》（The Fall of Man）表面的变化经常（但并非一致）被认为是艺术家的“第一件作品”，这让我们可以考虑Goes是如何思考修改的，以及早期荷兰绘画的历史学家是如何通过重新思考优先顺序的冲动来进行学科变革的。
{"title":"The Madness of Hugo van der Goes: The Troubled Search for Origins in Early Netherlandish Painting","authors":"Shira Brisman","doi":"10.1215/10829636-8929080","DOIUrl":"https://doi.org/10.1215/10829636-8929080","url":null,"abstract":"The extant works of Hugo van der Goes frustrated attempts among early historians of Netherlandish painting to organize the artist's career according to a chronology. The survival of a biographical document attesting to his madness additionally troubled the expectation of artistic progression. Goes earned the reputation of the first modern artist whose genius was connected to his aberrant psychology. This essay critically examines the impulse in art history toward temporal sequencing, arguing that such a practice is most profitably applied in the case of Goes not to his oeuvre as a whole but to a study of his process within an individual work. The alterations over time to the surface of The Fall of Man, which has often (but not unanimously) been deemed the artist's “first work,” afford consideration of how Goes thought about revision and how historians of early Netherlandish painting might engage disciplinary change by rethinking the impulse toward prioritization.","PeriodicalId":51901,"journal":{"name":"JOURNAL OF MEDIEVAL AND EARLY MODERN STUDIES","volume":"51 1","pages":"321-365"},"PeriodicalIF":0.2,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45543293","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-01DOI: 10.1215/10829636-8929066
Andrew R. Casper
This essay recovers the dialectics of authenticity informed by the reinvigorated emergence of the Mandylion of Edessa as an authorized early Christian relic in Counter-Reformation Italy. The original was a miraculously generated icon of Christ's face which later became a major devotional artifact in Constantinople during the Byzantine period. However, by the seventeenth century two celebrated images of Christ's face, at San Bartolomeo degli Armeni in Genoa and San Silvestro in Capite in Rome, made simultaneous claims to be the original Mandylion. By exploring the reception of these mandylions in Genoa and Rome, and in particular the arguments advanced to vouch for the authenticity of each, this essay delineates historicized ways of perceiving holy images as faithful testaments to the origins of Christian history. This analysis therefore challenges the presumed supremacy of modern paradigms of authenticity.
{"title":"The Mandylions in Genoa and Rome: On the Authenticity of Christ's True Image in Counter-Reformation Italy","authors":"Andrew R. Casper","doi":"10.1215/10829636-8929066","DOIUrl":"https://doi.org/10.1215/10829636-8929066","url":null,"abstract":"This essay recovers the dialectics of authenticity informed by the reinvigorated emergence of the Mandylion of Edessa as an authorized early Christian relic in Counter-Reformation Italy. The original was a miraculously generated icon of Christ's face which later became a major devotional artifact in Constantinople during the Byzantine period. However, by the seventeenth century two celebrated images of Christ's face, at San Bartolomeo degli Armeni in Genoa and San Silvestro in Capite in Rome, made simultaneous claims to be the original Mandylion. By exploring the reception of these mandylions in Genoa and Rome, and in particular the arguments advanced to vouch for the authenticity of each, this essay delineates historicized ways of perceiving holy images as faithful testaments to the origins of Christian history. This analysis therefore challenges the presumed supremacy of modern paradigms of authenticity.","PeriodicalId":51901,"journal":{"name":"JOURNAL OF MEDIEVAL AND EARLY MODERN STUDIES","volume":"51 1","pages":"263-284"},"PeriodicalIF":0.2,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45161836","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-01DOI: 10.1215/10829636-8929073
J. Sperling
This essay investigates Benedetto Caliari's Nativity of the Virgin (1576) with its provocative and unorthodox depiction of a bare-breasted wet-nurse in the context of both Protestant and Catholic criticism of “indecent” religious imagery. Reformers on both sides drew a connection between the Virgin Mary's ostentatious display of her lactating breasts and her presumed, derided, or hoped-for miracle-working capacities or intercessory powers. In post-Tridentine Venice, several artists, including Tintoretto and Veronese, all of whom were connected to the Scuola de’ Mercanti that commissioned Caliari's painting, employed religious breastfeeding imagery in a wide array of iconographies in order to express dissent with the Counter-Reformation church's emphasis on orthodoxy. In contrast to writers, artists were able to claim a certain degree of nonconformity and freedom from prosecution. In light of Mikhail Bakhtin's concept of heteroglossia, it is argued that religious lactation imagery after Trent produced irony, parody, doubt, and dissent.
{"title":"Milk and Miracles: Heteroglossia and Dissent in Venetian Religious Art after the Council of Trent","authors":"J. Sperling","doi":"10.1215/10829636-8929073","DOIUrl":"https://doi.org/10.1215/10829636-8929073","url":null,"abstract":"This essay investigates Benedetto Caliari's Nativity of the Virgin (1576) with its provocative and unorthodox depiction of a bare-breasted wet-nurse in the context of both Protestant and Catholic criticism of “indecent” religious imagery. Reformers on both sides drew a connection between the Virgin Mary's ostentatious display of her lactating breasts and her presumed, derided, or hoped-for miracle-working capacities or intercessory powers. In post-Tridentine Venice, several artists, including Tintoretto and Veronese, all of whom were connected to the Scuola de’ Mercanti that commissioned Caliari's painting, employed religious breastfeeding imagery in a wide array of iconographies in order to express dissent with the Counter-Reformation church's emphasis on orthodoxy. In contrast to writers, artists were able to claim a certain degree of nonconformity and freedom from prosecution. In light of Mikhail Bakhtin's concept of heteroglossia, it is argued that religious lactation imagery after Trent produced irony, parody, doubt, and dissent.","PeriodicalId":51901,"journal":{"name":"JOURNAL OF MEDIEVAL AND EARLY MODERN STUDIES","volume":"51 1","pages":"285-319"},"PeriodicalIF":0.2,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44202823","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.1215/10829636-8796234
Christine Gadrat-Ouerfelli
After the German priest Ludolf of Sudheim returned from the Holy Land in 1341, he wrote an account of his travels that is far more complex than scholars have assumed. Ludolf expanded the genre of pilgrimage narrative in the way he draws on written sources, such as Hethum’s Flos historiarum Terre Orientis and William of Boldensele’s Liber de quibusdam ultramarinis partibus, while blending into his narrative oral sources of knowledge picked up from his personal contacts while traveling. Pilgrimage literature has often been denigrated by scholars for being repetitive, impersonal, and lacking originality. Yet if scholars were to adopt a less historiographically presentist approach to pilgrimage writing that is more open to the values and strategies of narratives like De itinere Terre Sancte, research could meaningfully focus on what might be called the “mental library” of pilgrim-authors — the full range of written and oral resources at their disposal in the complex processes of knowledge production in pilgrimage narrative.
1341年，德国牧师Ludolf of Sudheim从圣地回来后，他写了一份旅行记录，比学者们想象的要复杂得多。鲁道夫扩大了朝圣叙事的类型，他借鉴了书面资料，如Hethum的《Flos historiarum Terre Orientis》和William of Boldensele的《Liber de quibusdam ultramarinis partibus》，同时将他在旅行中接触到的口头知识来源融入到他的叙事中。朝圣文学经常被学者们诋毁为重复、客观和缺乏独创性。然而，如果学者们对朝圣写作采取一种不那么历史主义的方法，而对《圣地之旅》等叙事的价值观和策略更加开放，那么研究就可以有意义地集中在所谓的朝圣作者的“精神图书馆”上——在朝圣叙事的复杂知识生产过程中，他们可以随意使用的所有书面和口头资源。
{"title":"The Authority of Written and Oral Sources of Knowledge in Ludolf of Sudheim’s De itinere Terre Sancte","authors":"Christine Gadrat-Ouerfelli","doi":"10.1215/10829636-8796234","DOIUrl":"https://doi.org/10.1215/10829636-8796234","url":null,"abstract":"After the German priest Ludolf of Sudheim returned from the Holy Land in 1341, he wrote an account of his travels that is far more complex than scholars have assumed. Ludolf expanded the genre of pilgrimage narrative in the way he draws on written sources, such as Hethum’s Flos historiarum Terre Orientis and William of Boldensele’s Liber de quibusdam ultramarinis partibus, while blending into his narrative oral sources of knowledge picked up from his personal contacts while traveling. Pilgrimage literature has often been denigrated by scholars for being repetitive, impersonal, and lacking originality. Yet if scholars were to adopt a less historiographically presentist approach to pilgrimage writing that is more open to the values and strategies of narratives like De itinere Terre Sancte, research could meaningfully focus on what might be called the “mental library” of pilgrim-authors — the full range of written and oral resources at their disposal in the complex processes of knowledge production in pilgrimage narrative.","PeriodicalId":51901,"journal":{"name":"JOURNAL OF MEDIEVAL AND EARLY MODERN STUDIES","volume":"51 1","pages":"37-48"},"PeriodicalIF":0.2,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65998614","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.1215/10829636-8796270
M. O'Doherty
This article discusses a single late-fifteenth-century English manuscript as evidence for an understudied form of “virtual” pilgrimage. Bringing together the techniques of codicological, textual, and cartographic-historical research, the article shows how Cambridge, Corpus Christi College, MS 426 presents a vision of the world profoundly inflected by Holy Land pilgrimage, in which scholarly, mathematical geography is placed in the service of knowledge and understanding of the Holy Land. Indeed, within MS 426, the process of gaining understanding of the world’s geography and of the place of the Holy Land within it becomes a kind of virtual pilgrimage: a form of vicarious wandering that prompts religious contemplation and devotion. The article, which includes discussion of the manuscript’s unique and previously unstudied Jerusalem map, thus reminds us to keep in mind the inadequacy of modern taxonomies for dealing with the messy materialities of medieval texts.
{"title":"Holy Land Pilgrimage and Geography in Fifteenth-Century England","authors":"M. O'Doherty","doi":"10.1215/10829636-8796270","DOIUrl":"https://doi.org/10.1215/10829636-8796270","url":null,"abstract":"This article discusses a single late-fifteenth-century English manuscript as evidence for an understudied form of “virtual” pilgrimage. Bringing together the techniques of codicological, textual, and cartographic-historical research, the article shows how Cambridge, Corpus Christi College, MS 426 presents a vision of the world profoundly inflected by Holy Land pilgrimage, in which scholarly, mathematical geography is placed in the service of knowledge and understanding of the Holy Land. Indeed, within MS 426, the process of gaining understanding of the world’s geography and of the place of the Holy Land within it becomes a kind of virtual pilgrimage: a form of vicarious wandering that prompts religious contemplation and devotion. The article, which includes discussion of the manuscript’s unique and previously unstudied Jerusalem map, thus reminds us to keep in mind the inadequacy of modern taxonomies for dealing with the messy materialities of medieval texts.","PeriodicalId":51901,"journal":{"name":"JOURNAL OF MEDIEVAL AND EARLY MODERN STUDIES","volume":"51 1","pages":"105-139"},"PeriodicalIF":0.2,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65998637","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.1215/10829636-8796258
M. Coneys
This article discusses three poems written in the early 1490s by the Florentine Giuliano Dati (1445–1524), a penitentiary priest at the Archbasilica of St. John Lateran in Rome: the Stazione e indulgenze di Roma (1492–93), Tractato di Santo Ioanni Laterano (1492–94), and Aedificatio Romae (1494). Composed in the popular cantare verse form, which was strongly associated with public performance, these works are an unusual example of printed guides to Rome aimed specifically at an Italian audience. Situating Dati’s cantari within the broader culture of the Roman pilgrimage, the article assesses their relationship with established textual and performance traditions and considers the pastoral motivation behind their production. In doing so, it advocates for closer attention to the permeability between ephemeral print and performance in late medieval pilgrimage and devotional culture.
这篇文章讨论了佛罗伦萨人朱利亚诺·达蒂(1445-1524)在1490年代早期写的三首诗，他是罗马圣约翰拉特兰大殿的一名监狱牧师:《Stazione e indulgenze di Roma》(1492-93)、《Tractato di Santo Ioanni Laterano》(1492-94)和《adificatio Romae》(1494)。这些作品以流行的圣歌诗歌形式创作，与公共表演密切相关，是专门针对意大利观众的罗马印刷指南的一个不寻常的例子。本文将达蒂的cantari置于更广泛的罗马朝圣文化中，评估了它们与既定文本和表演传统的关系，并考虑了它们生产背后的田园动机。在这样做的过程中，它提倡更密切地关注中世纪晚期朝圣和虔诚文化中短暂的版画和表演之间的渗透性。
{"title":"Pilgrimage, Print, and Performance","authors":"M. Coneys","doi":"10.1215/10829636-8796258","DOIUrl":"https://doi.org/10.1215/10829636-8796258","url":null,"abstract":"This article discusses three poems written in the early 1490s by the Florentine Giuliano Dati (1445–1524), a penitentiary priest at the Archbasilica of St. John Lateran in Rome: the Stazione e indulgenze di Roma (1492–93), Tractato di Santo Ioanni Laterano (1492–94), and Aedificatio Romae (1494). Composed in the popular cantare verse form, which was strongly associated with public performance, these works are an unusual example of printed guides to Rome aimed specifically at an Italian audience. Situating Dati’s cantari within the broader culture of the Roman pilgrimage, the article assesses their relationship with established textual and performance traditions and considers the pastoral motivation behind their production. In doing so, it advocates for closer attention to the permeability between ephemeral print and performance in late medieval pilgrimage and devotional culture.","PeriodicalId":51901,"journal":{"name":"JOURNAL OF MEDIEVAL AND EARLY MODERN STUDIES","volume":"51 1","pages":"79-104"},"PeriodicalIF":0.2,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65998628","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.1215/10829636-8796282
Kathryne Beebe
There is growing interest among historians of late medieval and early modern Europe in the concept of resistance for understanding women and power. Researchers are beginning to look beyond religious women’s overt and well-documented forms of opposition to reform efforts that increasingly restricted their physical enclosure; they contend that these women also resisted through more subtle cultural means, such as the devotional practice of imagined pilgrimage. Yet recent studies — including one by this author — have argued unconvincingly that late medieval Dominican nuns in southwest Germany who took mental journeys to Jerusalem or Rome thereby resisted their enclosure. This article uses an approach created by the anthropologist Sherry Ortner to check and correct this resistance model. It shows that the interpretation of what imagined pilgrimage meant to and for these late medieval women is most likely an effect of scholars’ present biases, both intellectual and sociocultural.
{"title":"The Meaning of Imagined Pilgrimage","authors":"Kathryne Beebe","doi":"10.1215/10829636-8796282","DOIUrl":"https://doi.org/10.1215/10829636-8796282","url":null,"abstract":"There is growing interest among historians of late medieval and early modern Europe in the concept of resistance for understanding women and power. Researchers are beginning to look beyond religious women’s overt and well-documented forms of opposition to reform efforts that increasingly restricted their physical enclosure; they contend that these women also resisted through more subtle cultural means, such as the devotional practice of imagined pilgrimage. Yet recent studies — including one by this author — have argued unconvincingly that late medieval Dominican nuns in southwest Germany who took mental journeys to Jerusalem or Rome thereby resisted their enclosure. This article uses an approach created by the anthropologist Sherry Ortner to check and correct this resistance model. It shows that the interpretation of what imagined pilgrimage meant to and for these late medieval women is most likely an effect of scholars’ present biases, both intellectual and sociocultural.","PeriodicalId":51901,"journal":{"name":"JOURNAL OF MEDIEVAL AND EARLY MODERN STUDIES","volume":"51 1","pages":"141-159"},"PeriodicalIF":0.2,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65998661","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.1215/10829636-8796210
A. Bale, Kathryne Beebe
Pilgrimage formed a central motif of medieval culture and shaped a defining aesthetic of early literature. Despite this centrality, research remains in a preliminary state for many of the actual texts, manuscripts, and books connected to pilgrimage and how they contributed to the exchange and translation of knowledge and ideas. This special issue considers issues of reading and writing before, during, and after medieval pilgrimages, as well as the methodological and historical issues at stake for both pilgrim writers and modern scholars. In particular, the articles address the vexed issue of where — and how much — reading and writing took place around historically attested pilgrimages. By employing insights from literature, history, bibliography, geography, and anthropology, this collection aims not only to understand the past, but also to examine how current biases might affect interpretation of that past. From this multidisciplinary perspective, deeper insight is offered into how pilgrims’ libraries shaped not only pilgrimage, but medieval culture in general.
{"title":"Pilgrimage and Textual Culture","authors":"A. Bale, Kathryne Beebe","doi":"10.1215/10829636-8796210","DOIUrl":"https://doi.org/10.1215/10829636-8796210","url":null,"abstract":"Pilgrimage formed a central motif of medieval culture and shaped a defining aesthetic of early literature. Despite this centrality, research remains in a preliminary state for many of the actual texts, manuscripts, and books connected to pilgrimage and how they contributed to the exchange and translation of knowledge and ideas. This special issue considers issues of reading and writing before, during, and after medieval pilgrimages, as well as the methodological and historical issues at stake for both pilgrim writers and modern scholars. In particular, the articles address the vexed issue of where — and how much — reading and writing took place around historically attested pilgrimages. By employing insights from literature, history, bibliography, geography, and anthropology, this collection aims not only to understand the past, but also to examine how current biases might affect interpretation of that past. From this multidisciplinary perspective, deeper insight is offered into how pilgrims’ libraries shaped not only pilgrimage, but medieval culture in general.","PeriodicalId":51901,"journal":{"name":"JOURNAL OF MEDIEVAL AND EARLY MODERN STUDIES","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42629148","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.1215/10829636-8796222
Hannah Weaver
Telling the story of the exceptional penance of an Irish knight, the twelfthcentury Tractatus de Purgatorio Sancti Patricii contends that it was possible to go on a bodily pilgrimage to purgatory. The Cistercian monk H. of Saltrey wrote his Tractatus at a historical moment when the fate of souls after death felt particularly urgent and important evidence for the afterlife was provided by spirits traveling back and forth between this life and the next. Insisting on a bodily experience of a spiritual space, rather than a visionary one, the knight Owein provided powerful eyewitness testimony about posthumous penance. This article uncovers how the Latin Tractatus engages the worries of its audience about the feasibility of the knight’s embodied visit to the afterlife by marshaling familiar narrative patterns from vernacular genres, including chansons de geste and romance. It shows that the Tractatus is an intricately designed text that uses these generic features to dispel doubt, thereby positioning Owein’s pilgrimage as a licit and potentially replicable penitential activity.
12世纪的《炼狱论》(Tractatus de Purgatorio Sancti Patricii)讲述了一位爱尔兰骑士的特殊忏悔故事，认为身体去炼狱朝圣是可能的。西多会修道士H. of Saltrey在一个历史时刻写下了他的《论》(Tractatus)，当时人们对死后灵魂的命运感到特别迫切，而灵魂在今生和来世之间来回穿梭，为来世提供了重要的证据。骑士欧文坚持对精神空间的身体体验，而不是幻想，他提供了关于死后忏悔的有力目击证词。这篇文章揭示了拉丁文的Tractatus是如何通过从方言流派中整理出熟悉的叙事模式，包括chansons de geste和romance，来吸引观众对骑士化身到来世的可能性的担忧。这表明，《论》是一个精心设计的文本，它使用这些通用的特征来消除疑虑，从而将欧文的朝圣定位为一种合法的、潜在的可复制的忏悔活动。
{"title":"A Pilgrimage to Purgatory","authors":"Hannah Weaver","doi":"10.1215/10829636-8796222","DOIUrl":"https://doi.org/10.1215/10829636-8796222","url":null,"abstract":"Telling the story of the exceptional penance of an Irish knight, the twelfthcentury Tractatus de Purgatorio Sancti Patricii contends that it was possible to go on a bodily pilgrimage to purgatory. The Cistercian monk H. of Saltrey wrote his Tractatus at a historical moment when the fate of souls after death felt particularly urgent and important evidence for the afterlife was provided by spirits traveling back and forth between this life and the next. Insisting on a bodily experience of a spiritual space, rather than a visionary one, the knight Owein provided powerful eyewitness testimony about posthumous penance. This article uncovers how the Latin Tractatus engages the worries of its audience about the feasibility of the knight’s embodied visit to the afterlife by marshaling familiar narrative patterns from vernacular genres, including chansons de geste and romance. It shows that the Tractatus is an intricately designed text that uses these generic features to dispel doubt, thereby positioning Owein’s pilgrimage as a licit and potentially replicable penitential activity.","PeriodicalId":51901,"journal":{"name":"JOURNAL OF MEDIEVAL AND EARLY MODERN STUDIES","volume":"51 1","pages":"9-35"},"PeriodicalIF":0.2,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65999076","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","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：