IMC 2006: Sessions

Session 1614: Gestures and Romance

Thursday 13 July 2006, 11.15-12.45

Moderator/Chair:Virginia C. Raguin, Department of Visual Arts, College of the Holy Cross, Massachusetts
Paper 1614-aTransparency and Ambiguity of Gestures in Medieval Romances
(Language: English)
Veronica Loredana Grecu, Centre d'Études Supérieures de Civilisation Médiévale (CESCM), Université de Poitiers
Index terms: Language and Literature - Comparative, Language and Literature - Middle English, Literacy and Orality, Mentalities
Paper 1614-bReprésentation gestuelle et verbale de la mensonge dans la matière de Tristan
(Language: Français)
Tanja-Isabel Habicht, Albert Ludwig-Universität, Freiburg
Index terms: Art History - Decorative Arts, Art History - Painting, Language and Literature - French or Occitan
Paper 1614-cThe Gesture of the Courtly Love in the Gothic Art of France
(Language: English)
Karina Pronitcheva, St Petersburg State University
Index terms: Art History - General, Art History - Decorative Arts
Abstract

Abstract paper -a: Medieval romances are rich in disguise episodes. Despite some ludic characteristics, disguise is not a simple game, but the expression of a deeper conflict between truth and fiction. When describing the trickster’s actions, narrators insist on gestures, as medieval man believes they are the first to betray real nature when providing information on feelings. Moreover, poets prefer to represent the visible signs that tricksters associate with their emotions rather than just name them. Thus, the reader is given the possibility to imagine and interpret the gesture. Our analysis will, therefore, focus on gesture as an ambivalent sign, since it not only exposes, but also hides inner life.

Abstract paper -b: Il s’agit de montrer que trois différents adaptateurs de la légende de Tristan: Béroul et son roman (12ème), le peintre des fresques du château de St Floret en Auvergne (14ème) et le sculpteur d’un peigne (14ème); se sont servi de deux aspects du langage – verbal et gestuel – pour traiter le motif du double langage: Ces trois œuvres mettent l’accent sur Iseut qui ne ment pas seulement par la parole, mais aussi par les gestes pour tromper le roi Marc et se défaire des soupçons du nain hideux Frocin. Un geste de celui-ci devient d’ailleurs pour Béroul un metaphore pour ce langage dévoilé.

Abstract paper -c: The paper includes the theme of the gesture expression of courtly love in the French art of the 14th centuries. The images of the different types of art will be showing and studying (illuminated manuscripts, ivories), for see the iconographic model of the love scenes. I would like to consider the gesture in the different love allegories, as the Coronation of the Lover, walk in the forest, hunting, Court of the God of Love, and Attack of the Castle of Love, and to compare the secular iconography with a religious prototype of the image.
I would like to show through the symbolic gesture as the medieval masters were expressing all nuances of love feelings.