Session 609: Moving Images in Art and Literature
Tuesday 11 July 2006, 11.15-12.45
|Moderator/Chair:||Kaspars Klavins, Faculty of Humanities, Daugavpils University, Latvia / School of Historical Studies, Faculty of Arts, Monash University, Victoria|
|Paper 609-a||'Non però qui si pente, ma si ride': The Ambiguity of the Medieval Smile|
Index terms: Anthropology, Art History - General
|Paper 609-b||Tears in 13th-Century Profane French Literature and the Sagas: Description and Significance|
Index terms: Language and Literature - Comparative, Language and Literature - French or Occitan, Language and Literature - Scandinavian, Mentalities
|Paper 609-c||Imagination and Emotion: Looking at the Tomb of Christ in Medieval German Art|
Index terms: Art History - Painting, Art History - Sculpture, Liturgy
Abstract paper -b: Au XIIIe siècle, les chroniques et récits biographiques de langue française et les sagas évoquent volontiers l’homme lorsque celui-ci pleure ou, lorsque susceptible de pleurer, il est au contraire capable de s’en abstenir. Les pleurs évoqués sont divers et porteurs de significations variées, et pleurer n’apparaît pas sans conséquences.
A objectif comparatif, cette présentation propose d’exposer ce que les chroniqueurs et biographes de langue française et les sagnamenn nous suggérent de ce qui caractérise, de ce qui rapproche, et de ce qui distingue, dans la perception et l’interprétation des pleurs, l’Europe féodale et la Scandinavie.
[In the 13th century, Scandinavian sagas and French chronicles and biographical accounts both depict men who cry, or who are about to cry, as capable of withholding their tears. The tears evoked are various and carried varied significances, and crying does not appear without consequences.
This presentation has a comparative objective: to explore what these chroniclers, biographers, and sagnamenn suggest to us about the contrasts and comparisons between the perception and interpretation of tears in feudal Europe and Scandinavia.]
Abstract paper -c: The construction of edifices and monuments in commemoration of the Holy Sepulchre in Jerusalem, and the events that took place there, began as early as the 4th century. The subject of my paper will be limited to several spectacular sepulchres from Germany and Switzerland dating to the middle of the 14th century, which were created and used within Cistercian foundations. They are all portable wooden coffers with either brilliant painted cycles or sculptural programs, which have the ability to relay Biblical narrative, complement ritual, and encourage contemplation. I am particulary interested in the liturgical and devotional practices of communities as expressed through the sepulchre in terms of imagination and emotion. How did a sepulchre serve the specific liturgy of its community? Did it promote private devotions? What was the relationship between the sepulchre and the viewer? Therefore, this very specific group of monuments provides key insights into the state of the liturgy and the devotional practices of their specific communities.