Scripta Mediaevalia最新文献

{"title":"Fluid City: River Gods in Rome and Contested Topography","authors":"Charles A. Burroughs","doi":"10.1353/MDI.2016.0012","DOIUrl":"https://doi.org/10.1353/MDI.2016.0012","url":null,"abstract":"Few major cities have undergone so thorough a transformation as early modern Rome, where a shrunken “gigantic cadaver” became a paradigmatic early modern theater of architectural magnificence, worthy of its ancient predecessor. No single site better exemplifies this transformation than the Campidoglio, the ancient Capitoline Hill, surmounted by a grand piazza bordered on three sides by palaces but open to the city on the fourth side where St. Peter’s dome, designed by Michelangelo for Pope Paul III (r. 1534–49), rises above the distant skyline. The same architect and patron played key roles in the sixteenth-century remodeling of the Campidoglio (Fig. 1), though the only building actually erected on the hill by the pope was not part of Michelangelo’s Capitoline ensemble. Early in his long pontificate, Paul saw to the construction of the Torre Farnese (or Paolina), a fortified residence designed with an eye to defense and domination, certainly not aesthetics. Until its demolition to make way for the Victor Emmanuel Monument (1885), the Torre Farnese was a looming presence on the hill, overlooking a city where by now numerous palaces exemplified the classicizing, formal language of the Renaissance, of which it showed hardly a trace. Nor could there be a stronger contrast with Michelangelo’s highly innovative and allusive designs for the civic palaces on the Campidoglio, though these were not realized until long after Paul’s death (the date of the design is a different issue, as noted below), or indeed with the same architect’s work, from 1546, on Paul’s own family palace, the Palazzo Farnese. It has recently been suggested that we should see the rustic character of the Torre Farnese, traditionally sometimes referred to as a villa, in a more positive light, and as","PeriodicalId":36685,"journal":{"name":"Scripta Mediaevalia","volume":"5 1","pages":"187 - 222"},"PeriodicalIF":0.0,"publicationDate":"2016-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83951740","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":"Solomon au feminin: (Re)translating Proverbs 31 in Christine de Pizan’s Cité des dames","authors":"Jeanette Patterson","doi":"10.1353/MDI.2016.0009","DOIUrl":"https://doi.org/10.1353/MDI.2016.0009","url":null,"abstract":"In his Etymologies, Isidore of Seville defines the interpres, or translator, as one situated “between two languages” as well as one who stands “between God, whom he interprets, and men, to whom he reveals the divine mysteries.” Rita Copeland points to this quote as emblematic of the conceptual inseparability of translation and glossing in the Middle Ages, where these related hermeneutic practices shaped the reception of texts and the conversation surrounding them. The interpretive “standing between” was in some sense the necessary yet problematic condition for the “carrying across” of translation. By repackaging ancient Latin texts for a contemporary French audience, medieval translators not only recoded them “word for word” or “sense for sense”; their translations brought old texts into dialogue with contemporary debates, and as such, filled an important social function. In framing that dialogue, translators did not necessarily endorse the views expressed in the texts they translated, nor were they bound by modern standards of objectivity or of “fidelity” to an “authentic” original or its presumed authorial intent. Indeed, translators who failed to properly situate controversial material within a culturally acceptable moral framework could face public backlash. For example, Jean Le Fèvre frames his late fourteenth-century Livre de Leesce, a verse-by-verse critique of Matheolus’s misogynistic Liber lamentationem, as a response to critics who read his earlier translation of the same work without commentary as an implicit endorsement of Matheolus’s vitriol against women. The medieval Bible translator, like the vernacular preacher, was doubly an interpres in Isidore’s definition, one who mediated both words and “mysteries,” or spiritual meanings, according to the perceived needs and aptitudes of a lay audience. The Bible","PeriodicalId":36685,"journal":{"name":"Scripta Mediaevalia","volume":"4 1","pages":"353 - 392"},"PeriodicalIF":0.0,"publicationDate":"2016-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88432636","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":"Writing Like a Fan: Fan Fiction and Medievalism in Paul C. Doherty’s Canterbury Mysteries","authors":"R. Knight","doi":"10.1353/MDI.2016.0005","DOIUrl":"https://doi.org/10.1353/MDI.2016.0005","url":null,"abstract":"In “Dreaming the Middle Ages,” Umberto Eco examines the shelves in an American bookstore. He lists several titles he believes constitute a “neomedieval wave” in popular culture. He then characterizes “Ten Little Middle Ages” that demonstrate various ahistoric, “ medieval” portrayals found in popular culture. The book titles he lists, such as The Sword is Forged, The Lure of the Basilisk, and Dragonquest, clearly belong in the bookstore’s Science Fiction and Fantasy section. If Eco had searched the Mystery section of the store, he would have found a similar “neomedieval wave.” One of the most prolific authors in this subgenre is Paul C. Doherty, who read history at Oxford where he wrote his D.Phil. thesis, “Isabella, Queen of England, 1296–1330,” in 1978. In a career spanning thirty years, Doherty has published more than one hundred historical mystery novels, most of them set in the Middle Ages. Doherty’s Canterbury series (1994–2012), based on Chaucer’s Canterbury Tales, relates most closely to the neomedieval category that Eco labels traditional, “or of occult philosophy”: a world “swarming with Knights Templars [sic], Rosicrucians, [and] alchemists.” The seven novels in Doherty’s series fit Eco’s category of occult philosophy by connecting each mystery to the actions of a supernatural cabal or secret society. Despite the use of supernatural events and conspiracy theories in his plots, Doherty attempts to “portray accurate ‘pictures, or windows of medieval life’” in his books. He believes that “a good historical mystery offers an experience of a different world to the one in which the reader lives, one which, in many ways, is alien to them. It introduces people to a new world.” In the introductions included in the recent Kindle releases of his back catalogue, Doherty expands","PeriodicalId":36685,"journal":{"name":"Scripta Mediaevalia","volume":"114 1","pages":"291 - 324"},"PeriodicalIF":0.0,"publicationDate":"2016-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80743423","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":"Picturing Christ as Surgeon and Patient in British Library MS Sloane 1977","authors":"Karl Whittington","doi":"10.1353/MDI.2014.0009","DOIUrl":"https://doi.org/10.1353/MDI.2014.0009","url":null,"abstract":"s.” 11. Jones, Medieval Medicine in Illuminated Manuscripts, 84. 12. Wolfgang Kemp’s study of Gothic stained glass is perhaps the best example of many such investigations. Kemp, The Narratives of Gothic Stained Glass (Cambridge: Cambridge University Press, 1997). See also Schlozman, ch. 4. 13. See Schlozman, Christ Among the Surgeons, 72. KARL WHITTINGToN 109 14. Ibid., 8–9. on the production of the artist, she cites Georg Graf Vitzthum, Die Pariser Miniaturmalerei von der Zeit des hl. Ludwig bis zu Philipp von Valois und ihr Verhältnis zur Malerei in Nordwesteuropa (Leipzig: Quelle u. Meyer, 1907), 151–52; Ingrid Gardill, Sancta Benedicta: Missionarin, Märtyrerin, Patronin: der Prachtcodex aus dem Frauenkloster Saînte-Benoîte in Origny (Petersberg, Germany: Imhoff, 2005), 219–46; and Alison Stones, “L’atelier artistiqe de la Vie de saint Benoîte d’origny: nouvelles considerations,” Bulletin de la Société Nationale des Antiquaires (1990). See also Eleanor S. Greenhill, “A Fourteenth-Century Workshop of Manuscript Illuminators and Its Localization,” Zeitschrift für Kunstgeschichte 40 (1977), 1–25, who suggests a precise location for production at Amiens. 15. Valls, “What Difference Does Language Make,” 85. Schlozman argues for a monastic hospital as the most likely patron, pointing to the frequent inclusion of monks throughout the pictorial program, including in unexpected situations. She also mentions the emphasis on copying and translation. Schlozman, Christ Among the Surgeons, 18–20; 24–26. For a recent treatment of the intersection of healing and monasticism, see Montford, Health, Sickness, Medicine, and the Friars (Burlington: Ashgate, 2004), and Montford, “Dangers and Disorders: The Decline of the Dominican Frater Medicus,” Journal for the Society for the Social History of Medicine 16.2 (2003), 169–91. 16. Jones, Medieval Medicine in Illuminated Manuscripts, 84. Jones is a pioneering scholar in the field of medical illustration, and the author of numerous meticulous and fascinating works; in no way am I downplaying his contributions. I am simply responding to his statements about the Sloane manuscript; in other essays, he has pointed out fascinating connections between medical and religious imagery. 17. See, for example, Jeremy Citrome, The Surgeon in Medieval English Literature (New York: Palgrave Macmillan, 2006). 18. In her study, Schlozman argues for a bit more of a programmatic approach than I suggest. She identifies an overarching pattern or arc in the connections between the two cycles, while I tend to think their moments of contact are more incidental, secondary to the aims of the overall comparison between the two. Schlozman, Christ Among the Surgeons, 47. 19. Translation mine, transcription from Valls, Studies on Roger Frugardi’s Chirurgia, 25: “Aprés ce que Deix ot le monde crié et il l’ot enbeli de sustance terrienne, il ot formé homme et mis en lui esprit de vie....Et mist en homme et l’enbeli gloreusement de forme et de sapienc","PeriodicalId":36685,"journal":{"name":"Scripta Mediaevalia","volume":"40 1","pages":"115 - 83"},"PeriodicalIF":0.0,"publicationDate":"2015-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85092601","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 Treasure Above All Treasures”: Red Mouths, Medieval Fetishes, and the Limits of Modern Interpretation","authors":"Olga V. Trokhimenko","doi":"10.1353/MDI.2014.0006","DOIUrl":"https://doi.org/10.1353/MDI.2014.0006","url":null,"abstract":"","PeriodicalId":36685,"journal":{"name":"Scripta Mediaevalia","volume":"80 1","pages":"227 - 253"},"PeriodicalIF":0.0,"publicationDate":"2015-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83829880","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":"Johannes Fontana’s Drawing for a Castellus Umbrarum, Udine or Padua, c. 1415–20","authors":"Bennett Gilbert","doi":"10.1353/MDI.2014.0008","DOIUrl":"https://doi.org/10.1353/MDI.2014.0008","url":null,"abstract":"","PeriodicalId":36685,"journal":{"name":"Scripta Mediaevalia","volume":"14 1","pages":"255 - 277"},"PeriodicalIF":0.0,"publicationDate":"2015-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80198119","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":"Poverty, Property, and the Self in the Late Middle Ages: The Case of Chaucer’s Griselda","authors":"María Bullón-Fernández","doi":"10.1353/MDI.2014.0004","DOIUrl":"https://doi.org/10.1353/MDI.2014.0004","url":null,"abstract":"","PeriodicalId":36685,"journal":{"name":"Scripta Mediaevalia","volume":"1 1","pages":"193 - 226"},"PeriodicalIF":0.0,"publicationDate":"2015-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86430607","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":"“A Gallehault was the Book”: Francesca da Rimini and the Manesse Minnesanger Manuscript","authors":"Elena Lombardi","doi":"10.1353/MDI.2014.0001","DOIUrl":"https://doi.org/10.1353/MDI.2014.0001","url":null,"abstract":"","PeriodicalId":36685,"journal":{"name":"Scripta Mediaevalia","volume":"27 1","pages":"151 - 176"},"PeriodicalIF":0.0,"publicationDate":"2015-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81325866","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":"Drama without Performance and Two Old English Anomalies","authors":"Francis J. Finan","doi":"10.1353/MDI.2014.0005","DOIUrl":"https://doi.org/10.1353/MDI.2014.0005","url":null,"abstract":"The history of drama in England has customarily been traced back to the apparent enactment of a Latin text, the Visitatio sepulchri, in the second half of the tenth century. Vernacular drama has been tracked to the twelfth century, as typified by the Anglo-Norman Le Mystère (or Jeu) d’Adam. While recitative and mimesis likely accompanied storytelling in Old English, the Anglo-Saxon period is considered devoid of any vernacular drama. As M. Bradford Bedingfield points out, the words Anglo-Saxon and drama are rarely linked. Anomalies in Old English literature, two dialogues within the first work of the Exeter Book closely resemble in structure the Visitatio sepulchri. Despite this correspondence, these works, unlike the Visitatio, are not marked for performance. It is, however, because of this comparability that I argue here that drama as a literary form does exist in Old English, if drama is also defined in terms of text alone, rather than just performance. My argument will begin with a discussion of what constitutes medieval drama. I will analyze the feasibility of also defining drama strictly in textual terms from the perspectives of medieval European drama scholarship and performance studies. After a close examination of these dialogues, I will show the structural parallels with the Visitatio. Finally, with my reassessment of certain texts as dramas, I will draw the resultant implications for the history of medieval English drama.","PeriodicalId":36685,"journal":{"name":"Scripta Mediaevalia","volume":"14 1","pages":"23 - 50"},"PeriodicalIF":0.0,"publicationDate":"2015-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75252483","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":"Sodomites are from Mars: Deconstructing Rhetoric in the Commedia","authors":"J. S. Pastor","doi":"10.1353/MDI.2014.0000","DOIUrl":"https://doi.org/10.1353/MDI.2014.0000","url":null,"abstract":"","PeriodicalId":36685,"journal":{"name":"Scripta Mediaevalia","volume":"1 1","pages":"117 - 150"},"PeriodicalIF":0.0,"publicationDate":"2015-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89772657","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}