The crystal reveals the whole: medieval dreamscapes and cinematic space as virtual media

2021 ◽  
Vol 20 (1) ◽  
pp. 85-112
Author(s):  
Alison Griffiths
Keyword(s):  
New Media ◽  
Visual Culture ◽  
Middle Ages ◽  
Thought Experiment ◽  
Building Blocks ◽  
Roman De La Rose ◽  
The Gaze ◽  
Cinematic Space ◽  
The Rich ◽  
The Middle Ages

This article examines the rich visual culture of the medieval period in order to better understand dreaming as a kind of visual thought experiment, one in which ideas associated with cinema, such as embodied viewing, narrative sequencing, projection, and sensory engagement, are palpable in a range of visual and literary works. The author explores the theoretical connections between the oneiric qualities of cinema and the visual culture of medieval dreams, dealing in turn with the following themes: (i) media and mediation; (ii) projection and premonition; (iii) virtual spatiality; and (iv) automata and other animated objects. The wide swath of medieval literary dream texts, with their mobile perspectives, sensory plentitude, and gnostic mission, resonate with the cinematic in the structuring of the gaze. Investigating the codes of medieval culture provides us with an unusually rich episteme for thinking about how the dreamscapes of the Middle Ages evoke media dispositifs. Opening up these thought lines across distinct eras can help us extrapolate similarities around ways of imagining objects, spaces, sensations of embodied viewing or immersion, reminding us that our contemporary cinematic and digital landscapes are not divorced from earlier ways of seeing and believing. Whether stoking religious fear and veneration or providing sensual pleasure as in Le Roman de la Rose, the dreamworlds of the Middle Ages have bequeathed us a number of an extraordinarily rich creative works that are the imaginative building blocks of media worlds-in-the-making, as speculative in many ways as current discourses around new media.

Regional Identities and Cultures of Medieval Jews

2018 ◽  
Keyword(s):  
Middle Ages ◽  
North Africa ◽  
Western Europe ◽  
Regional Identity ◽  
Asia Minor ◽  
The Balkans ◽  
Rich Variety ◽  
Regional Cultures ◽  
The Rich ◽  
The Middle Ages

Though the existence of Jewish regional cultures is widely known, the origins of the most prominent groups, Ashkenaz and Sepharad, are poorly understood, and the rich variety of other regional Jewish identities is often overlooked. Yet all these subcultures emerged in the Middle Ages. Scholars contributing to the present study were invited to consider how such regional identities were fashioned, propagated, reinforced, contested, and reshaped — and to reflect on the developments, events, or encounters that made these identities manifest. They were asked to identify how subcultural identities proved to be useful, and the circumstances in which they were deployed. The resulting volume spans the ninth to sixteenth centuries, and explores Jewish cultural developments in western Europe, the Balkans, North Africa, and Asia Minor. In its own way, each chapter considers factors — demographic, geographical, historical, economic, political, institutional, legal, intellectual, theological, cultural, and even biological — that led medieval Jews to conceive of themselves, or to be perceived by others, as bearers of a discrete Jewish regional identity. Notwithstanding the singularity of each chapter, they collectively attest to the inherent dynamism of Jewish regional identities.

Visions and ruins

2018 ◽  
Author(s):  
Joshua Davies
Keyword(s):  
Visual Culture ◽  
Middle Ages ◽  
Cultural Production ◽  
Cultural Memory ◽  
Social Identities ◽  
Subject Formation ◽  
Medieval Period ◽  
The Past ◽  
A Site ◽  
The Middle Ages

This book is a study of cultural memory in and of the British Middle Ages. It works with material drawn from across the medieval period – in Old English, Middle English and Latin, as well as material and visual culture – and explores modern translations, reworkings and appropriations of these texts to examine how images of the past have been created, adapted and shared. It interrogates how cultural memory formed, and was formed by, social identities in the Middle Ages and how ideas about the past intersected with ideas about the present and future. It also examines how the presence of the Middle Ages has been felt, understood and perpetuated in modernity and the cultural possibilities and transformations this has generated. The Middle Ages encountered in this book is a site of cultural potential, a means of imagining the future as well as imaging the past. The scope of this book is defined by the duration of cultural forms rather than traditional habits of historical periodization and it seeks to reveal connections across time, place and media to explore the temporal complexities of cultural production and subject formation. It reveals a transtemporal and transnational archive of the modern Middle Ages.

scholarly journals Reading the Bible through the ages?Historical and hermeneutical perspectives

2016 ◽  
Vol 1 (2) ◽  
Author(s):  
Dirkie Smit
Keyword(s):  
20Th Century ◽  
Middle Ages ◽  
Early Church ◽  
The Bible ◽  
God's Word ◽  
History Of ◽  
Impossible Task ◽  
The Rich ◽  
Bible Reading ◽  
The Middle Ages

In this contribution the seemingly straightforward slogan espoused by Biblica, namely, “Transforming lives through God’s Word” is complicated by placing it within the context of the rich, multi-layered and complex history of Bible-reading. Fully aware that it is an impossible task to construe the history of the reading of the Bible, offers a few broad strokes describing Biblical reception and interpretation, beginning with the complex genesis of the Bible, extending through the Early Church, the Middle Ages, The Renaissance and Reformation, the time of Enlightenment and rise of Modernity, the emergence of ecumenical hermeneutics in the 20th century, and the contemporary conflicts in hermeneutic perspectives. Throughout the essay, the question is asked – in various ways and with different responses – what “Transforming lives through God’s Word” could mean.

Resistance to Tithes in the Middle Ages

1962 ◽  
Vol 13 (2) ◽  
pp. 172-185 ◽  
Author(s):  
Giles Constable
Keyword(s):  
Middle Ages ◽  
Income Tax ◽  
Modern Times ◽  
The Poor ◽  
Medieval Church ◽  
The Reformation ◽  
History Of ◽  
The Rich ◽  
The Middle Ages

The system of compulsory tithes in the Middle Ages has long been used by protestant and liberal historians as a stick with which to beat the medieval Church. ‘This most harassing and oppressive form of taxation’, wrote H. C. Lea in his well-known History of the Inquisition, ‘had long been the cause of incurable trouble, aggravated by the rapacity with which it was enforced, even to the pitiful collections of the gleaner’. Von Inama-Sternegg remarked on the growing hatred of tithes in the tenth, eleventh, and twelfth centuries, especially among the small free landholders, ‘upon whom the burden of tithes must have fallen most heavily’. Gioacchino Volpe said that tithes were ‘the more hated because they oppressed the rich less than the poor, the dependents on seigneurial estates less than the small free proprietors to whose ruin they contributed…. At that time tithes were both an ecclesiastical and secular oppression, a double offence against religious sentiment and popular misery’. G. G. Coulton, writing before the introduction in England of an income tax at a rate of over ten per cent., proclaimed that before the Reformation tithes ‘constituted a land tax, income tax and death duty far more onerous than any known to modern times, and proportionately unpopular’.

scholarly journals “Speaking Pictures”: Ways of Seeing and Reading in English Renaissance Culture

2018 ◽  
Vol 53 (1) ◽  
pp. 145-176
Author(s):  
György E. Szőnyi
Keyword(s):  
Visual Culture ◽  
Middle Ages ◽  
Literary Theory ◽  
Final Section ◽  
English Renaissance ◽  
Cultural Representations ◽  
Literary Practice ◽  
Visual Poetics ◽  
The Middle Ages

Abstract Neither in Antiquity nor in the Middle Ages could literary theory settle the debate about the primacy of inspiration or imitation, Plato or Aristotle. It was in the Renaissance that serious efforts were made to reconcile the two theories, and one of the best syntheses came from England. Philosophical and aesthetical syncretism between Plato and Aristotle makes Sidney’s Defense of Poesie a non-dogmatic and particularly inspiring foundation for English literary theory. Also, Philip Sidney’s notion of “speaking pictures” needs to be revisited, in view of the ontology and epistemology of art, as a ground-breaking model for understanding the multimediality of cultural representations. The first part of the following essay is devoted to this. Furthermore, it will be examined how Sidney’s visual poetics influenced and at the same time represented emblematic ways of seeing and thinking in Elizabethan culture. These are particularly conspicuous in the influence of emblem theory in England and in Renaissance literary practice related to that. In the final section I intend to show that Shakespeare’s intriguing, although implicit, poetics is a telling example of how Renaissance visual culture enabled a model that put equal stress on inspiration and imitation, and also on the part of the audience, whose imagination had (and still has) to work in cooperation with the author’s intention.

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